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There are so many words that can describe The Greasy Strangler, Jim Hosking's feature directorial debut: gross, vile, disturbing, demented, cheap, disgusting, offensive, flatulent. I'm probably leaving out another hundred or so. But damned if I wasn't thoroughly entertained by this uproariously funny film that defies description. It may be difficult to grasp considering how extreme it is, but at its heart the film is a touching story about the often awkward father-son relationship.
Michael St. Michaels (with a whopping 9 acting credits since 1974 on IMDb) plays Ronnie, a disco walking tour owner whose son, Brayden (Sky Elobar), works and lives with him. Ronnie's dietary habits are not healthy, to say the least: let's just say he enjoys a little bit of food with his grease. When one of the disco tour's clients (Elizabeth De Razzo) takes a liking to Brayden, it sets off a jealous rivalry for her affection between father and son. It's no coincidence that this little love triangle coincides with the appearance of a naked, grease-covered serial killer dubbed the greasy strangler. Can the mild-mannered son prove his suspicion that his dad might be the greasy strangler before it's too late?
That synopsis does nothing to really describe the visual and aural assault that is The Greasy Strangler, though. It truly must be seen to be believed, preferably with an audience at a midnight screening. Like much of the oeuvre of John Waters, it's gross-out comedy with a heart. While Hosking may let some jokes linger a bit too long at some points and pours it on a bit thick (huzzah!) at others, he does it all with a knowing nod and a wink. The man knows his audience.
Featuring a driving electronic score by experimental musician Andrew Hung, as well as more full-on male nudity than you can shake a can of Crisco at, this film is destined to become a cult classic. If you're not easily offended and you enjoy some good old gag-inducing set pieces and sight gags, The Greasy Strangler will not disappoint.
Recommended Release: COOTIES
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