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What Herschell Gordon Lewis is to gore, Russ Meyer was to big breasts. And also sometimes gore, which made him a bit like a walking version of that Hustler cartoon with the naked lady in the meat grinder. Tonight, Sordid Cinema, the younger, less popular cousin of Sound on Sight—you know, the one that always sticks its hand in its pocket whenever a girl in high heels walks by—takes a look at two of Meyers’ classics; Faster, Pussycat! Kill! Kill! and Motor Psycho, both from 1965.
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