User reviews

While there are some who argue that it is a pro-feminist flick with lots of social significance, truth is FASTER PUSSYCAT KILL KILL is a very deliberately made bit of ultra-drive-in trash, a movie that glories in all things low-brow, low-rent, and low-neck lined. And it has a cast that makes up for their collective lack of talent with lots of attitude and lots of cleavage.

The story is as hooty as the cast. Tura Satana, she of the lethal chest, leads minions Haji and Lori Williams away from the grind of their jobs at the go-go joint and out into the desert. They race their cars. They wrestle in the water and then in the sand. They dance the watusi. They bump off this guy who shows up wearing plaid shorts. (Given his attire you might read this as a mercy killing.) Then they set their sights on an old lech and his dum-dum sons, hoping to make away with their money. Faster Pussycat indeed! The script is deliberately absurd, with an emphasis on memorable one liners that try to out-cliché all known clichés. But the real attraction here are the "pussycats." It isn't often that you see a 2D movie with 3D effects, but that's exactly what happens when Tura, Haji, Lori, and their six talents hit the screen. These are three big-busted, nip-waisted women with evil attitude, and they sneer, snarl, snap, and slither around the screen with all the aplomb of trailer park drag queens gone bad. It's more "tacky cool" than a 1965 plastic jewelry box explosion.

Now, how much you like this sort of thing really depends on how warped your sense of humor is. Cheap though it is, the thing is remarkably well done, and taken in the right way the combination of trailer-park chic, retro-hysteria, and ultra-attitude is a lot of fun... and when the pussycats hit the screen you may think you're about to get a black eye, and I don't mean from their fists! Breakout the popcorn and some protective glasses: Tura and the Pussycats are coming at ya! GFT, Amazon Reviewer

The tendency to dismiss Russ Meyer's "Faster, Pussycat! Kill! Kill!" (1965) as just a cult classic is probably due to the most memorable feature of the film, the girls. First there are the two quintessential Meyer women, Tura Satana and Haji, towering brunettes with enormous breasts who dominate all the men around them; or at least Satana does, Haji's character (with a strange Italian-Mexican accent?) is more focused on Satana than on men. They actually come across as a feminist empowerment fantasy, which is consistent with Meyer's almost exclusive career focus on situations in which women wreak their will upon men.

If they are too extreme for your tastes there is blonde free spirit Lori Williams and air-headed sweet young thing Susan Bernard. While arguably the two prettiest women to have ever graced a film, there is no argument that William's character is the sexiest of all time. Interestingly, it was the sweet-faced Bernard who became a Playboy centerfold just a few months after the movie (December 1966).

But "Pussycat's" greatness comes from the visceral power of Meyer's unusual images (can you say Fellini). Add to this abundant humor, inventive camera angles, fast pacing, clever editing, violence, and a generally amoral cast of characters.

The film gets even better with subsequent viewings, you connect better with the twisted dialogue and the wry humor.

Expectations were very high when watching this, but its not Russ Meyers best. The superwoman are tough as nails or as a velvet glove dipped in iron as they say, almost all lines of the movie is memorable, Tura Satana and co shouts them out in the coolest fashion and this makes up for the strongest feat of the movie. I promise you'll laugh more than a few times by them..

Its cousin 'Motorpsycho' however was more accomplished than this was. The story doesn't have as much potency (no pun), the girls are good, but not all that and the absurdity reached in 'Supervixens' and 'Motorpsycho' is not reached here.

Its still a campy classic though.

From the beginning, you know that this monochrome Meyerama is going to be incredible--an Outer Limits-style voice-over pontificating on the violence of women, followed by incredible shots of three luscious go-go girls doing the Watusi as the Bostweeds' wild theme song blasts from the jukebox. Then things move to the barren California desert for drag races, catfights, murders, straining blouses, and a lot of torrid action and satirically overwrought melodrama.

Tura Satana, Haji, and Lori Williams have terrific screen presence as the three tough-as-nails villainesses. They're the kind of deliciously over-the-top antagonists that you root for, especially since the nominal heroine (Sue Bernard) is a ridiculous dimwit who couldn't act her way out of a paper bra--I mean, bag. Highest honors go to the amazing Satana, shouting most of her lines and dropping sexual innuendos while resting her boobs on the dinner table.

As usual, Russ Meyer fills the screen with sharp dialogue ("Breast or thigh, darlin'?") and sharp camerawork. There is no nudity, since Meyer was trying to circumvent the censors in 1966, but there are some incredibly sexy scenes all the same. Excitement and laughs abound in this straight-faced send-up of action-flick conventions. This celebrated cult classic is one big-breasted Gothic melodrama-satire that really...um...stands out!

Three beautiful female dancers are driving through the desert when they come across a young couple. They kidnap the woman and leave the man for dead. Travelling further they come across an old man living with his two sons. The old man is apparently sitting on a pile of cash and the girls do their best to separate him from it.

Knowing Russ Meyers' later movies I wasn't expecting too much from this movie. Turned out to be a much better than I expected.

It has the hallmarks of Russ Meyer movies: incredibly beautiful women as the heroes (or main characters, at least), a trashy sort of feel and mediocre performances. However, here the usual random plot is replaced by a decent one. Is an interesting, gritty adventure and the characters are quite engaging. Hardly a dull moment, is paced well and doesn't overstay its welcome. Good fun.

No chick flick here.. but babes with boobs in sports cars .. and raw violence.. captivating

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. 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.

Woo-hoo! For as long as I showed interest for eccentric cinema, I anticipated this film. It has the coolest sounding title ever and the posters couldn't look more ravishing. Unfortunately, the Russ Meyer collection is pretty hard to find where I'm from so it took me years to finally purchase it. I own it now and I can say it fully lives up to my expectations. It's a gorgeous film, and typically Meyer. That doesn't mean it's a masterpiece but he has the talent to make words like `trash' sound good. Faster Pussycat Kill kill handles about…well…not all that much, but that's the beauty of it. Three beautiful exotic dancers (with the exact right measurements) revolt against the masculine lifestyle and go out on a rampage. Riding fast cars, provoke men and sweet similar stuff. Leader of the pack is the gorgeous Varla (portrayed by the more than impressive Tura Satana). She's one massive heap of estrogen who kills men with her bare hands and enjoys riding over people with her car. Her two accomplices have a tad bit more humanity in them. They're Lori Williams (a gorgeous looking blond girl) and Haji (her accent alone causes chemical reactions inside a man's body). The lovely threesome ends up among rednecks in a farmhouse, somewhere in the middle of a desert. Meyer's style is a joy for all senses! The film is filled with memorable quote material and the screenplay is very ingenious at times. The male weirdoes in the farmhouse actually pre-date Tobe Hooper's Sawyer family with almost a decade! Faster Pussycat! Kill Kill has pretty much in common with Motor Psycho, a film shot by Meyer in the same year. There's a main villain, ultra-insane and prepared to go all the way while his followers merely fear him, rather than support him. So basically…this IS Motor Psycho…but with boobs!! Hey, I'm all for feminism so let's hear it for FASTER PUSSYCAT! KILL KILL!

I've got to admit, after the first ten minutes or so; I really didn't think I was going to like this film. However, it isn't long before Russ Meyer's film takes off - and before I knew it, I was watching one of the greatest pieces of trash ever to hit the silver screen! If you want a B-movie; this film has all the essential ingredients. We've got fast cars, fighting, killing, snappy dialogue and a trio of buxom beauties in the lead roles! It's quite clear that this film is made purely for entertainment value - as the plot is non-existent, and the characters don't go any deeper than the common B-movie stereotypes, but it doesn't matter - because entertain it does, and this is about as 'cult' as it gets! Shot in crisp black and white, and with all the energy of the Nouvelle Vogue cinema doing the rounds in sixties France, Faster Pussycat! Kill! Kill! (awesome trashy title) follows three women; dancers by night, and fast car riding killers by day! We follow them as they stumble upon an old farmhouse, inhabited by an old man as sick as they themselves. He's got some money hidden, and the lead chick wants it...only the old man and his sons stand in her way.

It's immediately clear that acting isn't this film's strongpoint; the dialogue sounds forced and ridiculous, and none of the cast do good jobs of making their characters real - yet in true trash fashion, it's the ensemble that is this film's main asset. The trio of women are the main players, with the busty and exotic Tura Satana taking centre stage and being backed up by Haji, and the stunning Lori Williams. These three would make any film worth watching, and the way that Russ Meyer ensures that the girls are always the strongest presence on screen gives Faster Pussycat a lot of its cult value. The film moves quickly, and the action is fast edited and cut with an imminently cool soundtrack, thus making the film amazingly watchable and an obvious influence on the likes of Quentin Tarantino. The fact that this film pokes fun of cinematic violence by having women in the leads will always make it memorable; the fact that they've got big breasts only makes that more so. This is an absolute cult classic and, I suspect, a film that I'll be seeing over and over again. This is one of those films that has to be seen to be believed - so make sure you don't miss it!

Russ Meyer's 1965 cult classic "Faster, Pussycat! Kill! Kill!" has all of the earmarks of 60's kitsch, but comes at you with such no holds barred gusto as to allow it a place all its own. It would be hard to refer to it as "the kind of film that" or "it's like this or that", because it truthfully stands alone. If anything, most of the relationships this film has to anything else have been forged with the pop culture it inspired.

Given it really has one at all the film's plot revolves around a trio of tough women who are go-go dancers by night and wickedly violent speed demons by day. During one afternoon in the middle of the desert they encounter a young couple. Ultimately, one of the women kills the man, kidnaps the young woman, and attempts to use her as bait for a dirty old man and his sons.

There's little rhyme or reason to most of what happens, except as an amped up display of well-endowed, sexually engaging women and raw, in your face violence. This highly lauded film among the art house and drive-in set is great, juvenile fun, with some exceedingly memorable, albeit corny, dialogue.

Three well-endowed strippers race! kill! and kidnap! - resulting in an ample female foursome. Their "screenplay starts to unfold," according to star Tura Satana (as Varla), when they meet up with old man in a wheelchair Stuart Lancaster (as The Old Man) and his hunky son Dennis Busch (as Vegetable). They want to find Mr. Lancaster's stash, and check out "the lay of the land." Another son complicates matters and relationships. There are some funny lines - like Ms. Satana mentioning Christopher Columbus to a leering gas station attendant. The best part is when Varla tries to pin Vegetable with her car. Ouch! A lurid trip.

**** Faster, Pussycat! Kill! Kill! (1965) Russ Meyer ~ Tura Satana, Lori Williams, Dennis Busch

Please, take it from one who, until tonight, foolishly and ignorantly pigeonholed Russ Meyer as a Grade-B Soft-Core cult hero. What did I know? He's so much more than that. Think really good John Waters crossed with really bad Fellini (which is good, of course, in its own way) and you have just a hint of the inspired wickedness here.

Three mean chicks in sports cars, on a road trip from hell, back in a blistering hot, black-plate California desert. The script is undisguised genius and the performances (particularly, of course, the sadistic, sneering Tura Satana) cross most known bounds. But you know what? Even with that firebrand in the lead, the others hold up incredibly well. Meanwhile, the cinematography is spot-on for the theme here, tilted and trenchant. The overall effect: bracing--blinding, almost--and more than a little surreal.

FASTER, PUSSYCAT KILL! KILL! It's hideous and hip. Nightmarish, and nasty. Scathing and scabrous. Insane, but inventive. It's not a film for everyone. Some will call it sick, some will dismiss it as camp. It's all that and more. Hardly a wrong note, and with *so* many opportunities too... I was glued to the screen from beginning to end. Wicked fun. Captivating. Can you tell I liked it?

PS: Also recommended for fans of NHB, male/female bare-knuckle boxing. You know who you are ;)

It's easy to see why this is one of John Waters' favourite films: it's pure kitsch - a campy B-movie that deliberately aims for cult status with outrageous characters, overwrought melodrama, T&A, and cartoonish violence.

Tura Satana stars as Varla, leader of a trio of sexy, sadistic, law-breaking, go-go dancing, thrill seeking wildcats who murder a young racer and kidnap his pretty girlfriend LInda, dragging the poor girl to the desert homestead of a bitter old man rumoured to have a large stash of cash just begging to be stolen. While they figure out their next move, the three women get freaky with the old man's two sons, shower, get drunk, have cat-fights, and treat Linda like dirt.

With her painted-on eyebrows and ridiculously big boobs (and rear to match), badass vixen Satana makes for a striking villain, but isn't really my cup of tea. But whatever your taste, there's someone to suit: blonde nympho Billie (Lori Williams) is drop dead gorgeous, with a smashing set of curves; there's brunette babe Rosie (Haji) for those who like them fiery and feisty; and Linda is an all-American cutie who just so happens to look great in a bikini. For the ladies (and John Waters, I presume), there's beefcake Dennis Busch as the old man's simpleton son, and Paul Trinka as nice-guy son Kirk, who helps Linda escape when things turn nasty.

Unlike Meyers' later films, there's no graphic nudity, just titillation, and the violence is relatively tame; there's also little of the director's wacky humour and, with a plot that is pure piffle, Faster Pussycat... Kill! Kill! does feel a little drawn out even at just 83 minutes long. That said, the film's iconic imagery, highly quotable dialogue, cool characters, energetic performances, and Russ Meyer's distinctively trashy directorial style still make it an enjoyable way to waste some time.

This is absolutely meaningless and artistically worthless, but if it hits you in the right mood you may actually enjoy it. There is an improvisatory feel to it - how else can you explain the tons of bad dialogue and the cheerfully incoherent script ? Russ Meyer was probably one of the first - and few - filmmakers to deal explicitly with the link between sex and violence and to reverse the roles of the standard action movies, but technically his film is too cheap and amateurish - apart from a really gripping final fight scene. (**)

I have watched and enjoyed most of Russ Meyer's output, and will quite happily defend his lesser works, but two of his movies have a life of their own and have managed to reach a larger audience than "just" card carrying Meyer nuts. They are 'Beyond The Valley Of The Dolls' and this one, 'Faster Pussycat! Kill! Kill!'. Both movies are trash classics and never fail to entertain no matter how many times you have seen them. 'Faster Pussycat!' really succeeds mainly because of the three strong leads, Tura Satana, Lori Williams and Haji. Any one of them would be enough for Meyer to plan a killer movie around, but all three together is dynamite! Satana, strangely enough, did very little movie work after this, mainly a couple of Ted Mikels turkeys. But it doesn't really matter because her screen immortality is assured. Her performance in this movie is more than enough! Williams also went on to very little, but she is very good here, and stylistically reminds me quite a bit of Erica Gavin in 'Vixen!'. In fact one could almost bet that if Meyer had been aware of Gavin when he made this movie she would have played the part of Billie. Haji appeared in a few more Meyer movies, including his masterpiece 'Supervixens', but this is probably her strongest role. All three women, who play go-go dancers by night, thrill seeking criminals by day, are simply wonderful and their chemistry and repartee are priceless. Meyer regular Stuart Lancaster is also in fine form as a dirty old man with more issues than a daily newspaper. There are so many unforgettable scenes in this movie it's difficult to single any out. The whole movie just rocks period. Many late 60s movies attempted to emulate a camp, comic book appeal ('Barbarella', 'Diabolik',etc.etc.) but in many ways Meyer beat them all, and did so without technicolor, large sets, multiple costumes, special effects and other gimmicks. Just crisp black and white photography and three chicks in the desert. Plus a brilliant theme song later immortalized by The Cramps. Russ Meyer divides most viewers. You either "get it" or you don't. If you aren't familiar with his work this is probably THE place to start. Watching this movie for many is a life changing experience! 'Faster Pussycat!' is one of the most original and entertaining movies made in the 1960s, and continues to amuse and inspire right into the 21st Century. Every time I watch this movie I am knocked out. This is a bona fide cult classic that gets better and better as the years go by. Absolutely essential viewing for anyone who loves exploitation movies, The Sixties, rock'n'roll and/or buxom babes!

Russ Meyer's "Faster Pussycat" has echoes of other, more popular films in its set-up and design, certainly in its overall impact--yet this picture is the precursor to those, and as influential cult flicks go, it still stuns today. Three bosomy go-go dancers hit the desert in their sports cars for a little rowdy, competitive fun; they later end up kidnappers involved in murder after befriending a car-enthusiast and his teenybopper girlfriend. The plot is so reedy and bare it may pass for existential (you can attach any number of psychological theories to it and feel vindicated by the finish). Meyer, who also devised the original story and edited the film, holds back a bit on the overt sex but really lets us have it in terms of kinetic appeal. The picture, shot in crisp black-and-white, bristles with tension and energy, and the characters are so compelling and astutely drawn that even the outlandish plot-devices Meyer throws in hardly come off as cartoonish. Viewers are led (some may say unwillingly) wherever this director chooses to take them, and you can practically hear Russ Meyer cackling from behind the camera. Not for all tastes, but adventuresome movie-buffs should feast on this for some time. **1/2 from ****

Before Arnold Schwarzenegger, Stallone, Van Damme and Seagal, and before Thelma and Louise, there was Varla, Rosie and Billie.

Russ Meyer, who peppered his "B" movie trash with big-breasted women serves up a cult classic with three buxom strippers driving fast cars through the desert in search of adventure. The ultimate power-woman trip with sex served up not as desire, but as power.

Tura Satana, who has been filling the screen with those humongous breasts for over 40 years, is a black-clad dominatrix that raises camp to an art form.

Haji, who wasn't going to waste her 38D's on any man, was her partner. They added blonde bombshell Lori Williams and they took off to raise mayhem and kill! You can't really appreciate the trash that was released in the 60s without seeing this one. What else are you going to do at 3am when you can't sleep?

Three strippers holding a young girl hostage come across a crippled old man living with his two sons in the desert. After learning he is hiding a sum of cash around, the strippers start scheming on him.

I am not as familiar with Russ Meyer as I should be. He is a legendary cult director, but I think I know him best for "Beyond the Valley of the Dolls". This one, however, is his signature film. It is well-known and has been referenced extensively by others (apparently more bands than other filmmakers!).

You can judge it and say it is cheesy or kitsch, but that is what makes it a cult film. The cinematography is crisp and beautiful, and the overall plot is excellent -- sort of female empowerment meets the old western.

GO GO GIRLS GO WILD & WREAK MAYHEM ON MEN!!!

One of the all time classic trash B-movies and in my humble opinion Russ Meyer's greatest work (one of the few that had an actual plot). He claimed it was based on a Greek myth (If anyone know which please let me know). It's late at night and I'm to tired to be more articulate and do 'Pussycat' justice.

If you've seen it, see it again.

If haven't go to it!

If have but didn't like it you're hopeless!

I didn't find this movie very entertaining. Yes, it is fun for it's 60's camp and the girls, but the script is so awful that it makes even that hard to enjoy. I did however look up the star, Tura Santana, and wow, what a bad@$$ in real life. Five of the six stars I gave this movie are for that. The movie may be corny, but she sounds like the real deal.

I apparently have some kind of sixth sense in regards to movies. I have known about "Faster, Pussycat! Kill! Kill!" for over a decade, but never really wanted to watch it. It shows up on every list of cult flicks, drive-in flicks, exploitation flicks, you name it. I just never watched it. Having just forced myself to sit through it, I now know I was right to put it off for all these years.

Russ Meyer's first movie, made in the late '50s, is a sexploitation classic. The "nudie-cutie" about the fantasies of one highly dissolute Monsieur Teas. That was surprisingly graphic in its nudity, even more surprisingly tasteful, erotic, and was shot in colour.

"Faster, Pussycat!" is like that movie never happened. Not only does it seem like Russ Meyer didn't make it before he made "Pussycat!", it seems like no one did. Consider, for example, the fact that "Pussycat!" is supposed to be prime sexploitation material, and is certainly better known than "Mr. Teas". How, then, is it possible that it doesn't have any sex, nor even any nudity?

And how is it possible that Meyer went back to black & white after starting his career in colour?

The truth is that whereas "Teas" had nudity as its draw-card, "Pussycat" has violence. There are only a scant few scenes of violence in the movie, however, and they won't provoke much reaction from today's crowd, hardened from all the "Saw"s, "Human Centipede"s, and "Final Destination"s.

I won't say anything about the plot because I'm not convinced the movie has one. On screen I saw three typically stacked and violent young women show up at some disabled guy's house. He was a guy in a wheelchair who reminded me a lot of Patrick Magee in "Clockwork Orange"; wonder if Kubrick saw this movie. There's some violence here and there - I never understood why, or to whom - and then it's over.

I will say one thing for it, and that's that the movie is surprisingly well shot. The violent scenes, particularly, must have been shocking in their time, and that's without any real special effects I could see. The movie shows you just enough to put a pretty disturbing puzzle together, and know exactly what you're supposed to be seeing.

It seems now that in Australia, finally some great cult movies are being released to DVD. Although I've wanted to see it for years, I only just saw Faster Pussycat, Kill Kill, and it's my first film by Russ Meyer.

If they're all similar to this, I can't wait to see more. The storyline is pretty dodgy, and so is the acting, but if you're watching a movie called Faster Pussycat, Kill Kill, you are probably after a bit of weirdness and campy fun. With Faster Pussycat, that's exactly what you get! Everything is great about this movie as far as I'm concerned. It's aged considerably, but that is what makes it so great.

A must for any cult movie fan!

Varla, Rosie and Billie are nightclub dancers with attitude. They go out to the desert looking for trouble. They meet Tommy who wants to drive the salt flats and his innocent girlfriend Linda. Varla kills Tommy and they kidnap Linda. They drive onto the property of an old cripple and his muscle-bound slow-minded son, the Vegetable. They supposedly is hiding a money stash. The old man is interested in Linda who manages to escape. She's picked up by Kirk but he turns out to be the old man's son. He brings her back despite her loud objections.

This is super camp. There is real bad acting. The line delivery by the girls is horrendous. Russ Meyer picked them mostly for their giant double assets. The fake laugh is laughable. Sue Bernard never stops screaming. Paul Trinka is forced to be dumber than the Vegetable and he's horrible at it. The writing is a mix bag. At times, it's painfully bad. At other times, it is pure cheese heaven. Overall, it is surprisingly watchable and awkwardly hilarious.

I was surprised to see just how awful this movie was after all the buzz: "ultra-violent," "raunchy," "lots of booty," "savage," and many more superlatives are used to describe "Faster Pussycat." In reality it's dumb, dull, and docile.

Yes, there are some buxom-y ladies (but no nudity--not even ni---ple-bumps, and no sex, etc.), and some people do die--or I guess they do, as there's almost no blood when it happens (even after a "brutal" stabbing--and we have to watch that from behind the stabber so nothing is seen. The victim falls bloodless to the ground, but I guess there's a little redness on the knife?).

I think Faster Pussycat might really have been meant as a straight comedy instead of an exploitation thriller; the "fight" scenes are laughable (such as a large woman "karate-chopping" a guy hard enough to give him a slight massage--but it kills him anyway), and the dialogue is inane.

The story is slight, the scenery is humdrum (arid landscape for most of it) and the acting is horrible. It's not bad enough to rise to a "good, bad" movie, and it's not good enough for a cult classic. I have no idea why this thing even rates a look. Frankly I was shocked to find the lowest stars this movie gets--besides my rating--is like only four or five.

I'm giving this tripe a "2" just because it has some notoriety. My advice . . . don't see it, and above all don't pull this out for you and all your friends to enjoy--they won't.