Lovesusti The Worst Film Ever

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Lucia Ayala It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Mathilde the Guild Although I seem to have had higher expectations than I thought, the movie is super entertaining.

Rainey Dawn WOW a blast from the past - and a pleasant surprise. I got this gem in the Drive-in 50-pack collection. I remember this one from quite a few years ago. I am glad to have this one in the 50-pack. It's definitely one of the better films in the Drive-in 50-pack. This is a very bizarre film where Mickey Rooney plays B.J. Lang a psycho that is holding Carlotta hostage in his basement. He is creating a movie in his mind and forces Carlotta to participate. Mr. Lang gives us quite a show while "teaching" Carlotta all about the theater. To add to the weirdness, we have Old Charlie in the basement who is dead. It's not the greatest horror film but it is one of the better one's from the 1970s and in the Drive-in collection. 6/10

Bezenby Weird doesn't being to describe this one. Even if you're a fan of bizarre films you're going to have trouble with The Manipulator. Mickey Rooney plays B. J. Lang, a psychopath who is making a film in his own head in an abandoned theatre. He talks to people who aren't there, sees people who aren't there but has a very real woman held captive, whom he forces to play Roxanne in his imaginary film of Cyrano De Bergerac. At some point Keenan Wynn turns up as a tramp. That's the plot. So, how do you stretch that out to feature length? Well, Rooney basically babbles, screams, dances, sings, rolls about the floor, stares into space, drools, wears a fake nose, wears make up, whispers, talks to dummies, sweeps the floor and plays forward for Manchester Unitied while the film passes by in slow motion, speeded up, flashes subliminal images, changes perspective and even location several times.There's a ten minute stretch that takes place entirely under a strobe light, which caused me to put off the film for a while to have a break, and another ten minute stretch of people laughing in slow motion while Rooney walks around saying 'love' and holding a baby. Or how about the bit where Rooney rolls about the floor saying 'pills' over and over again? Or the jungle noises? Or the bit where someone goes mental with a moog while Rooney chases that woman about. For about ten minutes. In slow motion.This film is an endurance test for the viewer and although I'm not sure what the point of it all was, I'd pretty much reserve this film for folks who think they've seen it all, just to see their jaws drop. It's by no means a good film, but it's too weird to hate either. I wonder what Rooney thinks of it (yep, he's still alive…189 years young).

Hans-56 This movie actually is a true actor's movie. In true actor movies it is all about the actors. They (or at least one of them) are the only interesting aspects of the movie. Usually the story is written for the actors, the direction only helps the actors to make the most out of it. Everything else is of no real importance.Watching this movie I thought about another actor's movie and a very good one: "Sleuth". Even Rooney doing his make up thing remembers one of Michael Caine doing the same in "Sleuth". And I was very impressed by Rooney's acting in this movie. Actually I think his acting was as good as Caine's in "Sleuth".So it is obvious something went wrong, terribly wrong. I think first of all that horror is never a good genre for an experiment like this. Horror always depends on special effects. And you do not want those in an actor's movie. It's all about the actors, remember? And because it is all about the actors, you do not want any experimental camera-work. There is no need to shake the camera, put weird lenses on it or use it off color. The actors do those tricks and the camera puts their performance on film, that is all. And in this case the story itself stinks. It is a story intended for a sleazy B-movie. And even though Luana Anders performed quite well, her acting was not good enough to confront Mickey Rooney. Unlike the great interaction between Michael Caine and Laurence Olivier.So what we are left with is a stinker. The only thing worth watching is Rooney's acting. But with nothing else to keep you going, this is almost impossible to keep up for more then 30 minutes.

Woodyanders The legendary Mickey Rooney gives an incredibly wild, hammy and over-the-top full-tilt insane, inspired and uninhibited performance as B.J. Lang, a deranged and delusional psychotic washed-up Hollywood has-been who thinks he's a great successful big-time film director ala Orson Welles. Lang relentlessly torments and terrorizes hapless lovely aspiring actress Carlotta (the beautiful Luana Anders) on a dingy and decrepit abandoned studio back lot: he rants and raves to himself with rip-snorting gonzo aplomb, spoon feeds her baby food, impersonates an effeminate make-up artist (Rooney sports bright red lipstick and gaudy blue eye shadow!), pretends to have a fatal massive heart attack, and occasionally breaks into these astounding impromptu a cappella renditions of "Chattanooga Choo Choo" which he heartily belts out in this pained hoarse'n'wheezy croak of a voice.Writer/director Yabo Yablonsky whips up one awesomely aberrant and idiosyncratic marvel of an outré indie avant garde experimental cinematic meditation on dreams, delusions, dementia and the fine line between unattainable fantasy and bitter reality. Yablonsky deftly creates and maintains a clammy, creepy and claustrophobic weirded-out mood that sucks the viewer into the stunningly surreal and suffocating anything-goes nightmarish atmosphere which proves to be both jarring and riveting in comparable measure. Baird Bryant's garishly stylized cinematography uses every fancy artsy trick in the book: crazily tilted camera angles, distorted fish-eye lens, strenuous slow motion, artificially sped up film, wonky zoom-in close-ups and startling freeze frames. Gil Melle's groovy, droning, atonal psychedelic acid jazz score constitutes as another significant asset. Keenan Wynn briefly pops up in an embarrassingly thankless bit part as a mumbling drunken bum who Rooney runs through with a rapier. While Rooney clearly dominates the picture with his bracingly berserk and bravura acting, Anders still nonetheless holds her own quite well and gets to perform a major crack-up scene where she really cranks up the astonishing eye-rolling histrionics to 10 plus. A splendidly screwy and singular one-of-a-kind piece of sheer celluloid lunacy.