Wild In The Streets (1968)

If you like these cheap genre flicks American International Pictures were doing in the 50’s and 60’s, but you never saw "Wild In The Streets", there goes the nugget! If you are into obscure movies, but not necessarily into hippiesploitation or drugsploitation, that might be hard rock for you as what your really get here are countercultural myths, dreams and slogans of the high sixties wildly mingled together – they’re certainly exploits, but a way of serving them is much different from one to which you got used to watching let's say beach movies… in different words Barry Shear kicked it up a notch very significantly and got us plenty of fun!

"Wild In The Streets" was one of the most revolutionary movies of it’s times (or at least I like to think that way) for couple of reasons. First of all, the budget hit $1 mln, which was very unusual for a 60’s drive-in picture. Second thing is that it got an actual 1969 Oscar nomination… for editing. "Big deal" you say, but Corman’s or Meyer’s movies never got one. Third thing is the message of the movie - socially subversive, even if screenplay dips it a bit in a fantasy realm. "The old has to die!" Who came across with it in a mainstream movie before? We have a lot of experimantal, occult movies trying to show the agenda of social and spiritual transformation like Kenneth Anger’s shorts, but there were no really Derek Jarman’s all front dystopia themes at that point and Godard was just starting to develop his socially critic, surreal formula on a totally different level. Besides everything I still love the fact that it’s basically about drugs and music fighting the good ole boys’ politics.

We are thrown into the world of a fifteen year old Max Flatlow, who’s becoming exhausted by his family void (his mother is played by Shelley Winters) and petty bourgeoisie habits. He is a genius though as by synthesizing LSD in his basement, he finally gains something worth monetizing and the cash goes straight for a purchase of a dynamite, used immediately to blow up his father’s car in an emotional act of teenage rebellion. Max is free to escape at last! Nine years pass and Max Flatlow changes his surname to Frost – in the meantime he became a rock’n’roll superstar and first American millionaire at the age of 19. He lives in a big villa in Beverly Hills together with his band The Troopers, who are his closest friends.



Among them there are: Sally Leroy – former children movie star and a nudist; Abraham Salteen – Max’s lover, vegetarian and acid head; Billy Cage – fifteen year old lawyer, accountant, the youngest Yale gradute in history. There are also Fuji Ellie – Japanese stenotypist, a great concubine and Stanley X (young Richard Pryor) – cultural anthropologist, author of a bestseller: "The Aborigine Cook Book". They get along pretty well practically living as a commune. Most of the time they roll joints planning to take over America with the help of their great popularity. They are not just fairy dreams as more than 50% of American population has less than 25 years and the young are definitely ready to blow up!

To make a long story short, Max gets into the politics by supporting a senatorial campaign of John Fergusson from California. He promises him to pass a right to vote fo everyody over 18 years old in return. Max goes for it, but decides to play his own game suddenly coming up with a much more radical proposition to grant it to everybody with 14 years finished. He promotes his agenda with a new song "14 Or Fight" and gets America into mass hysteria. John Fergusson plays along and they make a deal settling on 15 instead, but although he wins elections, he doesn’t want to keep his word.

Max puts up Sally as his own candidate for Congress and she wins by a landslide. They try to push the act together, but they cannot get the political support, therefore they decide to come up with a nasty plan – pour a jar of LSD into the Washington water supplies, which lets them set children advisers for every congressman, who just raise their hands as the act is being voted down. A parliamentary revolution follows with Max chosen as a president. America is turned upside down with LSD camps for poor farts, who just turned 35 – they have to experience a new life as reborn acid heads after being loaded up with heavy psychedelic doses… it’s obligatory, no excuses! As all acid dreams come through, social reality finally achieves it’s superior order… but there’s still a change waiting.



There’s a wild passion and humour in this movie, which are better detected when stoned. I guess that without a "particular approach" this pearl will never shine as it’s supposed to but… in the right moment it gives a lot of fun, which is probably the biggest value of it. Don’t try to search for the intellectual bits here, cause if you do so, you won’t be able to grab the essence of "Wild In The Streets" and will be left disappointed. Great side of the movie is the music composed and recorded by unforgettable Davie Allan & The Arrows (dubbed with a fictional name Max and The Troopers by Tower Records), their overlooked, fantastic garage rocker "A Shape Of Things To Come" swirls your head with a genuine guitar fuzz and is itself one of the reasons why this movie is a must-see for 60’s garage and psychedelia collectors and all people generally interested in 60’s counterculture, fashion and cinema.

Zombie Strippers (2008)

If you’ve gone through shitloads of classic genre movies, you definitely noticed that Lucio Fulci is the man, who made a first crossover between zombie genre and sexploitation in his cult classic "Zombie" (1979), pitched with a real market wit as a sequel to George A. Romero’s "Dawn Of The Dead" (1978). Honestly, I do not enjoy zombie movies a lot… still good ones come as a surprise. After all, it’s better to be nicely surprised than to be left truly disappointed. Saying this I have to admit I’ve had a lot of fun with trashy "Zombie Strippers", which delivers exactly what is spelled out in the title – topless & undead chicks stripping… and as they’re fuckin’ hot it makes your worthwhile. Is this movie funny? Definitely, even if jokes from time to time get flat-lame, cause what saves the day here is the unprentencious humour-nudity-gore formula. Who would actually believe, that so worn-out genre might still kick around and provide you such a giggle? Well, it does and at least it worked for me.

In the spirit of classic gore & nudity Fulci, director Jay Lee spins his flick around zombies, naked broads and machine gun overkill. It’s the nearest future and George W. Bush just banned public nudity making all strip clubs illegal (ho, ho, ho!)… while somewhere in Nebraska a top secret, governmental laboratory is researching a deadly chemo virus, that turns people into zombies. Soon situation sneaks out of control and elite, military Z-Squad is called in to solve the problem. Unfortunately, one of the Rambos gets bitten by an undead, making his way out ASAP in fear of being eliminated by his – till this point – combat companions. Before poor lad turns into zombie though, he gets to sneak into the underground strip club, ruled by metrosexual Ian (Robert Englund) and his Russian supervisor bitch, where rest of the action will take place.



Suddenly we’re in the middle of the action and we get to to see some sweet piece of ass as the gals come on stage and strip away their bikinis. The cast is pleasant with Jenna Jameson leading this gig, but all other actresses, either stuffed with silicone or not, are nicely kickin’ softcore eye-candy. When hard work turns into a nightmare and first stripper gets turned into a zombie, we’re jumping on a roller-coaster of better-or-worse ideas, how this will affect the business. As it occurs, nothing makes a better treat than spinning a tragedy into a buck-rolling machine, so when the owner takes the risk of keeping green coming with the brand new bloody zombie strippers show, that leaves the public ravishing – they want the undead chicks BADLY! This however effectively takes the wind off other strippers’ sails, who must jump on the bandwagon in order to keep the job. They work the floor as well, so when one is caught with a customer biting his dick off turning him and next the others into zombies, problems start to pile up. Initially, newly found undead customers are locked in the basement, but soon an orgy of terror will follow bringing justice to greedy fuckwads managing the club and all slut strippers themselves… hell yeah!

"Zombie Strippers" not only provides an overfill of zombies and nudes, but spoofs on all classic genre themes. We even find a homage to gangsploitation classic, "The Warriors" (1979), when one of the undead gals is rattling two bottles singing: "Warriors, come out to playyy-ayy!" So nice and kind of neat indeed. Although this is not the best exploitation revival flick, released recently, it definitely has a classic exploitation call and a lot of minor genre musings with twisted humour glazing on the top. As we might expect, it looks cheap, but not too cheap – something between "Blood Feast II" and "Planet Terror". The movie leaps from gore exploitation to comedy, but overlaps both with a healthy layer of nudity, which keeps it rolling when dialogue lines are getting sloppy (you don’t like nudity, don’t watch it just to complain afterwards). Some intellectual rocks like a scene with a stripper reading Nietzsche might seem blundering, but they don’t really spoil anything mostly drowning in the background in a moment they’re gone. Do you have to watch it? No, you’re not gonna lose anything, but if in the hood why not give it a sneak peek.

Queen Of Blood (1966)

I watch all flicks produced by American International Pictures religiously, cause I always hope to find another, obscure gem. Obviously, you have to be nuts to watch all of them – without even saying that some are practically untraceable – as in this low budget fantasy land there’s been done so much trash as you can imagine. However, with a cult figure of Curtis Harrington ("Night Tide") as a director and pope of exploitation - Roger Corman as an executive producer, you start to wander unwittingly about "Queen Of Blood"... what is it gonna be? When you're through, it occurs that this piece of cheap film baking is not that great as we expect, but will definitely find it’s fans. "Queen of Blood" is not a picture I particularly liked, but it’s sci-fi thriller inclinations will be appealing enough for other obscurity diggers.

As we know, Roger Corman was a great asset player as far as the set production was concerned. He used to buy the rights to science fiction films from Eastern Europe and then just cut’n’pasted all useful effects in the editing room in order to make his own productions less expensive and fast as in bullet factory... and he was really fast! Given this for granted you will know how he managed to pull off such a great cinematography in "Queen Of Blood" – when you see those paper rockets and grotesque outer space background, just think how many of his disciples were given the same stuff to incorporate into their movies. Well, it’s not an important thing anyway as we watch these blobs mainly for pure fun.



Still, we face a story here! It’s 1990 and the scientists of "International Institute Of Space Technology" just received a S.O.S. signal from an alleged alien ship, hence they promptly send their elite astronauts for help. Among this cream there are two brave characters played by Dennis Hopper and John Saxon – second one is much more confindent in his role as Hopper seems kind of lame. At firts they localize only one dead body on Mars, but a following mission spots a green-skinned, alien female on Phobos (make-up comes off a bit when camera zooms).

They ty to hydrate and feed poor thing to help her meet the standards of cultural conversation (everything for the science!), but she chooses to hypnotize them with spectacular x-ray eyes and suck their blood instead – in couple of days two astronauts wind up dead. They tie the vampire up, but her magic powers are better than this and she finally breaks free to fulfill her destiny by spreading a bunch of jelly eggs all over the ship… which - as we discover in the end - are the only hope for scientists to find out something more about the alien race as the space vampire herself bleeds to death from a nail scratch wound...

A screenplay is bullshit and acting very unconvincing, but it doesn’t blow the project totally, cause at least gothic horror mood is great. Unfortunately music works against the suspense and somehow the climax is nonexistent… after all you cannot shake off the feeling that you’re watching a blatant ripoff of Bava’s "The Planet Of The Vampires" (which is much better by the way). What can I say, folks? Watch it, if you really have to. Otherwise, leave it alone!

Riot On Sunset Strip (1967)

"Riot On Sunset Strip" is a shitty movie even for AIP standards. Initially made for MGM by "Jungle" Sam Katzman (one of the worst genre directors you can imagine credited here as Arthur Dreifuss), a picture exploited actual riot on L.A.’s Sunset Strip, which happened when local shop owners felt their businesses were going down due to permanent presence of the local hippies and used police force to chase them away. Katzman shot his picture straight after "the riot" to use running media exposure as a sales pitch, but MGM was slow in getting the movie into theatres, hence it landed eventually in AIP office. Sam Arkoff liked the idea and agreed to distribute this dumb flick, nevertheless it flopped in the drive-ins… not without a reason.

The basic plot is duller than dull – it exploits teenage kicks in a very down-beat, sloppy way. Centre of the action is Pandora’s Box club on Sunset Blvd, where local garage groups play and where young hipsters burn their time. Indeed there we get to to recognise the rising tension between the rebelious youth and local squares. Insights are provided by members of the city hall, policemen and parents, who won’t stand these dropouts anymore and demand action. As interesting as it may sound, this potential is destroyed by initial, ridiculous voice-over, very baaad script and even worse acting! There’s not much to enjoy in "Riot On Sunset Strip", in terms of filmmaking values, unless you are a vegetable. How then did it get to be recognised as a kind of a 60’s cult movie?



The answer is very simple, it’s all about the music – the only thing here, which doesn’t let you fall asleep. One of these rare 60’s exploitation flicks giving you an opportunity to look into the garage scene. We get to see on stage such bands as: The Standells, The Mugwumps, The Chocolate Watchband and The Enemies – all full of fuzz, obscure, cult combos in 60’s garage fan circuit. If there’s one point to watch this movie, here you have it as the soundtrack is brilliant and SO RARE! It was released on Sidewalk Records the same year and probably sold much better than the movie itself.

Still, there’s one scene, that every 60’s drugsploitation fan needs to dig. It’s been tossed down together with this crap, but an absolute gem anyway – young Mimsy Farmer on acid… happening when teens think this whole club is a drag and hit the pad. "She’s never been trippin’ before… it’s the acid, sweetie", her character hears first from one of these immoral kittens. She’s trembling from fear and says no to the drug, but she will eventually get loaded when handed a well-intentioned glass of cola. She licks the sky and dances wildly – what these strange drugs will do with the kids, man! Giallo fans will find it interesting that Mimsy acted later in Dario Argento’s "Four Flies On Grey Velvet" (1971) and then in Lucio Fulci's "Black Cat" (1981). That’s the kind of pussycat she was.



[The movie can be purchased from Cinema de Bizarre]

Hobo With a Shotgun (2011)

Classic model of marketing and producing exploitation pictures included two things before even first draft of screenplay has been written. They were the title and the poster – however second one started slowly losing it’s ground in the 70’s, when cinematic trailers took over pushing salacious agenda over the edge. This strategy was applied en masse by American International Pictures, who made a real art of feeding drive-in directors with freshly knocked out, shocking, sleazy titles and promptly picking the wind if it was in their favour. The thing is, it really worked for more than 15 years! We got a lot of exploitation shit ONLY DUE TO THIS MARKETING GIMMICK.

When Robert Rodriguez and Quentin Tarantino brainstormed during one of their home cinema sessions after they watched some flicks edited by QT as a double feature with essential trailers filling the gap, they settled on finalizing the Grindhouse project. Two feature movies… with ass-cracking trailers. I personally loved Planet Terror"… a little bit less "Death Proof", but the trailers were definitely the shit! First of these shorts featured cold as steel and quick as F16 – Machete. The other one some random hobo with a shotgun. Response was positive, so the screenplays followed and they both made their way onto the screen. This way history – though not without the help of RR & QT –nicely repeated itself!

It’s all good as this Canadian donut, directed by Jason Eisener, brings back unforgettable Rutger Hauer to the mass audience and gives us one more ball-busting performance. This time he’s a scruffy bum, who gets off the train in a small American town just to find out that this stop will not be as easy going as he would expect. He soon discovers he landed in the lawless heart of darkness, where corrupt cops are at ease with bloody acts of criminality committed by a ruthless local gang – ruled by The Drake and his two sons. Pushing the trolley he eventually gets pushed to the ground by all the scum and doesn’t have any other choice than to take a BIG shotgun and shoot down all motherfuckers. While this is obviously a classic western frame, the movie steps up to a total exploitation revival freak-out sampling and reusing themes from "Django" (1966), "Class 1984" (1982), "Death Wish" (1974) and you name it.



While this might seem easy, for the first half an hour it definitely „grabs you by the boo boo”. Scenes are shot with a sense of style not saying that some of them are genuinely beautiful. I personally like Hauer’s monologue over a newborn with pastel, blue & yellow background and slow, vast camera zoom, joined by music theme a la Vangelis. This is a great homage to "Blade Runner" (or at least it seems so), which makes Hauer’s appearance intertwined with director’s genre picking game. Some other moments carry the same resemblance, all for the great entertainment of ardent genre flicks followers. A violence, blood and language are like sweet chocolate cake here – they are not the additional elements, they are the essence.

However, the basic problem of the movie is a quick plot breakdown and disperse of it’s magic! After main character starts to rumble around with his shotgun trying to bring back the justice to town while local papers print bold headlines and the body count, a story slowly falls behind Hauer’s acting and we start feeling out the bottom. Although screenplay doesn’t seem that bad, quick cut action-action eventually tops itself crumbling into randomly tossed pieces. Loss of vibe and suspense follows, which apart of Rutger Hauer’s creation are initial picture’s strongest sides. Still, let’s not forget it’s a very funny movie with plenty of shitstorm action and it ticks very well as an exploitation revival flick. Although „Hobo With A Shotgun” will not pass as please-fuck-me masterpiece, it’s gonna find it’s audience and could be classified as a good mindscrew for another encounter.

Motorpsycho! (1965)

Now, that’s what I call a proper savage movie! "Motorpsycho!" takes you for a ride with three biker brutes and great looking girls, which show off their big boobs and long legs. This amazing black and white picture has been shot in 1965, but lost nothing due to it’s age and today presents itself as fresh as it’s been back then. Amazing photography, original screenplay and vigorous acting are gonna work, if you’re a fan of Meyer’s talent for picturing eroticism and violence. Otherwise, watch it for pure curiosity!

You have to notice this was a first 60’s biker movie, before even Fonda and Corman got together to make "The Wild Angels" – it didn’t make such a financial blast, but made some money anyway and above all it was a much better movie – so keep your cool up and discover. In the realm of pure exploitation form, this is a real sweet pie, against which not many flicks might stand up. This is mainly due to a great cinematic talent of Russ Meyer, who did a brilliant job here taking each shot by himself, working with a camera in a way, which sets us right there in the middle of the action. Hallelujah!



Intrigue is quite simple, but the action is significant here, fueled by great instrumental garage soundtrack (one of the first cases when this gritty 60’s style was used in a movie), which will make crate diggers scream. Somewhere around the desert in Southern California three biker thugs are going on a rampage of sex and violence, raping all the big-breasted women they meet and they get to pick on some really cool kittens (well, Meyer had a talent for casting great-looking actresses). There’s a marksman, an Italian rocker and a nutjob listening all the time to his little radio and sometimes calling his mom.

Soon their sheer lust for pleasure is getting out of control and they switch from rape and mutilation to killing their prey! When they rape a pretty girlfriend of a local vet (obviously pissing him off), he goes after them immediately! But savage instincts are on the loose now and only due to helping one of the fresh victims – awesome busty chick – our hero is able to put an end to this bloodshed. She’ll save him from everything even offering her own body to the brutes, when it gets down to it! Great scene of sucking the blood from a snake bite is priceless. This is a hell of an exploitation picture and definitely one of the best biker movies made in the 60’s, so all you grindhouse and drive-in freaks will have their fun guaranteed!

Cheech & Chong's Nice Dreams (1981)

If you ask me who the biggest heroes of the late 70’s and early 80’s were, I’ll give you the damned answer straight away – they were Cheech & Chong! Although this wicked duo started as a rock group, they never went big with their music and LPs they released eventually wound up stocking up bargain racks in music shops around the world! It didn’t happen untill they got into movies that their natural talent for smoking weed and making fully blown comedy gags finally shone through. As they burnt a big hole through US box office with their debut picture "Up In Smoke" (1978), they suddenly became America’s new hipster’s hipsters. Frenetic cult has followed, which slowed down only a bit in the late 80’s, but never actuallly died! Today Cheech & Chong are as strong as never carrying their freedom message everywhere they toke up!

At the top of my personal list, floating on the silk mattresses of heaven, there’s one wonder flick they scored for Columbia Pictures, called "Nice Dreams"! The only movie which made me laugh so much, that I actually got hiccup and became scared I’d have to get hospitalized. "Nice Dreams" is a third picture in Chech & Chong’s series and although many fans point up to "Up In Smoke" as "the masterpiece", at least the same number praises the value of "Nice Dreams" as the ultimate stoner joke (clapping)! In fact, there’s a lot of arguments supporting this thesis such as absolutely ground-breaking screenplay – a virtually flawless gig, which doesn’t leave any loop holes that might be potentially spotting the action! This comes along with Cheech & Chong’s high level, drug-fueled acting as exemplified by outstanding scene in the restaurant, which carries a strong resemblance to Marx Brothers unforgettable performances!



And last but not least there is a message of the movie itself. These characters might be dopers and dropouts, but at least they see clearly all the shit and hypocrisy of the modern world preferring to do their own thing than drown in it. Their lifestyle unveils a crucial, moral dilemma – Cheech & Chong are doing harmless thing, they’re smoking weed, which is punished by law, but on the other hand forbidden because the laws are unjust and rotten to the core! Police forces chase the bad guys around while not giving a shit about the laws themselves indulging in drugs whenever they can. It’s solely their position of power, which lets them do it without any scare, while local communities are hassled, prejudiced and cracked down on without a scruple. Cheech & Chong represent freedom of choice and the liberties fundamental for communities in every democratic society, while their opressors are power mongers interested in limiting them to minimum – eat shit & die, fuckers!

However, the story of "Nice Dreams" is a very intimate one! Cheech & Chong go around the town dealing dope from an ice cream truck, from time to time trying to score with some chicks, but the law executioners are constantly on their tail and will bust them as soon as they get to the source of their awesome weed. This in certain order leads to Crazy Jimmy character, who just invented a new system of growing very potent buds. This shit is in fact so strong that can turn people into lizards, about which sergeant Sedenko will find out very soon when tempted to quietly smoke it himself. Cheech & Chong’s business gets very good in the meantime – they even plan to buy a tropical island, which they would rule as the kings of the sun being praised with thousand joints every day (great gig, man). Though when they’re visting Jimmy’s grow to get more stuff, cops are doing a bust. In effect, they’re on the run now making it through Chinese restaurant (where they meet Donna, Cheech’s ex girlfriend and get coked up), hotel sex & violence adventure (where they meet the furious biker), psychiatric hospital (where they get to meet Timothy Leary and trip on acid) to finally land bled’n’dry in a strip club to entertain the ladies… cause nothing lasts (as Ken Kesey would say)!

"Nice Dreams" is definitely one of the best movies in it’s class. What am I talking about? It’s one of the best movies ever! It beats "La Dolce Vita", "Psycho" or "Zabriskie Point" and even "Mean Streets" or "Boogie Nights". It’s as good as "Reservoir Dogs", "Network", "Five Easy Pieces" and only slightly worse than "Easy Rider", "The Holy Mountain" or "Apocalypse Now"… so if you want to see something really ass-cracking, go for this stoner classic NOW and remeber that a toke with Cheech & Chong is a quality toke!

Machete Maidens Unleashed! (2010)

While B-movie lovers genuinely understand, that what Americans were watching throughout the 70’s in then still widely popular drive-ins, was shot mostly in Philippines and other exotic countries… for newcomers it might come as a surprise. However, this fantastic documentary is NOT A GOOD PLACE FOR THEM TO START as it’s targeted specifically for classic exploitation cinema followers and I’m guessing that among this weird crowd it will find it’s purpose. After all, it talks about jungle movies, tits & ass, New World Pictures bunch, obscure spysploitation spoofs with Weng Weng, horrors with John Ashley and art of making sticky dive-in trailers. If you’re up for these themese, you’re gonna have a real ride with "Machete Maidens Unleashed!" as it definitely keeps the word unleashing almost everything there is to be unleashed.

Directed by Mark Hartley - who did a classy job on "Not Quite Hollywood: The Wild, Untold Story Of Ozploitation" documentary - this thorough look inside follows an exploitation timeline enlightening us about the beginning of American sponsored B-movies in Philippines from the first war movies, through cheap horrors and then stepping up to bring the story of Roger Corman and New World Pictures, who by their presence infuenced native Filipino directors and producers (the most obscure for the Western World), who by the middle 80’s cut couple of hundreds low-budget movies by themselves. What director did exceptionally well on this picture is he squeezed some real answers from the whole bunch of adventurous businessmen, directors, actors, editors and producers involved. Due to his priceless effort we get to know almost everything we’ve been always afraid to ask or because we just couldn’t afford this out-of-print book on obscure 70’s cinema. That’s where "Machete Maidens Unleashed!" breaks the ground in my opinion and that’s where it does the real favour. That’s quite difficult to undermine.



However, that’s not where this brilliant picture draws the line as it definitely generates a lot of new buzz around the exploitation cinema, which is accidentally or not coming back to life due to the rising interest in this style of directors and viewers! The exploitation revival has been a fact for the last couple of years, when we got such great movies as: "Planet Terror", "Black Dynamite", "Machete" or "Hobo With A Shotgun" and some less appreciated, but still fun to watch like: "Run Bitch Run!", "Nuns With Guns" or "Zombie Strippers". I personally don’t buy the arguments that they sometimes do not have a good plot (really???), or they’re in bad taste (hmmm?), or the acting is poor (sic!), or something else is wrong, for instance there is no Brad Pitt. Did "Big Doll House" have it? No, but it’s still a great brain junk. Even if you don’t like revival flicks, you love to feed your cravings with 60’s & 70’s classic, thus you will surely enjoy "Machete Maidens Unleashed!" and that’s why it’s been made for ya!

As a matter of fact, we lack tight, essential documentaries on the subject and in context of "Corman’s World…" arriving shortly, we might have a window to jump into the forgotten world of passion for the teen market when tits & ass were liberating feminine issues – an argument lifted primarily by the actresses in this documentary. When filmmaking was fun and the titles were often more important than the movies. When the trailes didn’t really concern a storyline and when you were making it for as little as you could making as much as possible (I’m fundamentally not at all against this concept) to be praised as a cult personality 40 years later! If all these things seem familiar and you were often pondering them stoned watching "For Y’ur Height Only", this is a movie to be enjoyed and rewatched!