Most of the time Ferrara operates on sheer instinct, in which his contradictory personal nature reveals itself in full force, which may be the reason why this film as 'explotation' does not satisfy its usual fanbase while at the same time its 'intellectual' core ends up leaving its respective audience feeling cold. His work in general tends to reach this conceptual volatility, he achieves order through entropy.
Yeah, it's full of stupid and silly things but that just adds to the experience of watching a movie that's so embedded in its exploitation! Ferrara reflection of the vulnerabilities of an artist's mind is utterly hilarious and just ugly! Bravo!
A delerious, gloriously messy piece of work. The kind of film the Stones would have made had made had they been making movies instead of music in those dim basements of Nellcote, France. There's a narrative here, I suppose, but it's slipshod and incoherent. The key is just the images and the words, and the speed at which we are thrown into them. We settle down time and time again, only to be shattered apart.
A "video nasty", Driller KIller's one of the few misjudged horror movies of it's time, treated as a dumb, gory slasher flick - nothing more. Despite this, the film feels like an American version of Polanski's Repulsion. It's about an artist's escalation into madness, with particularly strong use of iconography and cultural outlook on New York of the time. If you're a fan of cult horror, you'll appreciate this movie.
Una película que se valora no por su asesino, sino por el arma misma, pero sobretodo por la ambientación caótica propia de los bajos fondos neoyorquinos. La banda sonora metálica y ruidosa es una gran complementación a la retorcida mente del protagonista principal.