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The film begins quite mysteriously in a dungeon where a young man is torturing an Adolf Hitler look-alike… We then quickly cut to a stunning nude, played by Kitten Natividad, who teasingly introduces the audience to the setting…

We are in Northern California, in a small, rural community… Just outside of town, a very beautiful, buxom young lady is hitchhiking along a lonely country road… She is picked up by a young man, who happens to be the infant terrible of the local rich set... He tries to take advantage of the girl's abundant sexuality but after a short sequence involving a brutal rape, she turns the tables and ends up killing him...

Russ Meyer has never been one to linger too long on a single shot… He likes to cut, especially to ladies running naked as jaybirds around the lush countryside… In this case, however, he has added more than just a tease with Kitten Natividad, who narrates the events of the story with a husky, British accent while displaying her terrific figure… The true star of the show, however, is Raven de la Croix, whose piercing dark eyes and fully rounded, voluptuous figure combine with some firmly loyal acting for an explosive performance

During the 1970's Russ Meyer established a reputation for producing low budget movies exploiting violence and nudity which were very successful as midnight features in conventional cinemas, or at drive in cinemas. They established a recognisable genre which usually followed a similar template and made a Russ Meyer film very easy to recognise. Now that these films have reappeared on DVD's for home viewing, and are being featured on some TV channels, interest in them may be reviving. Their most characteristic feature is one or more very violent sequences in which characters who have received what should clearly be fatal wounds, pull themselves together and continue to cut themselves to pieces until even the director has been satisfied. Another almost universal feature is a cast that includes several very generously endowed young women who are not adverse to displaying their natural assets unwrapped. Other common features in Russ Meyer films are (1) great photography of a variety of exceptionally scenic locations (to my mind this is often the most attractive feature of his work), (2) a naked siren or spirit who watches over the proceedings, and periodically comments on them in a moralistic way, (3) a corrupt law enforcement officer with a voracious sexual appetite who eventually meets a "just" death, (4) a script which ultimately delivers violent death to all those characters that Meyer regards as completely antisocial (these include all homosexuals, anyone associated with the drug trade, and any Nazi supporters who have survived World War II), and (5) some sort of postscript that summarises the lessons which we are expected to have learned from the film that we have been viewing. "Up" was released in 1976 and is I believe the best, (or the worst - according to ones point of view), of the films of this genre he produced.

Such a film could not be easily imitated today, it dates from a time when the augmentation of mammaries was not usually practiced, so the fairly vigorous movements Russ required from his cast always led to very pronounced "bouncing boobs". Today most of the starlets who compete to participate in movies that feature their bare breasts, have had silicone implants which lead to a very different physical response. Whilst most of Russ's films feature such starlets in the cast, "Up!" may be the first where Russ recognised that these unusually well developed mammaries are often associated with an unusually generous pubic thatch, and also made a great effort to pay his photographic respects to this characteristic. Clearly the primary focus in the selection of the cast for this film was not acting ability, and too much should not be expected in this area. Nevertheless Raven de la Croix has an extremely expressive face which, when compared with some other Russ Meyer films, minimises any deficiencies in this respect.

This film also features all the other characteristics of his work listed above. The naked spirit who provides a periodic commentary is playfully portrayed by Kitten Natividad, who has a role listed as the Greek chorus and whose comments are frequently delightfully pretentious. Gory violence is perpetrated with an axe and a chainsaw, both of which appear to have been chosen by the characters concerned in preference to the firearm that they could also have used. This scene would be completely intolerable to view were it not filmed with such extreme hyperbole that it is reduced to the level of black comedy. "Up!" also features the ultimate in surviving Nazi supporters - Adolph Hitler himself, together with his daughter by Eva Braun, who in some way appear to have escaped from the bunker in Berlin and taken up residence in California. The story, such as it is, starts with the murder of Adolph and follows the search for his assassin. Continued flashbacks make it difficult to follow, but this film is comedy rather than drama, and anyone viewing it today will be watching it for the visual effects (including both the types of spectacular natural scenery so generously featured), rather than the story line.

A good review should help its reader to decide whether they would regard the film as worth watching. With "Up!" this is simple, if you are a fan of Russ Meyer but do not know this film, you should certainly, in my opinion, accept any opportunity to see it because it is a more mature production than many of those which preceded it. If you have not seen any of his films but are anxious to sample one of them in order to assess why they have become cult favourites, I would recommend "Up!" because it is very characteristic of, but less extravagantly presented than, many of his earlier works. If you are one of those to whom Meyer's somewhat incoherent films will not appeal, the information above should be sufficient to save you from investing valuable time watching it.

Russ Meyer makes his films, when they're at their best or most brilliantly deranged, like the dream of some sexually charged sixteen year old who's seen his share of pornos and 70's era exploitation films. They're crazy visions of women with (usually) nothing lower than 36-C cups, men with third legs (wink wink, nudge nudge, say no more), and enough fornication to blow the head gasket of any puritan viewer. That being said, Meyer isn't exactly a real porno director. He makes sex films in the same way that Robert Rodriguez makes wild action or horror or kids films: as a do-it-yourself-auteur (i.e. writes, directs, produces, edits, DP's, even camera operates), he's all about getting a pulpy sensibility of what would otherwise be typical trashy material. Meyer also is gifted with a wonderfully cringe-worthy sense of humor. To give just a brief example- and maybe as one of the quintessential scenes in any exploitation flick- the scene where two completely naked women, one Eva Braun Jr with a knife and screaming maniacally about the fall of Nazism and the plight of his 'father', run after one another trying to kill each other in the woods.

So Up! is in another in a whole body of works where Meyer turns the conventions of the usual in movie-making, like a kooky member of National Lampoon, but at the same time I'm not sure it's one of his very best. It's a little scatter-shot in the story, if there is one closely to even follow with the Greek Chrous (Kitten Navidad) where in every time whatever semblance of a story is taking shape we're led off by this narrator and Meyers's editing which takes us into a strange loop of sequencing of events and images (which in and of themselves are good, but distracting). But when Up! does click, it works very well. Mostly this involves the early scenes with Adolph Schwartz (ho-ho), who gets masochistic sex from a dominatrix and a man with a huge thing, and then gets killed mysteriously in his bathtub. Then we're thrust into some backwoods group, including a shifty but well-intentioned sheriff (Monty Bane), a big, uproarious homunculus in Rafe (Bob Schott), and of course Meyer's 'harem' of girls.

It's fun, in all basic intentions, to see these girls have fun and go into exuberant glee doing their scenes, as opposed to the more degrading XXX features that get pretty boring after a while. This is where the dream facet comes in, where everything is just so surreal (the frolicking sex out in the open, wherever it is, the Nazi stuff right out of a typical exploitation flick from Europe, the double-climax that combines sex AND violence), that you just have to go along for the ride and laugh with all the craziness. What helps is Meyer's great cinematic eye- yes, great- as he shoots and edits as though every image has to be just next to perfect. While the actual content is sometimes all over the place, like with Rafe's rape scenes, where he turns into a true drunken gorilla, the actual quality of the film-making is nearly flawless. Which is to Meyers's credit, as what is in Up! could be the makings of a much more lewd and crude effort.

Hard to find (had to look deep on line) and not without little dips in real strength in the comedy, Up! demonstrates some great Meyers' product: beautiful, voluptuous, and mostly funny women (loved the one woman who's voice sounded out of femme fatale noir), total horn-dogs and beasts in men, and a bit of vicious satire to boot. More beer!

Up!, writer-director Russ Meyer's twenty-fifth film, is a rare find: a feature that should be a bona-fide turn-on for many. A character who bears a corny resemblance to Adolf Hitler is murdered after enjoying some gay and straight sex. Most of the rest of the film deals with the question "whodunit?" although the activities of busty characters like Margo Winchester are interesting distractions for sure. This is the second Meyer film I've seen that features a black woman giving head to somebody, and the subject matter hasn't ceased to titillate me yet. Meyer, or "King Leer" as he was sometimes called, hasn't failed to deliver an erotic, primal, and at times silly motion picture that wouldn't be complete without the undulating of a totally nude Kitten Natividad as she narrates the story. Natividad's "roll call" of the characters gets a bit tedious by the third go-round, but who watches Meyer films for the story? The visual impact of many a "King Leer" film's sensual subject matter makes up its "money shots," and with a character wearing a leather mask flicking a lengthy tongue around in front of the camera, they're in there...and then some.

I have never actually heard about the 1976 movie "Up!" prior to stumbling upon it here in 2025. But I have to say that I harbored zero expectations to the movie as it was a Russ Meyer movie.

The storyline in the movie was just pure rubbish, and this was nothing more than a chance for writers Russ Meyer, Anthony-James Ryan and Roger Ebert to exhibit their kinks. It certainly failed to entertain me, and it was literally painful to sit through and watch this. I didn't even manage 10 minutes of this rubbish before I tossed the towel in the ring. I suppose Russ Meyer movies just never will latch unto me.

I was not familiar with a single actress or actor on the cast list. And in the little bit of the movie I managed to suffer through, I can't say that I was the least bit impressed by the acting. If you could actually call that acting.

What was up with the character Adolph Schwartz? That was just hilarious and some pretty silly writing right there.

This is definitely not a movie that I will return to and attempt finish watching.

My rating of director Russ Meyer's 1976 movie "Up!" lands on a generous one out of ten stars.

This is something like the odd film out in Russ Meyer's later film career. In no way is it as well crafted as "Vixen", "The Supervixens" or "Beneath the Valley of the UltraVixens." Of course it's far superior to "Blacksnake," "The Seven Minuets," or "Beyond the Valley of the Dolls." As far as its "plot" is concerned, well, in order to have ANY appreciation of Russ Meyer films in general, you really can't be too concerned with the "plot" to begin with.

What makes this movie worth watching (especially if you're a hetero male) is Raven De La Croix in the role of Margo Winchester. This Beautiful-Busty-Lovely-Dynamo Brunette Chick is IT--the bottom (and TOP) line.

Actually, she's a little over-the-top, but that's part of her charm!

This is Raven's one and only movie for Meyer, and it's a shame that he didn't use her as much as he did Uschi Digart or Kitten Natividad. It is truly a shame that Raven didn't get as many featuring roles as she should have in the 70s and 80s.

As I said in another review, this movie makes for a fine half of a double feature with one of Raven's other movies, "The Lost Empire." You can watch them back to back believing that "Margo Winchester" is just an alias of "Whitestar."

It has been joked about that a remake of this film should be done. Well, only if we can get Salma Hayek to play the part of Margo.

Before finding fame as one half of influential film critic duo Siskel and Ebert, Roger Ebert tried his hand at screenwriting, penning several scripts for cult sexploitation director Russ Meyer: Beyond the Valley of the Dolls in 1970, Beneath the Valley of the Ultra-Vixens in 1979, and between those, wacky sexploitation comedy Up! in 1976.

Up! opens in full-on unhinged mode, with an ageing Hitler (Edward Schaaf) - hiding behind the pseudonym Adolph Schwartz - indulging in a variety of perverted sex acts conducted by well-endowed 'pilgrim' Paul (Robert McLane). Shortly after, Schwartz is murdered while in his bath-tub, the killer putting a piranha in the water. A naked Kitten Natividad, as narrator Greek Chorus, introduces several suspects, including Paul's attractive wife Alice (Janet Wood), buxom black-haired babe Margo (Raven De La Croix), local policeman Homer (Monty Bane), Asian beauty Limehouse (Su Ling), chesty gimp The Headsperson (Candy Samples), and The Ethopian Chef (Elaine Collins). Are any of these characters responsible for the Nazi's fishy demise?

With numerous big-breasted hotties, several scenes of forced sex, lots of consensual soft-core sex, frequent full-frontal female nudity, and some graphic violence towards the end (which includes an axe to the chest and a chainsaw through the stomach), Russ Meyer's movie is quite the eye-opener, a wild ride that forsakes things like narrative cohesion and logic in favour of boobs, bush, and satirical humour. It's a fairly uneven film with a plot that feels like it was written on the fly, but there is enough energy and spirit (and nudity) from all involved to ensure that, if anything, it is never boring.

To rate this Siskel and Ebert style: one and a bit thumbs Up!

Up! Stands as a monument to exploitation cinema excess, a gleefully anarchic romp that pushes the boundaries of coherent storytelling in service of its maker's singular obsessions. Co-written by Roger Ebert under the pseudonym Reinhold Timme, this 1976 effort represents Meyer at his most unhinged, constructing a narrative so deliberately convoluted that it requires a nude Greek chorus to explain the proceedings. The film's opening gambit, featuring Adolf Hitler's fictional alter ego Adolf Schwartz meeting his demise via piranha fish in a bathtub, establishes the tone of surreal absurdity that permeates every frame.

Meyer's directorial approach combines his trademark obsession with voluptuous women and scenic landscapes with an increasingly manic energy that threatens to overwhelm the viewer. His cinematography captures the Northern California setting with the same lustful attention he lavishes on his female cast, creating a visual feast that occasionally transcends its exploitation origins. The editing maintains his characteristic breakneck pace, though here it serves less to build suspense than to prevent audiences from dwelling too long on the narrative's inherent absurdities.

Raven De La Croix anchors the cast as the mysterious hitchhiker Margo Winchester, bringing a combination of sultry confidence and comic timing that keeps the film's more outrageous elements grounded in recognizable human behavior. Her interactions with the parade of eccentric locals demonstrate Meyer's ability to extract surprisingly natural performances from actors working within deliberately artificial scenarios. Edward Schaaf delivers a memorably deranged turn as the Hitler-in-hiding, while Robert McLane provides sturdy support as one of several men captivated by Margo's arrival.

The film's greatest strength lies in its complete commitment to its own madness. Meyer never apologizes for the relentless barrage of sexual innuendo, violence, and narrative curveballs that define the experience. The Greek chorus device, embodied by Kitten Natividad's enigmatic figure, serves as both exposition delivery system and philosophical commentary on the action. This theatrical element elevates the proceedings beyond simple sexploitation into something approaching avant-garde performance art, albeit one obsessed with mammary endowments and violent retribution.

However, this same commitment to chaos becomes the film's primary weakness. The plot's increasing convolution serves no purpose beyond demonstrating Meyer's ability to pile absurdity upon absurdity until coherence becomes impossible. Characters reveal themselves to be other characters with such frequency that emotional investment becomes futile. The violence, while artfully staged, often feels gratuitous rather than dramatically necessary. The film's sexual content, while certainly abundant, lacks the playful eroticism that characterized Meyer's earlier work, replaced instead by a more mechanical approach to titillation.

The production benefits from Meyer's technical proficiency as director, cameraman, and editor, demonstrating that exploitation cinema need not sacrifice visual sophistication for commercial appeal. The film's pacing rarely flags, maintaining a manic energy that prevents boredom even when comprehension fails. The score supports the action adequately without becoming intrusive, though it lacks the memorable themes that distinguished some of Meyer's previous efforts.

It's clear from the outset that Up! is going to be in extremely bad taste - and the rest of the film certainly doesn't disappoint! This film was made later in Meyer's career and is more along the lines of Supervixens and Beyond the Valley of the Ultra-Vixens rather than Beyond the Valley of the Dolls and Vixen - and that's OK with me. Naturally the plot doesn't make a lot of sense and seems more like an excuse for lots of buxom women to take their clothes off - and again, that's OK with me! There is a slim plot line in this film - revolving around the murder of a man named Adolf, who looks a lot like Hitler. This plot is rather inconsequential, however - a buxom blonde narrator pops up ever now and then to remind us the film has a murder backdrop, but it's hardly the main focus of the film. The film really focuses on the absolutely stunning Margo Winchester, a sexy lady who waltzes into town shortly after the murder and gets into a scuffle with a man who tries to pick up her up, and ends up killing him. The local cop gets her out of trouble, and she takes a job at a local cafe...

Russ Meyer endows his film with a truly surreal style, and that helps to ensure that Up is the hilarious fun time that it is intended to be. As is usually the case with Meyer films, it is not the plot or the style of the film that is the main standout, but the beautiful lead actress and this film is certainly no different as it features the hottest of all Meyers stars, Raven De La Croix. This girl is absolutely amazing and pretty much makes the film worth watching on her own, the fact that the rest of it is so good only increases the appeal of Up. The narrator idea comes off as being a bit corny, but it fits in well with the style of the film and the way that the topless girl telling the story goes about her business never fails to amuse. The fact that the film stars a Hitler look-alike might make you think that Meyer has some sort of point to make - but if he did, I didn't catch it. It all boils down to a hilarious ending that sees the women show off their assets, and it turns out that nobody is quite what they seem - the final revelation is the best! Overall, Up isn't my favourite Meyer movie, but it's a very good one and comes highly recommended!

Even within the wild and extravagant world of exploitation cinema there are only a few directors that are truly unique. Doris Wishman was unique, although not necessarily for the right reasons. Hershel Gordon-Lewis was unique. And, of course, Russ Meyer was unique. There never was another filmmaker like Meyer; - not before him and most certainly not after him. Anno 2020s, it's even downright unthinkable that any director would consider making films like the ones on Meyer's repertoire. He/she would be instantly lynched by the politically correct social media mob. His movies are completely absurd, preposterous, tasteless, idiotic, offensive to everyone ... but oh-so-entertaining!

Russ Meyer was a pervert but also a genuine feminist. Think about it! The women in his movies may appear to be purely objects of lusts, but they are strong. They are determined. They waltz over men and make them look pathetic. In short, the women in Russ Meyer's movies are totally in control. Okay, there are also nymphomaniacs with luscious curves and enormous blouse-bunnies, but they are primarily power-women.

"Up!" is my 2nd favorite Russ Meyer movie, I daresay. Not quite on par with the amazingly amusing "Supervixens", but a solid runner up, and in my humble opinion a lot more fun than the slightly overrated "Beyond the Valley of the Dolls" and "Faster, Pussycat. Kill! Kill!". The plot doesn't really matter, and it often raises the impression it was penned down by a horny 12-year-old (while it was actually co-written by none other than Roger Ebert). You could state the story revolves around the search for who killed the kinky German sex-fetishist Adolf Schwartz in his bathtub with a piranha. Then again, Schwartz hardly gets mentioned anymore after his death, and the film focuses on the outrageous sexual escapades of a bunch of hormone-overloaded people in and around a roadside diner. The perplexingly charismatic Raven De La Croix steals the show, inarguably, but every (female) cast member here is worth praising: Janet Wood, Su Ling, Kitten Natividad, Foxy Lae, etc...

I particularly love the many and long-lasting montage sequences of two people having sex in various unusual outdoor places! I always imagine myself what a ludicrous sight it must have been for the actors and actresses to continuously move around naked simply to shoot a couple of seconds of fake Snu-Snu footage!

Never before has a porn movie made sex seem so ridiculous. Up!'s over-the-top irony cuts so deep that it does not merely satirize itself nor does it stop at its genre: Up! makes sex itself seem so absurd that, after seeing this movie, one wonders why anyone's interested in it at all. The many positive sex scenes in the movie are not shot as porn so much as parodies of the notion of sex as bliss (note the quick cut aways and the scene changes (mostly in beautiful natural spots), creating a sense of hours of lapsed time while preventing any build-up of erotic aura). The many negative sex scenes in the movie never grant any empathy to the rapists, never provide any glimpse of pleasure in the rapists, and always include the victimized avenging themselves, thereby rejecting pornographic rape fantasies and demanding that the viewer do so as well (if s/he hasn't done that already) (note: this actually makes the rape scenes easier viewing than, say, the one in Boy's Don't Cry, which - ironically - is probably more exploitative).

Obviously, the movie is not easy to take. Watching it, I was full of wonder but can't say that it was enjoyable or even consistently funny. Compared to Beyond The Valley of the Dolls, this is much more sex-centered and much less of a movie. Once again, though sex-centered, the movie is not really porn in that it makes no attempt to be sexy, instead portraying sex and the culture surrounding it (porn, sexual politics, and Moral Majority-style opposition) as possibly the greatest farce of contemporary Western culture. Highly recommended for people with extremely open minds who are interested in seeing a destruction of auratic sex. For people interested in a good laugh or a good movie, you probably would want to check out something else. For people with any no-go areas, you should probably forget about this movie altogether.

The story is a wild trip right out of pulp magazine wonderland, forged with all the ingredients we like in Russ Meyer's work (sexploitation, violence, hotties, and so on) and are these days of wokeland rising maybe more relevant than ever. A nice sip of freedom for the right kind of people.

With no expectations of what to expect but being roughly familiar with the type of work from director Russ Meyers and knowing the type of artwork. It is relatively a silly over the top overly sexual comedy of sorts. The plot is quite bizarre and muddled with somewhat different subplots but the main theme seems to be random. Lead by Raven De La Croix showcasing as what we would expect with the other supporting women shedding as well.

Yet to further narrate, with keeping track of the plot, we have the Greek Chorus (Kitten Natividad fully nude). As well as a twist somewhat where near the end of the movie, Croix discovers who the murderer is. However, that's not as important as one would think, since this movie is not murder mystery and we have already forgotten. The film is simply a showcase for the women to undress with brief subtle far distant camera shots of explicit scenes.

Hallo everyone, in one of the later scenes of this film a signpost reads: Hanns Seidl Stiftung Wildbad Kreuth. On top of it is Adolph Schwartz' mailbox. Not everyone may know this political foundation, which is the propaganda-academy of the CSU party of Bavaria (Christian Social Union), a very right wing party, neo-con and very religious with Catholic fundamentalist tendencies, not openly fascist, but with occasional leanings in that direction. Adolph Schwartz' mailbox on this signpost suggests that Hitler resides at the Hanns-Seidl-Stiftung, which I consider an exaggerated but not too far-fetched insinuation. I wonder who gave Russ Meyer this brilliant idea. He cannot have been so familiar with local Bavarian politics. Pity I did not ask him in his lifetime. If anyone wishes to see the pic, I can mail it. Looking forward to comments. Gerhart, Munich

Meyer's penultimate film (his final effort - a direct-to-video plotless short after a twenty plus year absent does not count) is about as zany as one could imagine.

Throwing everything but the kitchen sink in, this has it all - lush baroque European castles, resurrected fascist dictators, a Greek chorus and more nature gone wild than a David Attenborough BBC special.

Meyer's here really ridicules the revelries involved in coupling and copulating, yet his biggest target is aimed squarely at the viewer - he mocks us for being voyeurs at his cavalcade of perversions.

While not as witty or engaging as previous works, Meyer proves yet again that his main talent is his mis-en-scene. With editing skills like this, the mind wonders what kind of film he could have made if his interests laid elsewhere.....

Russ Meyer's Up! is a nasty black comedy. Totally X-rated. In RM's later years there was something mentally ill about his fantasies. This film is masterful in it's kinetic editing together of a plethora of pervasive perversions. I think the photography is some of the best in his career. Kitten Natividad is one of my favorite parts of the film. She opens up the film as the story's Greek Chorus,(obviously the pen of Roger Ebert)she then opens up her legs with an incredible close up of her Brillo Pad-esque pubic hair. She reminds the audience over and over of the convoluted murder mystery of Adolf "Hitler" Schwartz. Adolf's sex dungeon is one of RM's freakiest and grotesque scenes. I absolutely love Candy Samples aka Mary Gavin as the Headsperson. I love her S&M black leather hood with a zipper on the mouth, "Headsperson,an abyss of gluttony," proclaims Kitten in one of the film's best montages. Like Beyond the Valley and Supervixens, this film is so 'punk' before the fact. Oddly, I think RM was so untouched by 'hipness' of the times. Watching Up! one can imagine pretty clearly why the Sex Pistols wanted Russ Meyer and Roger Ebert to make their movie. This film has an intentional nasty bad attitude in a fun way. Another thing that I love about Up is all the queer overtones. All the men have huge fake penises in this one (perhaps to match the giant tits?). The film opens with Hitler bottoming for his well hung hustler Paul (played by Robert McLane, who was in the queer 'Love Story' A Very Natural Thing 1974). The lesbian scenes are depicted as good and erotic and the male on male scenes are depicted as degrading and perverse. RM was old school and openly homophobic but oddly ALL of his films show an eroticism to men in a lesser degree to the women. RM still fetishizes male muscles, buttocks and torsos and sometimes even the penis... Just an interesting observation. Also, there are lots of shots of feet, his films are great if you have a thing for feet and shoes. All in all, I really like this one. I thought it was better than Supervixens, which is one people always seem to talk about.

Russ Meyer does it again! Up! has something to offend anyone with any sensibilities. I have fond memories of wading through picket lines of feminists in Berkeley to see this in the theater. Meyer's perverse mix of humor, sex, and violence is at its best in this film. Not to be missed by people who....well, we know who we are, don't we?

Sure, the acting is glorious, the music is catchy and they do NOT make them like this anymore, but above all this em is a tribute to freedom, truth, honesty and all white glorious women. The hierarchy is establsihed and these women are at the tip. It is edgy, never ridiculous, frank and a feast for the eyes (and further down). I am a married scientoist and i still love it and if you can kick back, be honest and enjoy the finer things in life, you too will LOVE. So what are you waiting for order this DVD and enjoy the sights, sounds, story and the... er did I mention the sights (and yes you married blokes your wife will get into it).

My personal favorite of Russ Meyer's films. The script, by Roger Ebert (!), is loaded with brilliant sexual dark humor. For example, the opening sequence finds an aging Adolph Hitler lookalike being whipped by a stud in a Pilgrim outfit; meanwhile, "Hitler" is tortured (erotically) by a variety of buxom ethnic babes ("Ah! Limehouse!"). Later, the Pilgrim really gives to Adolph what the rest of the world always wanted to give him - and sticks it to him good! And the ending wraps up a murder mystery by rising to outrageous absurdity. Along the way, our Greek Chorus narrator (Kitten Natividad) keeps us UP to date on the proceedings. Beautifully photographed (Meyer's best acheivement, I think). See what I call "The Indian Flip," and learn something new to do with a light socket. An absolute must for - as someone said - you know who you are...

I love Russ Meyer movies! It's really difficult to explain the appeal of them to those that are unfamiliar with his work. Best thing is to watch one yourself, and Up! is as good a starting place as any.

Prepare to enter a world like no other! Full of women - good ones, "bad" ones, powerful ones. Women who are IN CONTROL. The plot here doesn't really matter. It's a kinda murder mystery involving the death of a pervert who may or may not be Hitler. That's really just an excuse for a slew of scenes like none you've ever seen, and dialogue (co-written by Roger Ebert!) that continually astounds.

Kitten Natividad makes her mark as "the Greek Chorus" but the real star here is Raven De La Croix (as Margo Winchester) who is the most stunning women to ever grace a Meyer flick. You've got to see her to believe her! Raven (according to her web site "psychic counselor to individual members of the Hells Angels Worldwide") energizes the movie everytime she is on screen, but is especially unforgettable in a water fight sequence with Janet Wood which surely must be one of the high points of exploitation cinema!

So, sit back, relax, and prepare to be astonished by Up! Your world will never be the same again!