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A Dirty Shame (2004)
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Reviews Counted:31
Fresh:16
Rotten:15
Average Rating:5.4/10
Theatrical Release:Sep 24, 2004 Limited
Box Office: $1,260,219
Synopsis: From the wondrously fertile mind of writer/director John Waters comes A DIRTY SHAME, America's first carnal concussion comedy. Set in the Harford Road area of Waters' native Baltimore, A DIRTY... From the wondrously fertile mind of writer/director John Waters comes A DIRTY SHAME, America's first carnal concussion comedy. Set in the Harford Road area of Waters' native Baltimore, A DIRTY SHAME tells what happens when a horny horde of "sex addicts" invade a blue-collar neighborhood, to the shock and dismay of the "neuter" neighbors. Rude, joyous and full of sexual anarchy, A DIRTY SHAME is a movie with a generous heart and a dirty mind: in other words, a classic John Waters comedy. Lust is in the air on Harford Road and Sylvia Stickles (Tracey Ullman), a grumpy, repressed middle-aged Baltimorean, doesn't like it. Though Sylvia's handsome husband Vaughn (Chris Isaak) still has marital urges, Sylvia couldn't be less interested - she has work to do. Isn't it enough that she has to run the family's "Pinewood Park And Pay" convenience store, and prepare proper meals for their exhibitionist daughter Caprice (Selma Blair), a go-go dancer known to her adoring fans as Ursula Udders? After several "nude and disorderly" violations, Caprice and her stupendously enlarged breasts have been sentenced to home detention in the mother-in-law apartment above the Stickles' garage and now, even the neighbors know. Everything changes when Sylvia is involved in a freak accident on the way to work and receives her first head injury. Sexy tow-truck driver Ray-Ray Perkins (Johnny Knoxville) rushes to her aid and Sylvia realizes he's no ordinary service man; no, he's a sexual healer who knows how to bring out her flaming cauldron of hidden concussion lust. A prude no longer, Sylvia suddenly views the world through hypersexual eyes. Vaughn is happily surprised by his wife's resurgent libido, but when he sees her do a raunchy "hootchie-cootchie" dance during a routine visit to a nursing home, he knows something is wrong. Sylvia's mother, Big Ethel (Suzanne Shepherd), already up in arms about the libertines in their midst, decides it is time to fight back. Supported by her sex-hating neighbors like Marge the Neuter (Mink Stole), Big Ethel leads the battle for "Neuter normality." Burnin' and bewildered, Sylvia seeks out Ray-Ray at his garage, and discovers that she is not alone in erotomania. Head injuries have brought forth a flock of Sex Addicts who have infiltrated every corner of the community, from the post office and the police department to the Stickles' "Park And Pay." Ray-Ray's disciples include some of the most bizarre sexual fetishists known to man, and together the wanton followers plan to take over Harford Road. As the twelfth member of Ray-Ray's inner circle, Sylvia's arrival portends a new age of erotic bliss. What one concussion giveth, however, another can take away. Sylvia's torrid night out at the Holiday House biker bar is brought to an abrupt close by a second head injury, and her raging libido is snuffed out like a candle. The Stickles family turns to the family doctor and twelve-step meetings to help Sylvia deal with her "runaway vagina" and reclaim her sexual sobriety. But Ray-Ray and his followers have seen the Promised Land, and they will not abandon their sister to erotic anorexia. With a joyous cry of "Let's go sexin'!," Ray-Ray and his followers set out to rescue Sylvia, liberate the community and discover a brand new sex act. The final battle for Harford Road is about to unfold, with Big Ethel and her fellow Neuters making their last stand against the Sex Addicts' lewd invasion. As the struggle moves from the "Park And Pay" to the streets, lawns and even the trees of Harford Road, the head injuries multiply – and the sexual miracles begin. Sylvia and Vaughan's marriage is jump-started by a final new sex act that elevates the Sex Addicts beyond Harford Road into a whole new dawn of sexual awakening. -- © Fine Line Features [More]
Starring: Johnny Knoxville, Selma Blair, Tracey Ullman, Chris Isaak
Starring: Johnny Knoxville, Selma Blair, Tracey Ullman, Chris Isaak, Patricia Campbell Hearst, Ricki Lake, Mink Stole, Mary Vivian Pearce, Scott Wesley Morgan, Jackie Hoffman, Suzanne Shepherd, Michael Willis
Director: John Waters
Director: John Waters
Screenwriter: John Waters
Producer: Christine Vachon, Ted Hope
Composer: George S. Clinton
Studio: Fine Line Features
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Release:
Jun 14, 2005
Reviews for A Dirty Shame
The story is trite and uninteresting. And the humor is only occasionally funny, and that's largely because it's almost impossible not to be impressed by Tracey Ullman's manic energy.
Makes sex seem the least exciting thing in the world. And that's a dirty shame, indeed.
... you can have an open mind and hate this movie because I good well hated this movie.
[Waters] hasn't let slick technique take over as has Hollywood, and he retains his radical sensibility and his willingness to go where others haven't.
Ray-Ray says it best: 'It's like Noah's Ark around here; there's one of every perversion. Alas, it's all been done.'
More catalog than comedy, a checklist of erotically twisted dysfunctions strung together to fill 89 minutes of chirpy, stylized screen time.
It's pure, unadulterated, unexpurgated John Waters. It's just not much of a movie.
The obviousness and redundancy of the material take their toll on each of the actors.
This raucously gritty and high-spirited film could scarcely be bluer in terms of the language, but from Waters it comes as a gust of fresh air.
Erotic obsession, by definition, is repetitive, but who knew it could get so tedious?
Monotonous, repetitive and sometimes wildly wrong in what it hopes is funny.
A big, lascivious punch line about America's peculiar, embarrassed, hypocritical relationship with sex.
Though A Dirty Shame is more enjoyable than Waters' last couple of films, that's largely due to the thoroughly demented performances of Ullman and Knoxville.
It's just that the movie is so gosh-darned, I don't know, cuddly -- in a perverse, John Waters kind of way -- that it's hard not to like.
There is something heartening in the way Waters continues to get away with such films.
The many variations on the movie's lone joke are punctuated by dead spots, and Waters' resounding endorsement of orgasmic frenzy hardly seems like a bold new call to revolution.
John Waters's first film in four years is a grindingly anarchic attempt to have it both ways, to be both cheerfully inclusive and in-your-face nasty.
Let the chant begin here. Ullman for best actress! Ullman for best actress!
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