A talented young photographer, who enjoys snapping photos of his satirical, perverted Baltimore neighborhood and his wacky family, gets dragged into a world of pretentious artists from New York City and finds newfound fame.
A suburban housewife's world falls apart when her pornographer husband admits he's serially unfaithful to her, her daughter gets pregnant, and her son is suspected of being the foot-fetishist who's been breaking local women's feet.
A day in the lives of a hit-and-run driver and her victim, and the bizarre things that happen to them before and after they collide (sexual assault by a crazed foot-fetishist, visions of ... See full summary »
Notorious Baltimore criminal and underground figure Divine goes up against a sleazy married couple who make a passionate attempt to humiliate her and seize her tabloid-given title as "The Filthiest Person Alive".
In Baltimore, guerrilla filmmaker Cecil B. Demented leads a band of cinema revolutionaries who kidnap Honey Whitlock, a bitchy and aging movie star of big-budget froth. Cecil wants her in his movie, a screed against Hollywood they film during blitzkrieg attacks on a multiplex, a Maryland Film Commission press conference, and the set of a "Forrest Gump" sequel. He insists on celibacy; the cast and crew channel sexual energy into the production. With a family-values coalition, aggrieved Teamsters, and the police on their trail, Cecil needs help from porno, kung-fu, and drive-in audiences. What about Honey? Will she bolt or refuse to act? Or will she hit her marks and light up the screen? Written by
John Waters wrote up the lyrics for the spoof rap songs on the soundtrack ("Bankable Bitch (We Don't Need No Pitch)," "No Budget", et al.) during the screenwriting phase, but the music supervisor couldn't find any rappers who were familiar with filmmaking lingo. Waters then met, quite by accident, Baltimore rap producer Steven Janis. Janis provided DJ Class and a number of other Baltimore-area rap artists, all of who had to be familiar with the pages of moviemaking terminology that Waters provided. See more »
When they set Honey's hair on fire when atop of the building at the drive in theater, she's obviously wearing a badly-disguised wig/prosthetic in the wide shots. See more »
No! I want to go home! I don't want to be in show business anymore!
I knew you were the weak one, Fidget. Just remember, your parents liked Godzilla.
They wouldn't even let you see R-rated films as a child.
They've never even been to a midnight movie.
They enjoy classic TV sitcoms turned into feature length films.
They've never rented a porno movie.
And to top it all off, they talk out loud in the theatre once the feature has begun.
Oh, that really is unforgivable, Fidget.
Okay, okay! My ...
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The credits thank "Fred and Ginger" both insinuating Fred Astaire and Ginger Rogers, the dance duo, and "Fred e Ginger" a movie by Federico Fellini, paying homage to the duo. See more »
While I've enjoyed John Waters recent output, movies like Pecker and Serial Mom have played it a little to safe for my liking. It's great to think of middle-America watching any kind of Waters movie rather than pap like Pearl Harbor and The Mummy Returns, but these movies only give half the picture. While Cecil B. Demented isn't pure unadulterated Waters like Pink Flamingos, it is his best movie since Cry Baby, and a complete HOOT. Man, the sheer energy and humour of this movie, and the basic message of its love for REAL cinema, really pushed my buttons and left me grinning from ear to ear, and UP for a week afterwards! Hopefully someone out there is listening, 'gets it', and will check out some earlier Waters, and some of the work of Sprockets heroes, and their lives will be enriched forever.
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