Featured Audience Ratings

• Stella D

  
  cult actress tura santana died friday evening in reno, nevada. she was 72. rip :(

• Ariuza k

  
  Three go-go dancers - Varla (Tura Satana), Rosie (Haji) and Billie (Lori Williams) - are racing their sports cars out in the desert when they meet up with a young man named Tommy (Ray Barlow) and his girlfriend Linda (Susan Bernard). Tommy is an amateur car racer who has come out to… More
  Three go-go dancers - Varla (Tura Satana), Rosie (Haji) and Billie (Lori Williams) - are racing their sports cars out in the desert when they meet up with a young man named Tommy (Ray Barlow) and his girlfriend Linda (Susan Bernard). Tommy is an amateur car racer who has come out to do some time trials. Varla challenges him to a race. When she cuts him off with her car it leads to a fight and she kills him. Dragging the frightened Linda with them the trio go into the nearest town to fill up with petrol. There they see a muscly young man (Dennis Busch) carrying his crippled father (Stuart Lancaster) to his truck. The petrol station attendant (Mickey Foxx) tells the girls that the muscle man is retarded and that his bitter old father is reputed to be rich, but must have his riches stashed away somewhere at his isolated homestead. The girls decide to drop in for a visit hoping to find the old man's riches. They pass off Linda as a rich man's runaway daughter they are bringing home against her will. What they don't know is that the old man is a misogynist who delights in kidnapping women for his son, whom he refers to only as The Vegetable, to rape. They will have to rely on their own deadly talents and the possible decency of the old man's other son Kirk (Paul Trinka). Russ Meyer's black and white "ode to the violence in women" made little impact when first released in 1965. Meyer had taken the world by storm with "The Immoral Mr. Teas" (1959), the film most often credited with kicking off the nudie cutie craze. And he would become a household name with the success of "Vixen!" (1968). But the films he made between those two landmarks, though some of them are among his best work, didn't attract much attention. But then John Waters, in his 1981 autobiography "Shock Value" wrote : "'Faster, Pussycat! Kill! Kill!'...is, beyond a doubt, the best movie ever made (No doubt it's my "favourite" of all time). It is possibly better than any film that will be made in the future." Waters dubbed Meyer "the Eisentein of sex films" because his use of skillful editing to get maximum impact out of scenes of sex and violence is reminiscent of the methods by which the Russian director managed to powerfully convey his political messages. Waters' championing of "Faster, Pussycat!", in particular, led to it becoming a favourite on college campus's across America. If Meyer is "the Eisenstein of sex films" then "Faster, Pussycat! Kill! Kill!" is the "Citizen Kane" of trash films. I don't use the term disparagingly. For me a trash film is a film which appeals on a visceral rather than purely emotional level. In trash films realism is bad style. We must always know that we are watching a movie and enjoy it as a fantasy formed from our own base drives - from those uncivilised aspects of our nature that we must repress to live a civilised existence. Hence the term "trash" for the substance of these films is those aspects of ourselves which must be discarded. The violence in the trash film appeals to the knot in our stomach from every time we've had to bite back on our anger. It's prurient sexuality appeals to the lusts generated by everyday existence for which we may have insufficient outlet. We don't sympathise with the characters in a film like this, but we can identify with their actions because they take place in an obvious fantasy world. But the trash film has another appeal - the exhilaration that comes from the transgression of the bounds of good taste. And its sense of humour is the kind which elicits a belly-laugh. The anarchic spirit of the trash film has no less value than the more rarefied pleasures and intellectual stimulation of the art film. What makes "Faster, Pussycat! Kill! Kill!" great is the way that it takes the sex and violence of the trash film and distills them into something more iconic than explicit. Unlike most of Meyer's films, there is no frontal nudity or sex scenes. The violence is powerful, but not extended or shown in gory detail. Yet Tura Satana in her tight black jeans, half-exposed breasts practically bursting free as she eyes up a man like a side of beef or takes him out with karate chop to the neck, distills any amount of sex and violence into a single unforgettable mythic figure. Similarly the vastly underrated Stuart Lancaster is the very personification of sleazy misogyny. Add to this the brilliant build-up of the opening monologue, Meyer's masterful editing and Jack Moran's eminently quotable and often hilariously funny camp dialogue and you have a trash film masterpiece that just gets better and better the more times you watch it.

• AJ V

  
  What a great movie, and a cult classic too. This movie is an action thriller about three rough, wild go-go dancers who meet a family of three psychotic men, plus an innocent girl caught in the middle of the fight. It's a very interesting and unique film, you never know… More
  What a great movie, and a cult classic too. This movie is an action thriller about three rough, wild go-go dancers who meet a family of three psychotic men, plus an innocent girl caught in the middle of the fight. It's a very interesting and unique film, you never know what'll happen next.

• Michael G

  
  While not an amazing movie, it's definitely an incredibly fun one. Or maybe it's just the sex and violence talking. Great score, great dialogue ("You really should be AM and FM. You one-band broads are a drag!") and some straight-up, non-silicone brand foxiness… More
  While not an amazing movie, it's definitely an incredibly fun one. Or maybe it's just the sex and violence talking. Great score, great dialogue ("You really should be AM and FM. You one-band broads are a drag!") and some straight-up, non-silicone brand foxiness (Lori Williams is such goddamned doll), Faster, Pussycat! Kill! Kill! just might be the very definition of camp in all its sleazy glory.

• Jennifer X

  
  Camp, camp, camp. Nasty, sexually charged, and ultraviolent, it's pretty much exactly what you're expecting, which is refreshing. After watching Death Proof all I wanted to do was watch this film, and I finally have. Tarantino gets so much B-movie inspiration from this one… More
  Camp, camp, camp. Nasty, sexually charged, and ultraviolent, it's pretty much exactly what you're expecting, which is refreshing. After watching Death Proof all I wanted to do was watch this film, and I finally have. Tarantino gets so much B-movie inspiration from this one it's CRAZY. All three woman have ginormous gazombas! "We don't like anything soft. Everything we do is hard." HELLO innuendo!

• Luke B

  
  Campy B-Movie classic. Attractive women go out looking for fun, which usually includes violence. After the sexiness wears off seriousness sets in. It's eventually becomes very unlikeable in terms of characters and content. The story is never as gripping as it should be, mostly… More
  Campy B-Movie classic. Attractive women go out looking for fun, which usually includes violence. After the sexiness wears off seriousness sets in. It's eventually becomes very unlikeable in terms of characters and content. The story is never as gripping as it should be, mostly because it is evil vs. evil, each side with a different representative for certain levels of evil. There are some classic lines to enjoy and it picks up towards the very end. I can see why it is a cult classic.

• _kelly .

  
  This is such a fun exploitation flick. It suffers from a few filming problems (jump cuts that don't reveal what just happened, esp the race against the random "Boy Next Door" at the beginning). A great thriller story, and you can clearly see the influence on… More
  This is such a fun exploitation flick. It suffers from a few filming problems (jump cuts that don't reveal what just happened, esp the race against the random "Boy Next Door" at the beginning). A great thriller story, and you can clearly see the influence on today's directors, especially Tarantino, and the rumor that he would do a remake of this has been reported numerous times on cinephile sites, but he sort of did his version of this with Death Proof and the Kill Bill films. <br/>For my horror fan friends, this isn't horror perse but it is a very cool psychological thriller you need to check out if you have appreciation for compelling story as opposed to just gore. The body count is plenty high, but the accent here is on the distinctive characters and this odd world they've happened into. A must-see for anyone interested in film history as this film personifies much of the commonalities in exploitation film and bridges the gap between the masters of the 50s and the upped visual ante of the 70s.<br/><br/>"So Fucked Up" highlight:<br/>conclusion of the story

• David L

  
  This is my favorite film from Russ Meyer ("Vixen" and "Beyond the Valley of the Dolls" get honorable mention), it is the most representative of his oeuvre. In fact, I'd go so far as to say it is the quintessential drive-in film. It has everything a good… More
  This is my favorite film from Russ Meyer ("Vixen" and "Beyond the Valley of the Dolls" get honorable mention), it is the most representative of his oeuvre. In fact, I'd go so far as to say it is the quintessential drive-in film. It has everything a good exploitation film needs. Campy dialog, slight surrealism, quick pace, over-the-top performances, violence, and cleavage! What more can you ask for? There's no actual nudity, but I think that suggestion and subtlety are always sexier. The three lead performances are terrific by camp standards. Tura Satana is one of the best screen villains ever, a truly heartless yet sexy woman (and she knows karate too). Haji is cool, quiet, tough, and intimidating, with more than a few hints of lesbianism. Lori Williams is the most likable and compassionate of the trio, but for some reason she comes off as being the sexiest in my mind. Stuart Lancaster is pretty good as the old man, but the rest of the cast is pretty mediocre. Thats okay however, when you have such memorable leads. Russ Meyer was always an interesting director. Its difficult to tell by watching his films if he's serious or not. He just sometimes seemed a bit too consistent with the dementia of the films to actually be self-aware (despite numerous reports to the contrary). Anyways, this is the definitive drive-in film and one of the greatest of all cult films.

• Michael S

  
  Outstanding exploitation.

• Ken S

  
  More fun than a barrel of busty baboons

• Keysha H

  
  A grindhouse classic! This is where Kill Bill got it's start.

• Daniel H

  
  A luminous entry into a grimy genre. It never goes too far, but dwells around an androgynous zone with so many phallic metaphors it makes your head spin. Russ Meyer seems unfairly slapped with a moniker of father of the porno film, especially considering this movie is less about sex… More
  A luminous entry into a grimy genre. It never goes too far, but dwells around an androgynous zone with so many phallic metaphors it makes your head spin. Russ Meyer seems unfairly slapped with a moniker of father of the porno film, especially considering this movie is less about sex and much more about gender roles. It's dead on seriousness, especially for what might have been campy subject matter, makes it far bolder and watchable than one would believe at first. A classic cult-film.

• Ivan D

  
  Call it dated, silly and extremely campy but still, "Faster, Pussycat! Kill! Kill!" is classic exploitation fun that brings us back in a time where the deadly combination of femme fatales and some high-octane machinery equals to titillation. This, I think, is one of those… More
  Call it dated, silly and extremely campy but still, "Faster, Pussycat! Kill! Kill!" is classic exploitation fun that brings us back in a time where the deadly combination of femme fatales and some high-octane machinery equals to titillation. This, I think, is one of those films that have definitely made men salivate back then. Cars, violence and sexy women, what more can you ask for? Yet despite of its superficial display of violence, sexual innuendos and car chases, there's no doubt that this film, directed by Russ Meyer (who has also produced and co-written it), still has something much to say than meets the eye. Is it a film about women empowerment? Well, definitely a big no. In fact, this is the kind of film that will definitely make feminists shake their head in disgust and disappointment. This was never how they envision women to be. It portrays women as unpredictably murderous low-lives and nothing more. To make it even worse, the heroines of the film (if you can call them that) are a bunch of go-go dancers, which is not exactly the most ideal job for the female populace. So, if it's not a film that empowers women, then what is it all about? Personally, I think that it's merely a film about power. Director Russ Meyer, with an intention to exploit and entertain, was successful in putting into the screen the things (sexy women, cars and violence) that sway men into complete submission and reduce them into libidinous losers. In a way, it's not the female characters' sexual force that dominates the film but Russ Meyer's power as a director. In a way, he reflects, by way of this film, the ultimate male fetishes of the time while also relishing in it himself. Now, imagine what kind of film would be made of today's male fixations? What kind of 'pussycat' will we see at this point in time? Oh, well, enough of that before it gets all too... sleazy. Back to the subject at hand, this is a film that's undeniably sexy and spell-binding. It is a fun little film that has since been one of the genre's cornerstones. Yet at the end of the day, it's also considered as trash. Yes, the kind of trash that has inspired Quentin Tarantino and Robert Rodriguez to create "Grindhouse" in sarcastic ode to its peculiar art. Then why, despite of the fact that the film was made specifically for its own era (the 1960s) and nothing further, has it become timeless? Well, I think the answer lies in the very execution itself. Buried somewhere in the middle of the curvy presences of Varla (Tura Satana), Rosie (Haji) and Billie (Lori Williams) is a quick-witted script and a fast-paced plot. The story is simple enough: three go-go dancers, after a day's work, found themselves in a contagious mood for reckless fun. Enter a young, harmless couple who have obliviously joined the unpredictable triumvirate in a picnic of sorts. A little trouble occurs and the male half of the couple was killed by one of them crazy ladies. This is where the carnage starts. From here, "Faster, Pussycat! Kill! Kill!" picks up the steam like there's no tomorrow. With the female heroines increasingly becoming more and more dangerous, so do the male characters in the film, particularly the crippled whacko (Stuart Lancaster) and his 'all brawns no brain' son (Dennis Busch). There's also the other son named Kirk (Paul Trinka), who may or may not be your usual decent Southerner. In a way, I occasionally found the script, with all those wonderfully-placed puns and whatnot, to be even more fascinating than the narrative itself. I also found the performances to be even more engaging than the characters themselves. Although I can see where the logic of the characters are coming from and what motivates them to do what, I still can't help but be more smitten by how these actors and actresses have gotten themselves in the spirit of camp even though there's this brooding sense of futility in what they are doing. They are, after all, merely acting in a cheap exploitation film. Why should they give their all, right? Well, energy and passion indeed perform mysterious wonders to people. What the actors and actresses lack in talent, they make up for intensity. Acting more like cartoon characters than actual people, there's this comedic feeling that, inevitably, there will be an Acme box that will fall from the sky and hit one of them in the head, resulting in an explosion of unearthly proportions and a bump of mountainous heights. It's a laughable thought, really, but this is also the very reason why the film is so much fun. You just can't help but picture the surprise appearance of a carrot-eating, wise-cracking bunny in there somewhere, or perhaps an arrogant, constantly salivating duck suddenly coming out from one of them desert shrubs. Ultimately, "Faster, Pussycat! Kill! Kill!", unlike the curvaceous wholeness of the three lady characters in the film, proved to be less than the sum of its parts. But still, that does not take anything away from the film's wildly alternative vision of America; a vision where liberated women are given free reins to do whatever they want in the middle of the desert, with men ironically at their mercy and the revving of car engines as their symbol of authority. Ladies and gentlemen, what we've got here is a new wild west.

• John M

  
  "Faster, Pussycat! Kill! Kill!" isn't a nudie film at all, nor is it as campy as one would expect from such a premise involving tough go-go dancer criminals But with some witty dialogue, vicious and sexy women, and one or two exciting moments this is a pretty worthwhile… More
  "Faster, Pussycat! Kill! Kill!" isn't a nudie film at all, nor is it as campy as one would expect from such a premise involving tough go-go dancer criminals But with some witty dialogue, vicious and sexy women, and one or two exciting moments this is a pretty worthwhile cult satirical melodrama.

• Quinto W

  
  Tura Santana gives an amazing and very cool performance in an amazingly cool movie.

• Patrick D

  
  If you haven't seen this, and you have any appreciation for film, go and see this ASAP. It's so stylized and cartooney, what someone could call American Expressionism, maybe. Am I off? Who cares, one of the most brilliant films ever made. When is criterion coming out with a… More
  If you haven't seen this, and you have any appreciation for film, go and see this ASAP. It's so stylized and cartooney, what someone could call American Expressionism, maybe. Am I off? Who cares, one of the most brilliant films ever made. When is criterion coming out with a release of this?

• Doctor S

  
  'Faster, Pussycat! Kill! Kill!' A Camp Classic Never seen a Russ Meyer flick before, and with that classic title, how can you lose? Surprisingly entertaining, the acting is full-bore serious camp and some great lines. "I think everyone should see America," says a… More
  'Faster, Pussycat! Kill! Kill!' A Camp Classic Never seen a Russ Meyer flick before, and with that classic title, how can you lose? Surprisingly entertaining, the acting is full-bore serious camp and some great lines. "I think everyone should see America," says a gas-station attendant while staring at the ringleading hellion's cavernous cleavage, to which she acidly retorts, "Well you won't find it down there, Columbus!"

• Leo L

  
  Amazing!

• Wu C

  
  Actually not too bad. The women in it are gorgeous, but the acting is kinda bad. The photography is pretty good though.

Read all 19 featured audience ratings