Hellen I like the storyline of this show,it attract me so much

FeistyUpper If you don't like this, we can't be friends.

AnhartLinkin This story has more twists and turns than a second-rate soap opera.

Neive Bellamy Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

bregund Like all character actors, you don't know her name but you've seen her face a million times, and here she shines as the owner of a seedy hotel filled with an assortment of weirdos. I found myself wishing that the film were funnier or edgier like a true black comedy, but it is Paul Bartel's first film and overall it's pretty effective. I kind of wanted Cheryl and George to get together, so it's a letdown when you learn that it's just not going to happen, for reasons that are too bizarre to write down; just watch the film, you'll see what I mean. As far as the rest of the film is concerned, there are some details that are so specific that they must have come from someone's real-life experiences, so in that respect there is a lot of authenticity here; Bartel manages to build a fully-functioning world, not as effectively as John Waters, but it's here nonetheless. It's an entertaining ride, and predictable in parts, but it's a step up from a B movie.

SnoopyStyle Cheryl Stratton came out to L.A. from Cleveland with Judy. The roommates have a fight and she pleads with Aunt Martha for a place to stay at her rundown downtown hotel. The hotel houses a motley group of strange personalities and a serial killer among them.This is Paul Bartel's first full length film. It has his outlandish tastes and quite frankly his amateurish style. This is an indie black comedy horror. The lead Ayn Ruymen can be stretching too hard at times to be this wide-eye innocent. She's not the best actress. Lucille Benson who plays Martha is the best of the lot. The characters are weird but jokes are not widespread. There is a quirky indie charm about the whole enterprise. It's quirky weirdness with a water doll, Psycho peeping, and serial killings. Like many first times, it's a bit messy. It's awkward at times. Not everything works but some of this is unforgettable.

pesicev-macak Unusual movie, not quite horror but also not quite black comedy either. As another reviewer said, it resembles Psycho or Peeping Tom with it's focus on psychology and even relentless presence of camera - but those themes aren't explored further, they're there just to add another touch of weirdness. On the other hand, film is also one part exploitation, with some nude scenes to oogle here and there. Psychology is the most interesting part: Cheryl is written well as a needy but neglected teenager who is creeped out by the neighbor photographer, but too flattered to resist - and what little glimpses of Aunt Martha and George we have, are interesting. Sadly, acting is below average, except for Lucille Benson who is quite good, leading actress Ayn Ruymen in particular speaks her lines as if she hears them for the first time (which adds to the exploitation feel). The ending is at the same time great and unsatisfying. The scene is cut away in the middle of final fight, and next ten minutes we are left wondering what happened next, while director taunts us with daylit scenes of two cops searching the premises - very effective way to present aftermath. On the other hand, a lot is left half-explained, and this film in particular doesn't benefit from that. The final appearance of Cheryl is a pretty cliché final twist, one that you see coming, but hope that director will have more imagination. It's an unusual and quirky film that many will find interesting, but don't expect a masterpiece.

Woodyanders The late, great, sorely missed Paul ("Death Race 2000," "Eating Raoul") Bartel cranks up the delectably deranged, yet still oddly compelling psychosexual insanity to twelve plus in this alarmingly aberrant and off-center 70's horror exploitation oddity. Sweet, pretty and naive teenage runaway Cheryl (a charming performance by the adorably waifish Ayn Ruymen) gets tossed out onto the streets after she's caught watching her sister doing just what you think with her boyfriend. Cheryl winds up seeking room and board at the King Edward Hotel, a seedy ramshackle Los Angeles fleabag dive that's run by wacky Aunt Martha (a delightfully dotty Lucille Benson; the batty old lady gas station proprietor in "Duel"). Cheryl soon finds out that the place is a veritable haven for hardcore unhinged freaks: Among the hotel's regulars are a pathetic drunk, a senile old bag, a jolly gay priest with a taste for chains, leather and muscular young men, and the shy, reticent George (handsome, sulky John Ventantonio), a photographer who snaps pictures of young couples making love in the park and spies on Cheryl through peepholes in the walls. Why, even dear Aunt Martha underneath her uptight conservative veneer proves to be an absolute kook who has a pet rat and enjoys attending funerals of complete strangers. Director Bartel draws the viewer into this bizarre scenario by deftly creating an arrestingly sleazy'n'sordid weirded-out scuzzball skid-row atmosphere that's both deviant and disturbing in comparable measure. Moreover, the twisted script by Philip Kearney and Les Rendelstein offers a wondrous wealth of severe depravity: fetishism, voyeurism and even transvestitism all rear their kinky heads in this sublimely sicko story of repression, perversion and obsession that culminates in a real dilly of a crazy climax. The film reaches its gloriously warped apex during the astonishing sequence in which George uses a hypodermic needle to inject his blood into a water-filled blow-up sex doll with a photo of Cheryl's face pasted on it. Andrew Davis' stark, shadowy cinematography and Hugo Friedhofer's marvelously jazzy and brooding Bernard Hermannesque score further enhance the prevailing mood of divinely full-bore dementia to be relished in this one-of-a-kind trashy treat.