65
Metascore
8 reviews · Provided by Metacritic.com
- 80EmpireKim NewmanEmpireKim NewmanWith its driving jazz score, hilarious dialogue and overdrive melodramatics, this is the ultimate expression of the American cinema's greatest fetishes: big breasts, fast cars, tight jeans, and sudden death. This is, in its own way, one of the great films of the 60's.
- 75Chicago Sun-TimesRoger EbertChicago Sun-TimesRoger EbertWhat attracts audiences is not sex and not really violence, either, but a Pop Art fantasy image of powerful women, filmed with high energy and exaggerated in a way that seems bizarre and unnatural, until you realize Arnold Schwarzenegger, Sylvester Stallone, Jean-Claude Van Damme and Steven Seagal play more or less the same characters. Without the bras, of course.
- 75TV Guide MagazineTV Guide MagazineProbably the most lighthearted and enjoyable of Meyer's films, Faster, Pussycat was embraced by a new generation during its art-house re-release in 1994; many viewers detected a feminist subtext beneath its extravagantly campy surface.
- 70Faster, Pussycat! Kill! Kill! is a somewhat sordid, quite sexy and very violent murder-kidnap-theft meller which includes elements of rape, lesbianism and sadism, clothed in faddish leather and boots and equipped with sports cars. Some good performances emerge from a one-note script via very good Russ Meyer direction and his outstanding editing.
- 70Time OutTime OutA cheap and efficient comic horror movie, it's funniest when its dialogue and characters' behaviour are at their most non sequitur.
- 63ReelViewsJames BerardinelliReelViewsJames BerardinelliPussycat is classic Meyer. The three leads are all topheavy, the action-packed plot is paper-thin, there are loads of double-entendres amidst the cheesy dialogue, and the style is pure low-budget. This is fun stuff, to be sure, but definitely of the "guilty pleasure" sort.
- 60The New York TimesStephen HoldenThe New York TimesStephen HoldenAlthough crudely acted, with laughably inept action sequences and a story that makes little sense, it has the feverish pulse of a classic B movie, boldly angular cinematography and a blaringly cheesy jazz soundtrack.
- 50Austin ChronicleMarjorie BaumgartenAustin ChronicleMarjorie BaumgartenThe director's distinctive editing style, so commonplace today but so unusual for its time, is scarcely apparent in this movie. Also, Meyer's films tend to share a ribald and genuinely funny sense of humor that here gets usurped by a mean and nasty impulse that tends to block out the humor and exaggeration.