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.
A debauched Hollywood movie actor tries to piece together one wild night in Miami years earlier which remains a drug-induced blur, and soon finds out that some questions about his past are best left unanswered.
New York City, the 1930s. A powerful crime family is caught in a lethal crossfire between union organizers and brutal corporate bosses. Against this turbulent backdrop, the family's three ... See full summary »
Maas and Hosaka are two large Corporations in the future world. They are fighting to get control over the best minds of the world. The best is Hiroshi and at the moment he is working for ... See full summary »
Born in the Bronx and raised in upstate New York, Abel Ferrara started his professional film career on Mulberry Street in 1975. For the past year he's been living on the block, and the ... See full summary »
An artist slowly loses his mind as he and his two female friends scrape to pay the bills. The punk band downstairs increasingly agitates him, his art dealer is demanding that he complete his big canvas painting as promised, and he gets into fights with his girlfriends. When the dealer laughs at his canvas he snaps, and begins taking it out on the people responsible for his pain and random transients in the manner suggested by the title. Written by
Ed Sutton <email@example.com>
Title is mentioned in the song "Nasty" by The Damned - a song about horror movies that were banned in the U.K. after the Video Recording Act of 1984. See more »
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 »
Oh, so it's finished? Thank you. It's finished... Since when did you become such an expert on painting? I mean, you're telling me it's finished? What do you know about painting, anyway? Really, what do you know about paint? I'll tell you what you know about paint, man: you don't know nothing about paint, man. You know what you know about? You know about how to bitch and how to eat and how to bitch and how to shit and how to bitch! But you don't know nothing about paint, so don't tell me when ...
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Movie opens with message "THIS FILM SHOULD BE PLAYED LOUD." See more »
The thin line between trash-exploitation and art-house cinema
Despite of its reputation and the repulsive sounding title, Abel Ferrara's The Driller Killer is more of a social drama about life in the big city than it is a horror shocker. Ferrara himself stars as Reno, an unbalanced painter slowly going crazy due to financial troubles, the noisy punk-band next door, demanding employers and housemates, and non-stop images of the pauperized city. He buys a tool and unleashes his fury on the numerous homeless in the area. Driller Killer is truly grim and as much shocking as the classic film it's clearly inspired on (namely: Taxi Driver) but it lacks a fitting tone and a appropriate background drawing. The film opens with a very confusing sequence in which the protagonist is standing at an altar while being approached by an elderly man. This footage is extra since the 1999 re-release and it looks like Ferrara wanted to supply his film with some kind of spiritual depth. It leads nowhere, though. In fact, take out the killings and you're left with a somewhat boring urban portrait. Driller Killer was included in the infamous list of 'video-nasties' and therefore automatically received a controversial cult-status without people even seeing it. Although the substance matter doesn't belong amongst the other titles in the list, The Driller Killer often wanders on the thin border between trash-exploitation and art-house cinema, as it features voyeuristic elements (a gratuitous lesbian shower sequence) as well as sheer close-ups of blood-puddles and whirring drills.
Abel Ferrara without a doubt is one of the most remarkable directors in American cinema history. I'm a huge fan of most of his films like 'The Addiction', 'Bad Lieutenant' and 'The Funeral' It's not that I didn't like 'the Driller Killer', I just think that the poor production values really show off and that Ferrara did not yet had the professionalism and talent to make up for it by adding the trademarks that made his later films so brilliant. If you're interested by the repertoire of this often discussed director, you better don't start by watching Driller Killer. You're appreciate it a lot more after seeing some of his 90's films.
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