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I liked this movie but I was prepared, having read about it extensively before seeing it. From the soundtrack to the camera and editing tricks to the performances, I liked it all. My only problem was the middle part of the movie which concentrated on the personal troubles of the band, sort of dragged. Only when John Lazar came back did the movie pick up and I guess I'm in the minority because I liked the ending. Mainly, because it took the outrageous flavor from the beginning and went even farther. The casting was especially noteworthy. Normally, people who can't act really bother me but watching all of the Playboy playmates trying to act serious while spouting out hilariously clichéd dialogue (I can only hope that Roger Ebert and Russ Meyer weren't trying to write authentic dialogue) was very funny. Special note must be given to the drummer trying to pretend that she could really play. Only Lazar came off as a real actor and he tackled his role with gusto. It is a shame to see that he has never really done anything worthy of his talents after this. Having seen this film only once I don't know how it would hold up after repeated viewings but I can say it is worth seeing at least once.

Venerable film critic and writer Roger Ebert, penned Beyond The Valley Of The Dolls. It's basically a spoof, of the 1967 film, Valley Of The Dolls. The plot of this movie revolves around a female rock group, that pursues their dreams of stardom in the Hollywood jungle of ambitious hopefuls.

All the characters are beautiful looking, particularly the drop-dead gorgeous women in the band. They do have an old toothless women in the film, who hangs-out at a party with the beautiful people. She's the comic relief, in an already hilariously campy film.

There's lots of sleazy, over-the-top sex, ravenous opportunists, drug addicts, and overall flash-n-trash scenes. Ebert was obviously milking the satirical element of the film, to the hilt. The humor in all of this, works throughout most of the movie. But when the film veers towards bloody violence in the latter part of it, it's very jarring to the viewer. The brutal violence winds-up spoiling the fun, comic tone of this movie.

For the most part, this film is an amusing send-up of The Valley Of The Dolls. But the violence in this film, winds-up deflating the wacky, tongue-in-cheek premise of the movie. This film would've worked much better, if the brutal, gory violence was left out of it.

One of the all-time great cult films, BVD is an energetic, imaginative parody of Valley of the Dolls and other such dippy Hollywood melodramas. Our three lusty, busty heroines are the members of an all-girl pop group. From one trailer: "Dolly Read is Kelly, the singer. Cynthia Myers is Casey, the swinger. Marcia McBroom is Pet, the soul sister." Whoa! Anyway, our trio of sexy supervixens move out to Hollywood, get discovered immediately, and are thrown into a whirlpool of pill addiction, alcoholism, lesbianism, abortions, depression, double crosses, crippling injuries, lots of violence, and lots of sex. All of this is played with a deceptively straight face, with the wild comedy arising from the ludicrousness of the soap-opera situations. One particularly sudsy moment is even accompanied by swelling daytime-TV organ music! There are obvious jokes, which are spirited and very funny, and even some sly references to Valley of the Dolls (a character named Miriam, the Warwick Court Apartments). The ending has to be seen to be believed, and even then....

The acting is very good (though Dolly Read's natural British and fake American accents are openly battling throughout), with top prizes taken by John LaZar as freaked-out record mogul Z-Man and Edy Williams as voracious porno queen Ashley St. Ives. The women, sporting big hair and thick false eyelashes, are all incredibly beautiful, and Russ Meyer lovingly captures them in neon-bright color. The editing and camerawork are fast-paced and super-stylish, as usual with Meyer. The soundtrack is excellent.

A groovy, sexy, X-rated look at L.A. back when it was cool!

Trivia: The reason this X seems so mild is because it was intended for an R! Meyer did prepare a more explicit version, but when this tamer cut was X'd, Fox elected to distribute it instead of the racier print. The video box says NC-17 because Fox has a policy against never releasing an X-rated tape. Of course, an X in 1970 did mean 17 and over, whereas it now means 18 and over. HUGE chasm there!

This film is very notable in that it was written in part by Roger Ebert. Yes, THAT Roger Ebert. It should be noted that this film was something he worked on rather early in his career and I think looking back, he doesn't think too highly of it. It does make me wish Ebert had worked on more movies himself, because it would simply be great to watch a movie made by the most famous movie critic. Anyway, this movie itself is just okay. I admit that the plot just seems to wander around for awhile.

There's lots of seemingly random scenes of people dancing and singing. This movie is still very '70s and it's starting to make me realize cult films become reflective of the times. There are even some interesting points raised about sexuality. I do kind of find myself rooting for the characters. It's just that it's too wacky to follow that well and not good enough to recommend, but Ebert tried. Now let's see a movie Leonard Maltin worked on! **1/2

Critic Roger Ebert wrote this campy, melodramatic, horror thriller musical. If that sounds like a lot you have no idea what this movie is like. This in name only sequel centers around a girl rock group who goes to Hollywood and is thrust into the seedy underbelly of sex, drugs, rock n roll, porn stars, tranny killers, lesbians, etc. It's like a thousand lifetime movies blended together but with a rockin soundtrack. Mostly the movie works as an ultimate guilty pleasure but it does seem to just transcend film altogether. With beautiful cinematography and quick cut editing it's a wild ride that holds up pretty well. Originally Rated X and now NC-17 if this sounds like your jam go for it otherwise keep on steppin.

7.5/10

This is not a sequel to the Valley of the Dolls. Kelly MacNamara, Senator's daughter Casey Anderson, and Pet Danforth are in a girl rock band. Along with Kelly's boyfriend Harris Allsworth, they decide to drive to L.A. Kelly finds her estranged aunt Susan Lake who inherited the family fortune. To her sleazy money man Porter Hall's dismay, Susan promises one third of the fortune to her niece. Rock producer Z-Man Barzell takes over the band and Kelly falls for money grubbing gigolo Lance Rocke. Harris feels Kelly drifting away and is seduced by porn star Ashley St. Ives. Kelly wants more of the inheritance. The young group gets pull further and further into the wild risqué world.

This is definitely a Russ Meyer movie with his love of the female body. Roger Ebert has written a hippie soap opera. By the time of Harris' attempted suicide, this ridiculous movie turns into a comedy. An abortion has never been filmed in a more silly way. The scramble eggs are not lost on the audience. The problem is always the limited acting talents of the cast. They fail to make their characters compelling. The cheese factor is very high. It's almost a spoof. The ending does spin out of control as if Ebert knew that he had to top all the ridiculous stuff from before. I don't want to be mean-spirited but I laughed at Harris and his wheelchair.

Russ Meyer's most lavish production is still jaw dropping, and still beyond comparison. BTVOTD is the ultimate camp film that, unlike Valley of the Dolls, is knowingly campy, deliberately absurd, never comes down to earth, and achieves a non stop contact high. Beyond description, it must be seen to be believed. A rapid fire, mind-rending parody of virtually every genre and cliché squeezed into a 2 hour film which hasn't aged a bit and has seen its reputation grow since its initial release in 1970. The songs, dialog, direction, editing, music, and acting all provide endless amazement every time I see it. In the 30 plus years since its release nothing else comes close to the experience of this film. Even more than The Rocky Horror Picture Show, BEYOND is a true audience film with so many lines and scenes that viewers have memorized. BEYOND is and was ahead of its time, and remains essential viewing.

I started off hating this film. An exploration of male/female relationships set during the 1960s party scene, I found it alternating between bouts of cheesy singing and dull conversation. The characters irritated me and the script (by none other than film critic Roger Ebert) felt outlandish.

But nonetheless I kept watching. Or rather, something kept me watching. I started getting to know the intriguing characters, and then I realised I was hooked. It's barely reminiscent of a Russ Meyer movie - despite focusing on sexual relationships there's little smut or nudity - but it has style to spare. The ending is both shocking and hilarious and comes totally out of left field. Odd, yes, but compelling with it.

People are going crazy on here talking about how cool and awesome this ten-star, great piece of kitsch is. It's a piece alright, but something that rhymes not with kitsch, but rather with kit.

Roger Ebert is a brilliant writer and film reviewer, and I like large breasted women near as much as Russ Meyer, but if this is meant to be an example of their best, then I sure missed the point.

It's not bad enough to be a film so bad that the Mystery Science Theater 3000 guys could rip into it, and it's definitely not self-aware the way "Black Dynamite" is; it's just bad, period.

I've heard about this film for 40 years. Boobs and drama! Hardly. I didn't see any naked women any longer than 3 seconds at a time. Hell, you can see more than that on any cable tv show. And that's not because it was a different time. There were plenty of movies with nudity in the late 60's/early 70's!

The only thing this movie has going for it is Cynthia Meyers, who is a Playboy Playmate, and turns out to be just as comfortable on screen as she was posing naked for a still frame picture.

Even technically, the film is bad. Strange shots that would be creative if they connected to the rest of the scene, unbelievably hacky editing, and sound mixing that will make you jump out of your seat.

I guess it's a good capture of the Los Angeles swinging singles drug scene of the early 70's (?), but there's a half-dozen films made st the same time that do a way better job of capturing it.

If you dig, dig it. But if you don't, it's not you, trust me. You're just like me, because I sure as hell didn't get it.

Ever since I showed interest and sympathy for the more bizarre efforts in cult cinema, people have been recommending me to check out the oeuvre by director Russ Meyer. This peculiar director and scriptwriter is often named the maestro of American Cult cinema.Unfortunately, his movies are pretty hard to find (at least where I'm from) and they rarely ever receive a decent release on DVD. After finally having purchased Beyond the Valley of the Dolls, I can fully second the statement that Russ Meyer truly is one of a kind and certainly a director to check out entirely. Perhaps the weirdest thing about this film is that it was co-written by the respected and Pulitzer price-winning critic Roger Ebert! This - usually - very harsh critic joins the Meyer-madness here gladly.

I doubt Meyer's typical style will appeal to many people but for the more developed cult-fans, his colorful tale of 'Hollywood Vixens' is a true joy to observe! You might as well call it the definition of cult! It has everything: from bizarre and extremely eccentric characters over subtle (and less subtle) humor to explicit violence, sexual images and drug abuse. Wild parties are thrown in this film and offensive orgies are held.you can't imagine it yourself wild enough and Meyer adds it to his movie. Some of the biggest taboos are taken care of here shamelessly, like Nazis, drag queens, lesbians, unfaithful behavior and even abortion!! Keeping in mind this film was shot in 1970, this is a pretty remarkable achievement to say the least. BTVOTD also has a terrific soundtrack and pretty likeable acting performances. The leading girls do a pretty good job in making themselves believable, even though they're rather inexperienced. Needless to say they're stunning beauties in the first place.Especially Cynthia Meyers in the role of Casey! She's a true cult-Goddess and a wet dream for many men.yours truly included. BTVOTD ends with a truly absurd and explosive finale that easily can be considered as one of the weirdest twists in cinema history ever! Yet, I'm very careful in recommending this film to a large public. chances are that you'll be very disgusted by this movie or even loath it terrible. Therefore, I only recommend it if you're used to seeing quite an amount of weirdness already and you're not too quickly offended.

Valley of the Dolls was a famously rubbish 1967 relationship drama, dead earnest in its execution. So naturally this 1970 follow-up is a raunchy sex comedy directed by Russ Meyer and penned by the late film critic Roger Ebert. Valley starred Sharon Tate, who along with four others would be murdered by the Manson family in 1969. The fact that this homicide forms the basis of Beyond's insane bloodbath ending tells you all you need to know about the approach Meyer and Ebert are taking with this remake/sequel.

Dolly Read plays Kelly, the lead singer of an up-and-coming all-girl pop-rock band, which heads to LA to meet Kelly's aunt, Susan (Phyllis Davis), and hopefully meet with her $50k inheritance. But Susan's adviser, Porter (Duncan McLeod), has his eyes on the money and dismisses Kelly and co as kinky hippies. While this battle is waged, the girls live up to Porter's title, boozing and bonking their way through a series of parties, while their new svengali, Ronnie "Z-Man" Barzell (a lascivious John Lazar), sidelines their existing manager Harris (David Gurian), changes the band's name, and shamelessly promotes them for himself.

"All uptight about tomorrow and hanging onto yesterday," moans Randy Black (Jim Iglehart, channelling a low-rent Mohammed Ali); "all that matters is now." Combining counterculture energy with cheapo raunchiness, Beyond the Valley of the Dolls boldly and ruthlessly satirises the Love Generation.

The story begins with a road trip promising boundless opportunity and free-spiritedness, but ultimately the girls' desires are parochial and shallow: sex and wealth. It takes a genuine tragedy to wake Kelly up to what's really important – as the needless narration only too clearly spells out in the end: "Those who only fake must be prepared to pay the highest price of all." Throughout, the aesthetic is pure gaudy music vid, edited like some kind of hangover flashback, especially in the party scenes, hopping back and forth between scraps of crazy cat dialogue from hedonists self-medicating on booze and weed and downers. ("Dolls" is a slang term for the latter.) When Z-Man is showing Kelly around her first party, he introduces her to a whole cast of characters, defining their uniqueness as if they all have a special part to play in maintaining the Free Love myth.

But individualism taken to its endgame is dangerous, and Kelly's indulgence of her desires is precisely what ends up hurting those around her. Harris's old-fashioned monogamous romanticism is incompatible with the wild world into which he follows Kelly. His old world values leave him not only isolated but assumed to be gay. In the end he is metaphorically de-sexed, embodying a deeper, less possessive love, one equally free.

I'm making the movie sound like a Freudian bore but it's quite the opposite. It totally indulges and hyperbolises the excesses of the period, and it's packed with frank-yet-harmless sex and nudity, as well as a host of awesome driving pop songs you've heard somewhere before. The whole cast plays it straight, because that's how satire should work – and also because Meyer never let the cast in on the joke. It works perfectly: Casey's (Cynthia Meyers) pregnancy revelation is pure soap brilliance.

Long before the final reel you'll be well entrenched in the joke, revelling in the film's breathless pace, blinding colours, and ridiculously intricate wordplay. Z-Man's climactic actualisation of his medieval king persona is the zenith of excess. As he beheads his subject we hear the 20th Century Fox theme. It's the icing on one of the most subversive cakes in mainstream cinema history.

This is one brassy, sassy, little sexploitation flick that is so bad that it's almost good. (I said "almost" good)

"Beyond The Valley Of The Dolls" ("BVD", for short) is a pseudo-camp rock-musical/sex-comedy from 1970 that boastfully earned itself an X-rating upon its initial USA release. "BVD" was produced on a budget of $900,000. Within the first few months of its initial release it had grossed 10 times that amount in the USA, alone. Since then "BVD" has grossed well over $40 million world-wide.

"BVD's" story concerns the rise to mega-fame and fortune for an all-girl rock trio called The Carrie Nations who travel from the American Mid-West to make it into the big time in LA-LA Land (L.A.).

Perhaps you might enjoy "BVD" more than I did. For the most part, I found it unbelievably dumb, with everyone saying really-really-really (!!!) stupid things to one another, ad nauseum. Some of the "psychedelic" music wasn't bad, though.

Roger Ebert and Russ Meyer are as compatible as orange juice and tooth paste, but they come out with one of the classics of camp in this movie. If you rent this movie expecting a celluloid masterpiece, you picked the wrong movie. The dialogue is funny when good, but painfully annoying when bad, especially the final narration. The plot is intricately woven, juicy and is as unbelievable as a soap opera. The acting is pure camp, with the exception of standouts.

The plot is so freaking long I'll simplify it by saying it's about three girls and a manager who venture off into L.A. in hopes of making it big. They fall into the cesspool that is showbusiness. All plots connect together at the end, which the cheesy narrator mentions anyways before the credits. I'd have to say the movie was good for what it was and the quotability was good (Watch for scenes sampled by various groups [Roni Size, Sublime, etc], and movies[Austin Powers]). Very funny, very shocking, something Roger Ebert sober would give a thumbs down.

At what point does a parody of a bad soap become good?

Russ Meyer's collaboration with Roger Ebert is a scathing attack on showbusiness. It mocks the acting, the style, the mise-en-scene and the plot of big box office soaps that 20th century fox were producing in the late 60's. Loosely based on "Valley of the dolls", "Beyond.." takes the form of its predecessor. An all girl band go on the road to stardom on a rags to riches type story. On their travels they come across many cliched characters including Ronnie 'Z-man' Barzell, the pyschotic hermaphrodite promoter who will kill if his advances towards another man are unaccepted.

Meyers incredible skill in filmmaking is perfectly amalgamated with Ebert's witty script. Lines such as "This is my happening and it freaks me out!" or "i'd like to strap you on sometime!" enable the film to rattle along at a lovely pace.

Today, it is difficult to see why the film sparked so much controversy when it was released. The violence is quite graphic but nothing like what we see and accept today. As for the sex well, it is mild in comparison to some of Meyer's other films.

The film is delivered in a straight way, it appears the actors are unaware that the lines they produce are in fact ironic. "BVD" is a enjoyable satire of both the music business and the movie business.

I love "Candy" and "Myra Breckinridge", and I was looking forward to finally seeing "Beyond The Valley Of The Dolls". Hiding (somewhere) under the surface of these three movies are some great stories, and the scripts all show glimpses of some astounding writing and insight into what was happening between 1966 and 1969 among those late teens and young adults who had more than a bit of disposable income and a warped perspective toward destroying the social order.

However, somewhere during the production of these three movies, things fell apart. My guess is heavy drug use by the casts and crews. Acting is non-existent; the casts may have read the scripts a few times and prepared their characters a bit, but once the cameras started rolling, all that was cast aside, except for the occasional afterthought. In each movie, a freeform miasma of expression was the result.

These movies are not for everyone, and even those of us who had a clue about the 60s scene outside the hippy communes will watch these with a jaded eye.

I freakin love this film! It has everything you could want, hot amazons, camp, melodrama, dancing, cool music, orgies, and some classic lines. Either you get it or you don't, even though the script makes no sense. Z man is awesome and creepy, ashley st ives is on fire, and the carrie nations rock in that dopey pill popping late 60's acid pop style. The question is why has russ meyer never released it on DVD? Come on dude this and faster pussycat kill kill are films that the people need to see. A cut above 90% of the Hollywood recycled crap and remade TV junk they throw at you. To be honest if someone remade this flick I would see it. I also love the fact that they completely went in the opposite direction of the original, which I cant even remember if i have seen.

This is a lot like the 60's were. The strange mix of hedonism & high ideals really is what the 60's were all about. Many of us weren't quite that wild but a surprising percentage were (minus the murders of course). Most recovered but some are still living under a bridge near you. The streets are far more cynical & deadly now. I imagine the younger readers understand this all too well. If you don't, not to worry you soon will. This film would have been made just after the Tate-LaBianca murders & I see the beginning-end framing scene as a ripoff & an acknowledgment of this; the true end point of the peace love thing. Since this movie is perhaps the ideal statement,epitaph & testament to those long gone times you will indulge me a few observations. First, we had good reasons. The Cold War was at it's peak; nobody knew if the world had a future. Thus there was a kind of party frenzy that accompanies many wars. The WW-II crowd will know all about this; eat, drink & be merry for tomorrow you die. Second, there were just so MANY of us. They don't call us the Baby Boomers for nothing. There was no place for us. Our parents (the WW-IIers) were living in happily ever after land (like the movies from their times said to). After all they had paid their dues in the War & the Depression. They were getting older & had no stomach for another fight to protect their nearly grown kids. We were on our own. Third, we were so media soaked (as all of us are now & ever increasingly) that we felt an enormous need to live a real (not vicarious or virtual) life. The Beats had pointed this out to us & Warhol was frantically trying to warn society of it's dangers. It is a lesson that needs to be taken to heart. This stealing away of the individual's life is one of Islam's main beefs with our Megamedia culture. Look at the Iraqis in the news. You see a more genuine face; not partly copied from some movie or TV show. More real. Their speech is not spiced with advertising slogans or catch phrases from some sitcom. Is our way really that much better?

The end narration with it's moral comments on the work itself goes way beyond what the soaps would try to get away with. In a way it talks down to the audience. The sad fact is at that time we probably needed it all spelled out for us like that. Some kinds of wisdom only come with age. The message seems to be leave the media dictated life truly behind; move 'Beyond The Valley of The Dolls'. Our favorite game was "Cooler Than Thou" but the Beat idea of cool went completely over our posing & posturing heads. This movie probably did too.

I think that soon with all the cameras & U-Tube etc the Megamedia Culture will die out or at least change into something more evolved. I hope that something is more real rather than more conceited. (Sad to say now several years later the reality shows have fully arrived & they are more conceited. The horrible mutant offspring of Warhol's experiments like 'Chelsea Girls' escaped from the lab.)

One last observation. A strange case of life following art unfolded with the Phil Spector trial. The character of 'Z-Man' is supposed to be based on him.

I ran into Russ Meyer once in 1979 at a beer bar in San Diego during a "personal appearance" of then-wife (?) Kitten Natividad doing a bubble bath for a bunch of lecherous sailors (of which I too was one). That evening, as drunk as I was, made more sense than watching this movie sober. Plot? It concerns an all-girl band, The Carrie Nations, coming to LA to make it big. Seems the lead singer is in line for a fat inheritance and what transpires (sex, drugs, homo-hooery, Nazis, crimes against fashion, Manson Family blood lust) surrounds girly-Z-Man Barzel, the eye of the 1970 LA party hurricane. No, it's not a sequel to the also-trashy Valley of the Dolls (itself a wretched money churner also). There's a big fat disclaimer to that effect rolling at the opening credits. Hmmm... okay. This is just about all the plot I could decipher from this mess. I was curious to see the nudity, Phyllis Davis (the hot assistant to Dan Tanna in Vega$), the nudity, the vapid Roger Ebert script, the nudity... errh, I digress. Even a casual viewer will have to agree that Ebert loses all credibility as a film reviewer with this turd on his resume (dig that narration at the end of the film... then the tacked-on epilogue reminiscent of many a Three Stooges short). Okay, I'll admit that Beyond the Valley of the Dolls is not quite as horrendous as Myra Breckenridge (1970 was a wasteland of overblown psychedelic crap involving seemingly credible film reviewers) and there's the added plus of Strawberry Alarm Clock (although all too brief)... and plenty of nudity. But man, is this stupid. Russ Meyer is better judged by Supervixens. Smaller budget= even more nudity. I'm mildly surprised how many people loved this tripe. Incredibly, this was a big hit. That it failed to cement Russ' positon as an A-list director is telling, for soon he'd be back out in the sparsely populated California hinterlands with Haji & the gang doing indie 70's sexplo-boob-a-ramas. I sorta miss the guy.

Easily the best (and funniest) film about sex, drugs and rock and roll, ever made! Gorgeous women (Cynthia Myers is almost too incredible to believe), great tunes, time capsule worthy costumes, and break-neck editing, put this film in a class all its own. There has truly never been anything like it. Must be seen (in WIDESCREEN ONLY) to be believed. Wonderfully appropriate score by Stu Phillips. For what it is, the film's a masterwork. Recommended!

Dolly Read, Cynthia Myers and Marcia McBroom star as an all-girl rock band, who move to Los Angeles to make it in the music biz. The group is so well-received that they turn the head of eccentric rock producer Z-Man (John Lazar) who becomes their Svengali-style manager and changes their name to The Carrie Nations, all to the consternation of their small-time manager, who's a Greg Brady lookalike (David Gurian). Can the girls survive the pitfalls that come with the debauched rock lifestyle?

Directed by Russ Meyer and scripted by none other than Roger Ebert, "Beyond the Valley of the Dolls" (1970) satirizes the previous melodrama from three years prior. The movie telegraphs right out of the gate that it's a joke and not to be taken seriously like the first film (at least, like they TRIED to do with the first film). The cast is killer, highlighted by the three protagonists, especially the underrated Read.

Also worthy of note besides the key players cited above are Michael Blodgett, who's character takes an interest in the singer (Read); Phyllis Davis as her hip aunt; Edy Williams as an oversexed porn star; Erica Gavin who takes a dubious interest in Myers' character; Duncan McLeod as the aunt's sleazy & greedy financial adviser; Charles Napier as her former-beau; Henry Rowland as Z-Man's employee who (I guess) likes to dress-up as a Nazi; and Harrison Page & James Iglehart who vie for the attentions of the foxy drummer (McBroom).

The best thing about "Beyond" is that it's the absolute apogee of the late 60s (being shot in '69) and everything that went with it - the overindulgence in drugs, "free" sex, libertine parties, go-go dancing, rock and general debauchedness. There are several noteworthy women, with cutie Read the arguable frontrunner. Also, some of the tunes the band plays are actually catchy. All these factors make for a fun, entertaining flick, which explains how it quickly became a cult film.

Yet its quality is brought down by needless nudity and tame sex scenes that strapped it with a NC-17 rating, thus limiting its general appeal and access to the masses, which could've been easily avoided by wisely trimming down a few scenes. There's also too much fruity twaddle for my tastes and the "story" seems to be just one "wild party" after another, which gets redundant.

Still, "Beyond" is the undeniable pinnacle of late 60's flicks, even though it can't be taken seriously for a moment, which is actually fitting.

The film runs 1 hour, 49 minutes, and was shot in Los Angeles.

GRADE: B-

I saw this movie more than ten years ago, and I remember next to nothing about it, besides coming away with the certain feeling that I had just seen one of the worst travesties ever committed to film. And bear in mind, folks - I AM NOT MAKING THIS UP - this film was co-written by none other than Roger Ebert, a man who dares to tell us which films are worth watching and which are not!

If you absolutely must see this one, grab the popcorn and as much soda and other junk food as you can handle, and get yourself ready to mercilessly mock it with a slew of insults. Prepare for this waste of time by watching a lot of "Mystery Science Theater 3000". That way you can practice your insult skills along with the pros. After watching (and insulting) the movie itself, have something good to watch on hand so you can flush this garbage from your brain. Personally, I recommend another round of "MST3K". Continue scrubbing your brain until you feel clean again. And that's all I have to say about that.