Thanks for the memories!

Although it has its amusing moments, in eneral the plot does not convince.

While it doesn't offer any answers, it both thrills and makes you think.

Through painfully honest and emotional moments, the movie becomes irresistibly relatable

............................................................from Pasto,Colombia...Via: L.A. CA., CALI, COLOMBIA and ORLANDO, FL If you like Quentin Tarantino, you'll simply Love NOT QUITE Hollywood! There are many contributing/ participating narrators, but Tarantino has, by far, the most ON-SCREEN time. (Storyline Blurb doesn't even mention his crucial participation!) This extremely entertaining and informative low-budget documentary traces the revival of the Australian film industry, which all but died at the mid-30's Pacific onset of WWII, from its fledgling late 60's re-birth, through its multi-faceted heyday in the 70's and early 80's. Initially, NOT QUITE seemed determined to go the direction of a soft-core documentary, but this was only during the initial 20 to 25 minutes. In the early and mid-70's, the industry saw nudity and sex as an easy road to making big Aussie Dollars! Be forewarned, however... There's a LOT of frontal nudity and some mildly simulated sex during this opening segment! Throughout, CLIPS from SCORES of films appear, some from movies considered rather mainstream like MAD MAX and RAZORBACK, but the vast majority are from obscure cult classics like '78's PATRICK and '79's LONG WEEKEND, or totally unknown, never released in the U.S. or on DVD, titles like The CHAIN REACTION-'80 and MANGO TREE-'77. NOT QUITE is truly a veritable treasure trove of early Aussie Titles! I'm not the BIGGEST Tarantino fan on the planet, but most of his films are GREAT. On a personal level; he's one of my favorite famous people. Talk about not being affected by fame! He's a joy to watch! Despite being in his mid-40's, he's the same rather nerdy, little-kid-at-heart, goof-ball genius he was when he burst onto the entertainment scene nearly 25 years ago, God Bless him! A Must See for ALL "GENRE" and history of cinema Buffs! 9*.....ENJOY/DISFRUTELA!Any comments, questions or observations, in English o en Español, are most welcome! KissEnglishPasto@Yahoo.com

Just watched this documentary of the Australian exploitation pictures of the '70s and '80s-known as "Ozploitation"-on Netflix Streaming. Quite fascinating to see scenes of various sex comedies (with all that full frontal nudity), horror films (with plenty of gore), and actioners (like the first Mad Max movie with Mel Gibson) represented here. Quentin Tarantino provides a fan perspective as we meet various producers, directors, stars, and many critics of Down Under provide many pro and con comments of those drive-in pictures. The only one-besides Mad Max-of them I've actually seen showcased here was one called Road Games starring two Americans-Stacy Keach and Jamie Lee Curtis, both of whom are also interviewed. Many exciting scenes of that movie were shown but when I watched it as a kid on HBO, I didn't remember those but long boring stretches taking place on the road. Maybe I should watch it again to refresh my memory. Anyway, the way many of those "money shots" are presented are soooo quick cut edited that part of the time I found myself laughing especially whenever a particularly funny comment is said during them. So on that note, Not Quite Hollywood gets a recommendation from me.

In the wake of the social upheavals of the late 60s and early 70s, fiercely wild, brazen, and shameless exploitation pictures exploded across drive-in movie screens all over Australia. Made on shoestring budgets by blithely bold and driven maverick indie filmmakers, these movies pushed the envelope when it came to unflinchingly explicit content being presented full-on with a certain cheeky verve and delightful lack of inhibition. Indeed, the choice crazy clips showcased herein are ripe to bursting with gleefully vulgar humor, outrageously over-the-top action (nobody photographs madly careening vehicular carnage quite like the Aussies), oodles of tasty female nudity, and unsparingly graphic violence. Energetically covering everything from bawdy soft-core comedies to slam-bang four-sheets-to-the-wind action to schlocky sci-fi to gory horror, edited with galvanizing rapid-fire ferocity, and rattling along at a dizzying speedy pace, this documentary bristles with a raw, trashy, and anarchic vitality that's a total rowdy treat to behold. The eclectic array of interview subjects adds immensely to the infectiously delirious merriment: Down Under directors Richard Franklin, Brian Trenchard-Smith, Philippe Mora, and Russell Mulcahy, lovely actresses Cassandra Delaney, Lynda Stoner, Wendy Hughes, Joanne Samuel, Candy Raymond, and even super-smokin' 70's "Penthouse" model Cheryl Rixon (who still looks quite hot in her 50's), writer Everett De Roche, producer Anthony I. Ginnane, and actors Roger Ward, Jack Thompson, and John Waters. George Lazenby, Steve Railsback, Stacy Keach, Jamie Lee Curtis, and the always kooky Dennis Hopper relate plenty of cool stories about acting in films in the Land of Oz (the anecdotes about Hopper's drug-fueled antics during the making of "Mad Dog Morgan" are simply priceless). Moreover, there's a wonderfully gonzo tribute to Grant Page, who's without a doubt one of the most fearless and underrated stuntman in the history of cinema. The sole minor flaw in this otherwise excellent documentary is the ubiquitous Quentin Tarantino's overly gushy fanboy raving; while QT's obvious knowledge on and affection for Ozploitation is genuine and admirable, his insufferably spazzy filmgeek posturing gets pretty tiresome after a while. Essential viewing.

This is another one of those worryingly fashionable and prominent documentaries that offers plentiful sound-bites set to almost non-stop music, but precious little insight. Like that terribly overrated skateboarding flick Dogtown And Z-Boys, this is a barrage of information that you didn't care to know, delivered by people sometimes visibly salivating at the prospect of recounting a story that isn't really worth telling.Many of these subjects are so rigorously determined to mythologize this period of Aussie film-making, that they end up telling tales that make them look like a smirking misanthropy collective. Wasn't it funny when that actress nearly drowned, just because some schmuck of a director couldn't get the shot that he wanted? How about when Henry Silva, an actor petrified of heights, almost p*ssed himself with fear because a camera crew took him 70ft off the ground without warning him? And that Etc sequence in Patrick? They considered giving the actor real shock therapy! What lovable rogues! What tw*ts.Stir in the endless shrugging off of numerous instances of casual racism and misogyny, and you're left with a pretty empty document of little genuine significance. There are a handful of interesting, level-headed contributors (one of them being an uncharacteristically restrained Quentin Tarantino) but there is no form, structure or analysis of any cultural impact that this movement may have had. Which is a shame, because such analysis may have justified the film's existence. There may well be valuable things to say about this subject, but it'll take a much more ambitious director to do it.