John Waters, facing the unenviable task of topping previous heights of grossness, suffers from the what-do-you-do-for-an-encore problem. It is hard to dish out shocks when the cult audience is expecting them, craving them, clamoring for them. Nothing is as shocking, in this generally slipshod fairytale about a kingdom of crooks, as the well-lighted and well-framed credits shot -- a rat laid out in an elegant table setting, in parody of the mouth-watering credits sequences of Douglas Sirk-ian soap operas. This is shocking for its technical competence, not for anything else. With Mink Stole and Liz Renay. (1977) — Duncan Shepherd
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