Laikals The greatest movie ever made..!

Sexyloutak Absolutely the worst movie.

Teddie Blake The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

Billy Ollie Through painfully honest and emotional moments, the movie becomes irresistibly relatable

beauzee just another Hollywood mishandling of the new counter culture and the awkward "crossover" of generations. in the very same chemistry as THE PHYNX, I LOVE YOU ALICE B. TOKLAS, SKIDOO, etc. they all failed ...but had something going, at the same time.I couldn't make heads or tails but loved all the Mae West sequences. She looks great and is very funny. She hadn't made a film in 27 years and she does her thing.To my knowledge, the old time stars NEVER had a proper chance to come back, even for five minutes, in the movies. Groucho Marx certainly made amends for several turkys when he did YOU BET YOUR LIFE on TV; same with Abbott and Costello, when in their first season of filmed episodes, made us forget some very disappointing films.So skip ahead to Mae's scenes, pop open a third beer.

falco12351 Myra Breckenridge has everything you don't want to see in a movie from start to finish. The comedy is Disturbing, Offensive, Obscene and just Sickening. I didn't even want to see the ending it was that bad, but I had to keep strong and I'm never watching this move again in my life. Why did all these big star even agree to this movie, huh? Rachael Welch, John Carradine, even George Furth. Although there we Big Star in this movie before they were big stars like: Farrah Fawcett and Tom Selleck, and I say sorry to you two for even being in the credits of this movie. I don't know why some people consider this a Cult Film because there is nothing in this movie that people can relate to, not even the sexual content or the Characters.

ags123 This film is indeed a morbid curiosity, and persistent viewers will be left with a sour taste in their mouths. Unquestionably awful, it should come as no surprise... Consider the source. The book is vulgar and pornographic, with Vidal revealing his prurient fantasies and his disdain for Jews. Fortunately, the film removes the author's prejudices and arrogant demeanor, limiting itself to the satiric aspects. It still doesn't work.The acting is dreadful, especially Raquel's, but I began to feel sorry for her after a while. She soldiers on, undaunted and eager to please, obligingly spewing insane dialog and looking beautiful despite every effort to dress her up as a clown. The participation of Mae West in this project should have assured it cult status, but like everything else here, her part is startlingly disjointed. John Huston plays it way too broadly and is never amusing. It's sad to watch Farrah Fawcett as an innocent bimbo knowing how it ended for her in real life. The whole film, in fact, is a sad, dismal experience.The one redeeming feature is the title sequence, an oddly inspired bit (the only one in the entire film) which captures Myra/Myron's mad obsession with Hollywood. There's nothing like dancing down Hollywood Boulevard to feed one's skewed, celluloid-drenched imagination.

Woodyanders This fetid stinkbomb of a film has a notorious reputation as one of the worst movies to ever ooze its disgusting way onto celluloid. Is it really that bad? Well, yes it is, but it's often so strange and perverse that it ultimately becomes downright mesmerizing in its unapologetic freakishness. Raquel Welch, looking absolutely gorgeous and carrying herself with admirable flair and poise, gives it all she's got as Myra Breckinridge, a ruthless, predatory and venomous femme fatale who tries to nab a sizable inheritance from blustery millionaire acting school dean Buck Loner (an outrageously hammy John Huston) and cheerfully destroys any hapless males and females who get in her lethal way. You see, Myra was originally the preening homosexual Myron (a terrible and insufferably smug performance by popular movie critic Rex Reed) prior to having a successful sex change operation (done by none other than John Carradine!). Director/co-writer Michael Sarne delivers a brutal no-holds-barred satire on Hollywood decadence, libertine permissiveness run insanely amok, and the swingin' early 70's sexual revolution which unmercifully mocks both the stuffy old guard and hip youth culture with equal seething disdain; this fierce in-your-face mean-spiritedness gives the picture a shocking acidic edge that certainly isn't subtle or sophisticated, but still gets the nasty job done in a hilariously vicious way all the same. The hysterically broad acting further enhances the all-out lunacy: an aged, yet spry Mae West is positively sidesplitting as blithely bawdy talent agent Leticia Van Allen (the sequence with West heartily belting out "Hard to Handle" on stage is a total gut-busting riot), Calvin Lockhart camps it up to the ninth degree as fey gay Irving Arnadeus, Farrah Fawcett is a bit too convincing for comfort as giggly bimbo Mary Ann Pringle, Roger Herren likewise does dumb with unnerving conviction as macho stud Rusty Godowski (the scene which depicts Myra joyfully sodomizing Rusty is genuinely sick and startling), and Tom Selleck sans trademark mustache even makes his ignominious film debut as one of Van Allen's handsome and virile boy toys. Moreover, there's also lots of clips from vintage golden oldie 30's features edited into the main narrative throughout; this just throws the picture even more off kilter and hence adds to the bizarrely entrancing train wreck quality of the whole misguided enterprise. Now, this isn't a good film by any conventional standards, but man is this wonderfully wretched abomination a one-of-a-kind piece of remarkably vile and depraved kitsch.