ShangLuda Admirable film.

Chirphymium It's entirely possible that sending the audience out feeling lousy was intentional

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Matylda Swan It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

kingmonkey An "infamous" film, if you will - never released, but not exactly difficult to get your hands on if you are persistent.I eagerly anticipated all of the "controversial" moments, awaiting a festival of groupie abuse and substance indulgence. To my surprise, these bits proved to be dull and tiresome, the real gem in this film being the excellent live performances by The Stones.Years of such consistent, excellent music makes it all but impossible to refer to any Stones era as being "their prime", but the concert footage here shows them well and truly on form and, if you will, on song. It is almost criminal that performances with Tina Turner and Stevie Wonder have all but been buried and forgotten about owing to this film being buried.I hope one day that this gets a legal, cleaned up release. Edit out all the non-music stuff and just release the concert footage if nothing else, for the sake of all music lovers!

Brett Scieszka I used to think that 'Gimme Shelter' was the end all, be all of Rolling Stones documentaries. The Maysles' film is undeniably heroic, but its shine and polish, its squeaky clean view of the Stones as consummate professionals utterly belies the fact that road life with the skinny brits did involve a good deal of sex, drugs, and a bit of rock and roll too. Filmed during a tour to promote my personal favorite Stones record, 'Exile on Main St,' 'Cocksucker Blues' is a grimy, sordid foray in the behind the scenes workings of the Rolling Stones machine. Gloriously filmed in both color and black and white super 8, and artfully presented with a strong focus on non-diagetic audio tracks, 'Cocksucker Blues' is no simple document of events, but a solid work of art in its own right. The haphazard filming style during performances is more kinetic and subjective than the Maysles' lens and suits the jarring, hell-bent nature of the music. The craziness of tour life is captured in some particularly amazing and unforgettable scenes. The kook, nearly suicidal fan, whose baby's been taken away due to mom's acid habit, the primitive and forceful disrobing of women on the plane while the band cooks up a beat to go with it, and the junky sound man all create a subterrainian truthful texture to the Stones experience that was most likely not available to the Maysles brothers.

CULTEGUY I like the Stones older music, not so much in love with the dudes that I would defend them though. This movie starts good, or fair enough. I didn't mind initial scenes of excess-- was to be expected from what I had already heard about the film...Problem; heroin taking, groupy fondling, and much of the gabbing wasn't done by the Stones but by some dude, who knows who the hell he was, who was enjoying the excess. So I have to agree with Mick and the gang, this movie's exploitive in that it features them, and keeps cutting to some scumbag getting his kicks from the attention he got out of association. Not my bag.The Stones are stoned, who cares. Best line, when Mick is messing with some 16MM cameras and looks up at the documentarian, in a very stoned out scene, saying 'Do you wear the same socks everyday?'Worst is the scene that looks like something out of a Bucky Beaver 8MM porn stag film... Don't worry ma, I didn't see anything because obviously they hadn't invented razors back then...Rent "Give Me Shelter" instead (if you haven't seen it on DVD.) Trust me, if you were missing out I'd tell you.

nunculus An East Village guitar-store owner sold me a bootleg copy of this legendary Robert Frank documentary, which was suppressed by its subjects, the Rolling Stones. Full of arty effects and stony, fragmentative editing, the movie intermittently fascinates in its depiction of a day in the life of the Stones--a life that alternates between massive, almost unthinkable amounts of ego-gratification, and routine, torpid, everyday boredom. The intent seems to be an anthropological portrait of the habits of visiting alien gods: the Stones are made both otherworldly-regal and incalculably drab. Because of the scenes of groupie-shagging and substance abuse, Frank was forced to credit the Stones as "playing characters" in the end credits (if memory serves, Keith Richards plays "Pizza Delivery Man"), and the picture is available to be screened, by Mick-generated court order, only when Frank is present.