The movie is mediocre, possibly worth a rewatch. The main theme in the intro and outro is very catchy and I’d love to hear it remastered. Good performances, I just feel like it could have been better.

The greatest film of all time.

The greatest 01 hour: and 24 minutes ever!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

I agree with John Waters: "This is the greatest motion picture ever made!!"

I don't think there has been a film since that has featured a female lead in the way Tura is here. A simple story but what a powerful character.

Pure exploitative film, raw fetishism of everything that America considered salaciously taboo in the mid-20th century; powerful women in form-fitting outfits, gratuitous violence, fast cars, and free sex. It's visceral, gaudy, and often silly, but that doesn't necessarily make it worthless. It's pulp in a way that fully embraces the genre identity, there's not an ounce of pretension or the sense that it's masquerading as something 'legitimate' that happens to embrace racy elements. Though I have my doubts that it was done to appeal to socially conscious moviegoers by making a powerful statement on gender identity, Russ Meyer certainly knew exactly what he was doing by playing against norms, framing his female characters in powerful positions and intentionally conflating male and female roles. If Douglas Sirk made soap operas into social commentaries, then Meyer did the same with exploitation films. Meyer just had more fun with it. (3.5/5)

Ladies and gentlemen, welcome to violence, the word and the act. While violence cloaks itself in a plethora of disguises, its favorite mantle still remains… sex. Violence devours all it touches, its voracious appetite rarely fulfilled. Yet violence doesn't only destroy, it creates and molds as well. Let's examine closely then this dangerously evil creation, this new breed encased and contained within the supple skin of woman. The softness is there, the unmistakable smell of female, the surface shiny and silken, the body yielding yet wanton. But a word of caution: handle with care and don't drop your guard. This rapacious new breed prowls both alone and in packs, operating at any level, any time, anywhere, and with anybody. Who are they? One might be your secretary, your doctor's receptionist… or a dancer in a go-go club!" You know how I always say, "They could have stopped making movies after this?" This is the movie at the center of my argument. I really don't know how any movie gets any better than this, unless Russ Meyer is directing it. The three worst women you've ever met — and also the finest — finish their dance routines at a club and then head out to the California desert where they race their car and verbally abuse one another. They are Billie (Laurie Williams), Rosie (Haji) and Varla (Tura Satana, perhaps the finest thing Satan ever made for the Lord). They follow that up by sizing up the guy mansplaining things to his girl and snap his neck before drugging his woman, Linda (Susan Bernard). Stopping to fill up, they learn that a wheelchair-bound man and his feebleminded son are literally sitting on a treasure. So they do what you or I would do — manipulate, manhandled and murder everyone in their way. Originally known as The Leather Girls and then The Mankillers, this isn't a movie as much as a religion to me. No less a cultural giant as John Waters said, "Faster, Pussycat! Kill! Kill! is, beyond a doubt, the best movie ever made. It is possibly better than any film that will be made in the future." Tura Satana is the kind of woman that if she wasn't born, we would have created her and made her into a goddess. There have been many pretenders to her throne, but none will ever ascend it. Seriously, I wore the t-shirt of this movie for most of the 90s before it fell apart. If you dislike this movie, we can never, ever be friends.

1001 movies to see before you die. One of those "so bad it's good" cult flicks. I don't need to see it again. It was on YouTube.

What cult movies are supposed to be. Classic Russ Meyer.

Great bodacious fun. Campy with great lines. A tour de force for Tura Satana.

As bizarre and frustrating as it is engaging, this is a film that's aged quite well into a time of irony and hyper-brutality.

This film was almost good.

forget my rating but I was pleased with this film. I was, expected it to be an X film (I was reluctant at watching it) but turns that it's…. about reckless, heartless ( I have to say) female caracters who do refresh and entertain me so well. A B- film that's a little bit of an artistic work too. Quite cool. Violent female caracters can be just so efficient.

I came in expecting to find exploitation. And I found exactly that. But underneath that, something truly astonishing. A detailed look into the human psyche: the animal and desire to kill in everyone, ambition to accomplish a goal to feel like you matter, raw emotions that constantly boil up and the innocence that can never return. Underneath boobs.

Cult sexploitation movie about some sexy go-go dancers who drive around the Las Vegas desert in really fast cars, fight, shoot people, talk like bad-asses, have sex with anonymous strangers, and die. This no doubt, exerted an influence over the Quentin Tarantino style of films and it still looks pretty good.

Cult sexploitation movie about some sexy go-go dancers who drive around the Las Vegas desert in really fast cars, fight, shoot, talk like badasses, have sex with anonymous strangers, and die. This no doubt, exerted an influence over the Quentin Tarantino style of films and it still looks pretty good.

Three beautiful female dancers are driving through the desert when they come across a young couple. They kidnap the woman and leave the man for dead. Travelling further they come across an old man living with his two sons. The old man is apparently sitting on a pile of cash and the girls do their best to separate him from it. Knowing Russ Meyers' later movies I wasn't expecting too much from this movie. Turned out to be a much better than I expected. It has the hallmarks of Russ Meyer movies: incredibly beautiful women as the heroes (or main characters, at least), a trashy sort of feel and mediocre performances. However, here the usual random plot is replaced by a decent one. Is an interesting, gritty adventure and the characters are quite engaging. Hardly a dull moment, is paced well and doesn't overstay its welcome. Good fun.

Pretty decent, has its flaws but can't say I was bored at all. Any film that prominently features cars is always going to peak my interest and that gas station scene where Varla says "Right fender, Einstein" made me laugh. Music and score is also solid.

When Sergio Leone was taking hairy casts and crews out into unbearably hot deserts for his prized 1960s spaghetti westerns, exploitation god Russ Meyer was escorting big-breasted, sexually aggressive women to the backdoors of the Mojave, for none other than quick, cheap filming of transgressive mayhem for audiences to devour. Of course, being an orgy of cartoonish violence and off-the-wall satirical humor, "Faster, Pussycat! Kill! Kill!" was too outlandish for critics and audiences of 1965 to really devour - but now that we've come to understand that pictorial dumpster diving can be a tasty pastime, it is now considered to be a camp classic, and Meyer, then scoffed at as a sex obsessed creep, is viewed as a master of the nudie-cutie much too perspicacious to cast aside. His films share a clear fondness for sex and the ballsy single girl, but supplemented to the disreputable atmosphere is a keen self-awareness you'd have to be blind not to spot. Just listen to the way his characters spew out deliriously pulpy lines like well-oiled machines ("Women! They let 'em vote, smoke and drive - even put 'em in pants! And what happens? A Democrat for president," a side character grumbles at one point), the way its women go far beyond being mere sex objects and end up throwing our libidos way out of whack as savage beasts far superior to men. Exploitation doesn't get any better than this - John Waters didn't call it the best movie ever made for nothing. It follows three sadomasochistic go-go dancers, Varla (Tura Satana), Billie (Lori Williams), and Rosie (Haji), after work as they race cars and look for trouble in the crosshairs of the California desert. Billie is seeking flings and fun; Rosie, Varla's lover, is tagging along for the ride; and Varla, scarier than any Hells Angel you'll ever meet, lusts for spillings of blood and bone. The latter's dream comes true when they stumble upon a young couple who foolishly pushes her buttons after calling for a drag race; Varla kills the man (Ray Barlow) of the relationship in a brutal fist fight, and the girls, against good judgment, decide to kidnap his girlfriend (Susan Bernard) for aim of saving their asses. The plot thickens. Whilst pumping their tanks a few miles down the road, they spot a beefcake (Dennis Busch) and his crippled father (Stuart Lancaster) - Varla immediately devises a plan to rob them, adding even more fuel to their crime-ridden fire. But, alas, such a tense situation cannot go on forever, and, despite their apparent immortality, the gang may just end up driving down the road to Hell without looking back. There isn't a thing to be improved in "Faster, Pussycat! Kill! Kill!" - its mediocre acting and obvious low-budget make it all the more charming, and Meyer, no matter what serious film buffs may believe, has an artistically pleasing eye, often utilizing angled, low medium shots that evoke the simplistic but specific black-and-white tone of a comic book. His screenplay, co-written by Jack Moran, is as justly excellent: whereas most exploitation films go through the motions of stock dialogue, Meyer's characters speak with acerbic quotability similar to that of Raymond Chandler or David Mamet. They don't speak realistically, sounding more like parties living on the distant planet of Camp, and it's terrifically expressive. The film is a work of art, influential in too many ways to count. Charged by an explosive performance from Satana, "Faster, Pussycat! Kill! Kill!" doesn't deserve to be brushed under the rug as a better-than-average exploitation film. It is its own animal, ingeniously made and endlessly entertaining. There isn't anything quite like it, and it's all the better for it.

John Waters said about it : "it's just not the best film ever made : if possible, it's better than any other film which will be made in the future". And you could believe that ! Russ Meyer delivers the female version of "Motorpsycho" : a dark, pulp-flavoured story about three gangster strip-teasers that surely's had quite an influence on Quentin Tarantino. Featuring Meyer's distinctive sexual allusive, Latin America Soap-Opera style dialogue, a good sense of pace, and interesting supporting characters. To me it's the best picture of 1966, Meyer's finest, and probably the best picture ever made.