Mary Poppins Returns
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All Critics (21)
| Top Critics (5)
| Fresh (7)
| Rotten (14)
Even those with a strong tolerance for monster-movie gore are far from guaranteed to accept its warm, clumpy bath of repugnant ickiness.
Kuso may often feel unproductively loud, and monotonous, but it is a head-scratcher worth contending with.
Every densely layered image of oozing pus and gassy orifices is as imaginatively rendered as it is disgusting.
So thoroughly conceived that it demands appreciation if not quite love, Kuso offers gross-out Afro-future horror for the dank-memes generation.
[An] insufferable mishmash of interwoven segments - aimless in themselves, even more so as a whole - almost entirely concerned with bodily functions and bodily fluids.
If this is the grossest film ever made, though, it's also quite dull. That's the barefaced truth of it.
Loud, objectionable, occasionally funny but mostly trying, the visual experimentation and adherence to all things ugly quickly grows tiresome.
Kuso commits a violation far worse than gross toilet level existence; it's straight boring. A moebius strip of distasteful sickness.
Kuso is gross. ... I'm not terrifically excited to revisit it, at least until my stomach settles a little from the first go.
Kuso has nothing to offer for cinephiles or indie lovers. It's over the top revolting and extremely fetishized with no story or interesting characters to back it up.
... an attempt to be so against the norm that he [Ellison] forgot it also needed to be about anything at all.
Its episodic structure is closer to the rat-a-tat gross-out of an ABCs of Death movie than the sustained debasement of Pier Paolo Pasolini's 1975 Salò or its many children.
Monty Python, Eraserhead, Tetsuo: The Iron Man, Funky Forest: The First Contact meet Tim Heidecker, George Clinton, and Aphex Twin in Flying Lotus' first feature film Kuso. In a year that has already had its fair share of weird (i.e. The Bad Batch, the new season of Twin Peaks, Raw, and Song to Song), Flying Lotus a.k.a. Steve has dropped a doo-doo bomb of political satire on our desperately drug-fueled, over-sexed culture. After already establishing himself in the hip-hop, IDM, and (insert Pitchfork genre here) music scenes, Flying Lotus has finally given us a visual amalgamation of all of his favorite films, made it disgusting, and in so doing, created an extreme art-house flick that you have to love simply for all of the influences it wears on its sleeve. Unlike many avant garde offerings, there isn't really any sort of beauty to be found in Kuso. Instead we are presented with several interwoven vignettes concerning race, gender, sexual orientation, drugs, and media, all of which range from off-putting to revolting. It seems to take place in a post-pandemic, radioactive dystopia where every facet of day to day life has devolved into a ubiquitous, nihilistic poop joke. If you consider yourself a "normal" person, just don't even bother watching this film. It is not made for you, and you will be annoyed or unnecessarily disturbed by it. For fans of David Lynch, Troma movies, and Xavier: Renegade Angel, here is one I can't recommend enough.
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