This early feature length effort from cult filmmaker Abel Ferrara is interesting, to say the least, if not for all tastes. While it might appeal to some slasher fans for its respectable body count and surprisingly decent gore, it does have more in common with "Taxi Driver" than, say, "Halloween". It's an incredibly gritty, crude, yet appreciably surreal urban drama about Reno Miller (played by Ferrara himself, using his acting pseudonym "Jimmy Laine"). Reno is a struggling young painter, who lives with two sexy female roommates, Carol (Carolyn Marz), and Pamela (Baybi Day). Renos' hold on reality is steadily slipping away. His mental state isn't helped by the fact that his landlord has let a punk band move into his building, and their constant rehearsals drive him nuts. Soon, he's out and about murdering the derelicts of NYC streets with a power drill.
This may be hard to stick with for some viewers. Admittedly, it's VERY thin on story. The acting, while amateurish, gets the job done, with Ferrara doing an amusing job in the lead role. "The Driller Killer" also is fascinating for the way it captures the punk scene of NYC in the late 1970s. The omnipresent music (score by Joe Delia, songs by Tony Coca Cola and the Roosters) is often insidiously catchy. The screenplay is by frequent Ferrara collaborator Nicholas St. John, who creates a fairly vivid portrait of one persons' mental decline. There is some memorable imagery here, such as Renos' painting of a buffalo. Use of various unsavoury NYC locations is excellent.
Worth a look for aficionados of 1970s cult cinema, but Ferrara didn't really hit paydirt until his next film, the great "Ms. 45".
Six out of 10.
This may be hard to stick with for some viewers. Admittedly, it's VERY thin on story. The acting, while amateurish, gets the job done, with Ferrara doing an amusing job in the lead role. "The Driller Killer" also is fascinating for the way it captures the punk scene of NYC in the late 1970s. The omnipresent music (score by Joe Delia, songs by Tony Coca Cola and the Roosters) is often insidiously catchy. The screenplay is by frequent Ferrara collaborator Nicholas St. John, who creates a fairly vivid portrait of one persons' mental decline. There is some memorable imagery here, such as Renos' painting of a buffalo. Use of various unsavoury NYC locations is excellent.
Worth a look for aficionados of 1970s cult cinema, but Ferrara didn't really hit paydirt until his next film, the great "Ms. 45".
Six out of 10.