Supported by one of the greatest soundtracks of all time, Parks' depiction of a coke dealer trying to go straight is shot with style that both accentuates the fantasy and allows the film its own sense of realism. O'Neal as Priest (the "super fly" refers to the quality of his drugs, not his name) pulls off the neat trick of making us sympathize with a dude who literally threatens to put an underling's wife out onto "Whore's Row" if he…
Goofy, campy fun from Fulci. Totally preposterous and nonsensical, but it's also never boring and never takes itself at all seriously. Huff plays Rosey, whose rich asshole father died coughing up blood in the hospital after suddenly taking ill. Obviously one of her equally terrible relatives is to blame, but who? As Rosey solves the mystery we are treated to numerous shots of her decomposing father in his grave in one of the more inventive ways a film has used to illustrate the passage of time.
A disaster you say? Maybe, but an infectiously enjoyable one! I've seen it more times than Citizen Kane! Where else can you see The Village People pretend to be everyday heterosexual dudes conscripted into the gayest disco sensations of all time. All that and Bruce Jenner in jean shorts and Valerie Perrine's perfect breasts! Do you hate joy?
What?!? One star for THE EXORCIST?!? ARE YOU INSANE?!!?!
Maybe. All I know is that I've never been able to enjoy Friedkin's iconic horror hit. Partly this can be blamed on my lack of religious beliefs, which renders the thought of possession, demons, and devils as ridiculous rather than terrifying. Partly it can be blamed on its pace and seriousness, which have always left me frustrated and bored. And another part can probably just be blamed on the kind of…