What planet did the makers of this film come from? What assumptions do they have about the purpose and quality of life? I ask because She's Out of Co… - Roger Ebert
" "What planet did the makers of this film come from? What assumptions do they have about the purpose and quality of life? I ask because She's Out of Control is simultaneously so bizarre and so banal that it's a first: the first movie fabricated entirely from sitcom cliches and plastic lifestyles, without reference to any known plane of reality.
About Roger Ebert
Roger Joseph Ebert (18 June 1942 – 4 April 2013) was an American film critic, film historian, journalist, essayist, screenwriter, and author. He was a film critic for the Chicago Sun-Times from 1967 until his death in 2013. He was the first film critic to win a Pulitzer Prize for Criticism.
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Additional quotes by Roger Ebert
These aren't nerds. They're a bunch of interesting guys, and that's the problem with Revenge of the Nerds II. The movie doesn't have the nerve to be about real nerds. It hedges its bets. A nerd is not a nerd because he understands computers and wears a plastic pen protector in his shirt pocket. A nerd is a nerd because he brings a special lack of elegance to life. An absence of style. An inability to notice the feelings of other people. A nerd is a nerd from the inside out, which is something the nerds who made this movie will never understand.
Over the high school years, my belief in the likelihood of a God disappeared. I kept this to myself. I never discussed it with my parents. My father in any event was a nonpracticing Lutheran, until a deathbed conversion that rather disappointed me. I’m sure he agreed to it for my mother’s sake. Did I start calling myself an agnostic or an atheist? No, and I still don’t. I avoid that because I don’t want to provide a category that people can apply to me. Those who say that “believer” and “atheist” are concrete categories do violence to the mystery we must be humble enough to confess. I would not want my convictions reduced to a word.
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One of the remarkable things about Russ Meyer's films is that they continue to live and play, long after the other work of the soft-core era has been forgotten. That is partly because of their craftsmanship, partly because of Meyer's leading ladies, and partly because of a spirit of paramilitary commitment that can be sensed as the cast and crew struggle through rugged terrain to enact their rural melodramas. But the central reason, I believe, is that Meyer is an auteur whose every frame reflects his own obsessions. Like all serious artists, he doesn't allow any space between his work and his dream.