Directed by:
Jim SharmanCinematography:
Peter SuschitzkyCast:
Tim Curry, Susan Sarandon, Barry Bostwick, Richard O'Brien, Meat Loaf, Charles Gray, Patricia Quinn, Nell Campbell, Jonathan Adams, Peter Hinwood (more)VOD (2)
Plots(1)
The madcap, musical mayhem begins when rain-soaked Brad and Janet take refuge in the castle of Dr. Frank-N-Furter, a transvestite mad scientist from outer space who is about to unveil his greatest creation - and have a bit of fun with his reluctant guests! (official distributor synopsis)
Videos (1)
Reviews (10)
A musical whose plot is merely an ingenious backdrop for an enormous cinematic legacy and a celebration of artistic and life's incoherence and extravagance. It gets a bit slow in the end, but otherwise it’s an absolutely unprecedented and deservedly iconic whirlwind of funny musical sketches, cleverly written, wittily staged and, above all, incredibly acted! Tim Curry is phenomenal as a transsexual caricature of a mad horror scientist, as if he was born for this insane and unique role in film history, and it's all embellished and spiced up with two more cherries than the adorable Susan Sarandon, whose feminine assets I want to see at home every day.... just want! 85%
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Susan Sarandon almost constantly in lingerie, a free-spirited transvestite, a castle of freaks, a fat biker, a reversal of puritanism, and good taste getting one slap in the face after another. This trip to the strangest castle in the area simply turned out as contradictory as expected. The songs are mostly fine and catchy, but the plot they are attached to is unbearably bizarre and always completely unrelated to any hint of a storyline. And of course, the best song is "Touch-a, Touch-a, Touch-a, Touch Me".
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Transvestism, playing with bisexuality, fetishism, and voyeurism combined with 70s pop art and classic rock and roll, all in the form of a musical that looks like a parody of B-movie sci-fi horrors. However, any plot is purely secondary, and it can generally be said that looking for deeper meanings in it is a complete waste of time. In reality, it's more stupid than Flash Gordon from 1980, and that's really saying something. Basically, it's about having fun and provoking a bit, as it was projected as a big hit for late-night screenings for older teenagers. From my point of view, what saves it is the music - not that it's exceptionally great, but some of the melodies are quite catchy. Meat Loaf's rock anthem got to me so much that I played it four times in a row. The third star is for originality and overall craziness because something this bizarre is not often seen in movie theaters. Susan Sarandon stands out from the ensemble cast, and I think she had a great time during filming. She probably won't get another role like this in her career. When does an actress of her caliber get the opportunity to wear a skimpy corset like a girl from a brothel and act in such debauchery? Overall impression: 50%.
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What more can I say about the presumed musical legend, than that its humor, as well as the individual songs, were just not my cup of tea. And I respect the British humor as well as I respect a similar sounding music. Nevertheless, since I’ve heard endless stories of how people are dedicated to this movie, I will refrain from a more in-depth review. It will be for the better.
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Even in an ordinary screening, without high heels, rattles and rubber gloves, The Rocky Horror Picture Show is endlessly entertaining and, during the existential songs, it is a touching defence of eccentricity and a tribute to the sci-fi and horror B-movies of Val Lewton and William Castle. Thanks to the tastelessness, affectedness and consciousness of its own decadence, every gesture, every prop and every deviant costume screams “camp”. The film dares us to despise it and dance with it. Both surprisingly happen at the same time, inviting us to experience it again and again, just like repeatedly listening to the soundtrack (I’ve had “Touch-a, touch-a, touch-a, touch me” stuck in my head for a few weeks). 90%
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