An artist slowly goes insane while struggling to pay his bills, work on his paintings, and care for his two female roommates, which leads him taking to the streets of New York after dark and randomly killing derelicts with a power drill.
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Reno is an artist struggling to survive in NYC. He draws inspiration from scenes of daily street life and occasional random violence. Under pressure to finish his oft-delayed grand masterpiece, his psychotic alter-ego takes over and he begins killing random vagrants to boost his creativity, not quite realizing that it is happening in reality. When an art dealer grimly rejects Reno's finished masterpiece, Reno's mental condition quickly deteriorates. Written by
When the Driller Killer drills into a homeless man's head, he does not drill far enough to cause death, as evidenced by the depth of blood on the drill-bit. See more »
[Reno opens an envelope for the Con-Ed energy bill]
Holy Christ! What is this? They send us the bill to Madison Square Garden? What are they kidding me, man? How the hell are we supposed to pay this bill? What is this? The bill for three months?
That's the bill for one month.
Christ, what have we got here? A refrigerator, a couple of lights?
[opens another envelope]
Let's see here, telephone. Oh no! Houston, Texas?
Look at this, L.A. $1.50... $2.75... $7.50, man.
Yeah, they're mine.
[...] See more »
Movie opens with message "THIS FILM SHOULD BE PLAYED LOUD." See more »
Driller Killer has, without question, the best director's commentary of any DVD i have ever seen. Although Driller Killer is a far cry from his second film "Ms. 45" it is a classic. Reno can't seem to buy a thrill. Despite the fact that he lives with two bombshells he can't get his painting finished to collect for the rent. His agent's reaction to his finished painting is absolutely priceless. What's worse is that his landlord has allowed a punk band to move in upstairs, adding insult to injury. The band, Tony Coca Cola and the Roosters, play "The Grand Street Stomp" a guitar riff that has a great driving force. This film really documents the village punk circuit at the end of the 1970's. Conventions are borrowed from Polanski's "Repulsion" and Cassavetes' "Shadows". The hand-held mingling with the street people of the period shows how filthy NYC was at the time. Lots of fun. Driller Killer was meant to be listened to loud!
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