A company that produces a toxic chemical tries to improve its image via a popular spokesperson, Ricky Coogan. Ricky travels to South America to get a first-hand look at the chemical's effects and finds himself at a mutant freak farm. Elijah, who runs the farm, is only too happy to have new subjects on which to try his freak machine. The very chemical that Ricky is supposed to promote is the one responsible for creating the great variety of freaks.Written by
Christine Sai-Halasz <email@example.com>
Test audiences were said to have reacted negatively to the first showings of the completed film. According to Alex Winter on the DVD commentary, many of the younger teen-types that made up a majority of the preview-crowd were expecting this to be the next "Bill and Ted" movie, and often were vocal to what they were seeing on-screen. During a line of dialogue from Brooke Shields in the opening scene, a young male test audience member rose from his seat to yell, "Fuuuuuuck Yoouuu, Biiiiitch!!", much to the dismay of the filmmakers present. See more »
When Ricky leaves Skuggs' den with the very important clue, he is walking on the dolly track, which can be seen toward the end of the shot. See more »
How many feminists does it take to screw in a light bulb? Two. One to screw it in and one to ride my rodney!
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I feel priveleged to have this obscure gem in my collection. A scant cruise through my grocery store video rental some six years ago had me rent two films (both with the Melissa Joan Hart-like Megan Ward, oddly enough): "PCU" and "Freaked". I enjoyed PCU, but was taken aback by the colorful crudeness of Freaked. From the opening ClayMation/Henry Rollins fusion to the numerous B cameos (find me another film with all of Brooke Shields, Morgan Fairchild *AND* Mr. T and I'll find you a kidney transplant), to the laugh-out-loud sight gags, this film is up there with the very best of 'em.
Freaked is without a drop of pretense. It offers no metaphorical politics, it doesn't use heavy music to influence your heartbeat, and unlike the ZAZ and Mel Brooks films, this one doesn't mug for the punchline. Pre-dating Trey Parker and Matt Stone, its knockdown-dragout consistency of it's joke takes you to a very satisfying end. Proud to know it'll never end up on a snobbish "Greatest Films Of All Time" list, I strongly suggest you experience this American Classic for yourself, regardless the toll it might take.
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