Redwarmin This movie is the proof that the world is becoming a sick and dumb place

Breakinger A Brilliant Conflict

Tyreece Hulme One of the best movies of the year! Incredible from the beginning to the end.

Lachlan Coulson This is a gorgeous movie made by a gorgeous spirit.

Andrei Pavlov "Mad Max" being one of my absolutely favourite insane "on-wheels" flicks, this one is of course inferior (the two bad guys out of the trio are not bad enough, the drama is not as high-power as it gets in "Mad Max", the good guy in this one is quite unimpressive if compared to "Goose" or "Max", etc.). But the music is catchy, the hierarchy in the wicked trio is shown well enough, and the confrontations are edgy and realistic. Realistic till the final epic battle: still cannot understand where this good man got the dynamite from. It really looked ridiculous to me: all of a sudden there was a piece of TNT in the hands of our snake-bitten hero and BOOM! Thus he saved the day. Besides, we don't see the main villain being smashed to atoms by the explosion. And some suspicion starts to gather in our minds: is he really dead? In "Mad Max" there was no such incompleteness.With more polish this movie could have been of "Mad Max" calibre.A 7 out of 10 is a good mark. Thanks for attention.

Red-Barracuda Motor Psycho is probably the closest Russ Meyer ever got to making a straight thriller. While earlier RM roughies like Lorna and Mudhoney featured disturbing rape scenes, Motor Psycho features two implied gang rapes. The second of which is a house invasion scene that wouldn't look out of place in a 70's exploitation movie. Censorship laws of the time meant that these scenes were never overly graphic; however, they are definitely pushing the boundaries for the time and are undoubtedly nasty. Similar to Lorna this film also has a distinct lack of humour, with the odd exception such as the moment where Haji sucks the poison out of Alex Rocco's leg in a clearly sexual way. But generally speaking the sexual side of proceedings are more alluded to and there's really next to no nudity on offer here, perhaps understandable given the often nihilistic tone.Motor Psycho is perhaps most notable in Russ Meyer's canon for two things. Firstly for introducing Haji, who as ever puts in another feisty performance as a Cajun woman married to a slob played by Coleman Francis (director of the anti-classic Beast of Yucca Flats). Secondly, the movie is a clear precursor to the superior Faster Pussycat! Kill! Kill!, RM conceived that latter movie as a version of Motor Psycho but with three female criminals. Ironically, given Pussycat's status nowadays as RM's most famous film, Motor Psycho was much more successful commercially on release. But the test of time has been kinder to Pussycat. Although a good film, what holds Motor Psycho back is that, with the exception of Haji, the ladies do not have significant roles. RM needs his women to take centre stage, and this is as male-dominated as an RM production gets. Acting is generally good, with Stephen Oliver convincing as an unhinged Vietnam vet, Meyer himself appearing as a hilariously un-PC law enforcement officer, Alex Rocco is decent as the hero and Haji is ace (just love that accent). So, in summary, not a classic Meyer but without doubt a superior 60's exploitation effort.

Maciste_Brother MOTORPSYCHO was made in 1965, the same year FASTER PUSSYCAT KILL KILL was made. MOTORPSYCHO was made first and it's basically the male version of FASTER PUSSYCAT: three bad guys roaming the desert and looking for kicks. There are several plot points that are even identical between the two movies. But today, MOTORPSYCHO has been totally eclipsed by FASTER PUSSYCAT or BEYOND THE VALLEY OF THE DOLLS. It's ironic because MOTORPSYCHO was a bigger hit than FASTER PUSSYCAT, the latter having flopped on its initial release. FASTER PUSSYCAT is now a bona fine cult hit while MOTORPSYCHO toils in near obscurity. And it's unfortunate because it's one of the grittiest Film Noir I've ever seen. It's a true pulp novel come to life. It's a combo of Orson Welles' A TOUCH OF EVIL and a countless Film Noir from the 1940s. But unlike TOUCH OF EVIL or the older Film Noir films, MOTORPSYCHO doesn't shy away from the violence or the "thrilling" aspects of the story.Some might say the subject matter of rape is too serious to be used in a so-called exploitation film but Meyer handles it pretty well. It's still unpleasant at times (when the guys forces the wife to dance with them) butthe film never crosses the line. In fact, MOTORPSYCHO is a rare breed of movie: it depicts the actual disturbing subject and even exploits it (close-up of women's bodies) but doesn't go overboard with it as it never stray away from its story. The film keeps interest with its characters and situations until the very end. It's never overshadowed by its sensationalistic aspects. This is because some of the acting is pretty good and the stunning use of B&W photography (excellent composition from Russ Meyer himself) and the overall grittiness of the story. It's a pretty darn good feat for an exploitation film.The acting from everyone is surprisingly good. Alex Rocco is excellent and believable. The bad guys are never over-the-top. The woman who played Rocco' wife, the beautiful Holle K Winters, is also excellent and believable. Her scenes when she's harassed by the three men feel authentic and are difficult to watch. Strangely enough, this was Holle's only movie. And then there's Haji. Haji is THE ultimate Femme Fatale ever put on screen. You can't help being attracted to her and know she's nothing but trouble. She's like a babe on the cover of a pulp novel come to life.I prefer MOTORPSYCHO over FASTER PUSSYCAT, which is also a remarkably well made actioner but it's more campy and at times too over-the-top to be taken seriously, or BTVOTD, which is just plain stupid. MOTORPSYCHO has just the right amount of violence, grittiness and believability to make it feel like a great if overlooked Film Noir.

essmeier Really. How could anyone ever come up with a better film title than "Motor Psycho?" No one ever will. Now that we've said that, let's get on with the story. Alex Rocco makes his film debut as veteranarian Corey Maddox, whose wife is violently raped by a gang of motorcycle hoods. Maddox tries to hunt down the gang to glean a little retribution, or perhaps bring the gang to justice. In the process, he meets Ruby Bonner, whose husband has been murdered by the same thugs. Ruby and Corey team up and get caught in a canyon where they are forced to violently confront the by-now-totally-nutso leader of the group, who happens to be a wacked-out Vietnam vet. This film is a little-known Meyer gem; you get the opportunity to see how good he really was at shot composition and editing. What's it got going for it? Awesome title, incredible sixties twangy guitar soundtrack, great period dialogue, a great tense snakebite scene, and perhaps the first example ever of a film character who's clearly spent too much time in the Vietnam jungle. Odd side note: everyone in this 1965 film drives a Toyota. Three out of four stars.