Hazel runs a beauty salon out of her house, but makes extra money by providing ruthless women to do hit jobs. K.T. is a parasite, and contacts Hazel looking for work when he runs out of ...
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A timid bank teller anticipates a bank robbery and steals the money himself before the crook arrives. When the sadistic crook realizes he's been fooled, he tracks down the teller and engages him in a cat-and-mouse chase for the cash.
An old Gothic cathedral, built over a mass grave, develops strange powers which trap a number of people inside with ghosts from a 12th Century massacre seeking to resurrect an ancient demon from the bowels of the Earth.
Feodor Chaliapin Jr.
The story in this horror movie revolves around a strange religious icon and the demonic sexual influence it exerts on a young art student. After a gory dream sequence in which the woman ... See full summary »
Ireland will never be the same after Rawhead Rex, a particularly nasty demon, is released from his underground prison by an unwitting farmer. The film follows Rex's cross country rampage, while a man struggles to stop it.
"Heat" is a parody of "Sunset Boulevard." Joey Davis, an unemployed ex-child actor, uses sex to get his landlady, Lydia, to reduce his rent, and then tries to exert his influence on Sally ... See full summary »
Hazel runs a beauty salon out of her house, but makes extra money by providing ruthless women to do hit jobs. K.T. is a parasite, and contacts Hazel looking for work when he runs out of money. She is reluctant to use him for a hit, since she prefers using women, but decides to try him on a trial basis. Meanwhile, the local cop she pays off wants an arrest to make it look like he's actually doing his job, but she doesn't want to sacrifice any of her "associates." Several other side plots are woven in, populated with characters from the sleazy side of life.Written by
Ed Sutton <email@example.com>
Perry King said Andy Warhol told him in reference to the plot of bad "I wanted to make a film about evil women and incompetent men" See more »
When Mary changes her baby's diaper, the soiled portion of the garment is in the front, not the back as is always the case. See more »
She wanted me to get rid of her baby, and then to save the money she chucked it out the window herself, the bitch.
Oh, no! No, no, no! I can't stand it anymore!
Don't cry, Mary. I'll get another job tomorrow.
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Although Andy Warhol's association with this movie was merely nominal, the late Jed Johnson and his screenplay writers produced, (whether consciously or not hardly matters), one of the truly subversive masterpieces of American cinema. It is a more devastating critique of capitalism than any film ever produced by the so-called communist countries, and it forces us to face so many different issues, and ask ourselves just what we have collectively allowed our society to become. (Britain, by the way, is rapidly catching up in this respect; we usually trail the US by about five years in such matters!). It is too, one of the most strangely MORAL films, peopled, (with one exception), with characters so hideous, or selfish, or self-seeking, or ruthless, or just plain cruel, that empathy is thin on the ground, and yet the exception, (the docile, trusting, slightly naive, and conventionally "plain" and "square" Mary; was that name deliberately chosen for its symbolic value I wonder?), emerges as the true survivor, whose basic humane values are so cogently reflected in her closing line of the film, "Looks aren't everything". All the values that we are brainwashed into believing are "sharp", "hip" or "cool" are turned on their head, and even more amazingly, one of the ultimate messages that this remarkable film delivers, edges very close to an anarchist philosophy, that meaningful change and revolution has first to start with the individual, and that conventional "values" are hollow and riddled with hypocrisy if those espousing them are secretly pursuing hidden agendas of their own. (Step forward all the various "gate" participants of the last few decades..!). Certainly not a film for the squeamish, (how could the American ratings board or any caring parent allow children to watch such a movie?), but a film which I am sure the passage of time will show to be one of the most important American films ever. It really is that good! Technical credits are all outstanding too, (a brilliant score by the late Mike Bloomfield which fits the sleazy overall mood like a glove), and a performance from Carroll Baker that is worthy of an award. Approach this film with an open mind and some lateral thinking, and you too might discover that it is an unexpected revelation. A masterpiece!
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