I'll tell you why so serious

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

The storyline feels a little thin and moth-eaten in parts but this sequel is plenty of fun.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Russ Meyer makes his films, when they're at their best or most brilliantly deranged, like the dream of some sexually charged sixteen year old who's seen his share of pornos and 70's era exploitation films. They're crazy visions of women with (usually) nothing lower than 36-C cups, men with third legs (wink wink, nudge nudge, say no more), and enough fornication to blow the head gasket of any puritan viewer. That being said, Meyer isn't exactly a real porno director. He makes sex films in the same way that Robert Rodriguez makes wild action or horror or kids films: as a do-it-yourself-auteur (i.e. writes, directs, produces, edits, DP's, even camera operates), he's all about getting a pulpy sensibility of what would otherwise be typical trashy material. Meyer also is gifted with a wonderfully cringe-worthy sense of humor. To give just a brief example- and maybe as one of the quintessential scenes in any exploitation flick- the scene where two completely naked women, one Eva Braun Jr with a knife and screaming maniacally about the fall of Nazism and the plight of his 'father', run after one another trying to kill each other in the woods.So Up! is in another in a whole body of works where Meyer turns the conventions of the usual in movie-making, like a kooky member of National Lampoon, but at the same time I'm not sure it's one of his very best. It's a little scatter-shot in the story, if there is one closely to even follow with the Greek Chrous (Kitten Navidad) where in every time whatever semblance of a story is taking shape we're led off by this narrator and Meyers's editing which takes us into a strange loop of sequencing of events and images (which in and of themselves are good, but distracting). But when Up! does click, it works very well. Mostly this involves the early scenes with Adolph Schwartz (ho-ho), who gets masochistic sex from a dominatrix and a man with a huge thing, and then gets killed mysteriously in his bathtub. Then we're thrust into some backwoods group, including a shifty but well-intentioned sheriff (Monty Bane), a big, uproarious homunculus in Rafe (Bob Schott), and of course Meyer's 'harem' of girls.It's fun, in all basic intentions, to see these girls have fun and go into exuberant glee doing their scenes, as opposed to the more degrading XXX features that get pretty boring after a while. This is where the dream facet comes in, where everything is just so surreal (the frolicking sex out in the open, wherever it is, the Nazi stuff right out of a typical exploitation flick from Europe, the double-climax that combines sex AND violence), that you just have to go along for the ride and laugh with all the craziness. What helps is Meyer's great cinematic eye- yes, great- as he shoots and edits as though every image has to be just next to perfect. While the actual content is sometimes all over the place, like with Rafe's rape scenes, where he turns into a true drunken gorilla, the actual quality of the film-making is nearly flawless. Which is to Meyers's credit, as what is in Up! could be the makings of a much more lewd and crude effort.Hard to find (had to look deep on line) and not without little dips in real strength in the comedy, Up! demonstrates some great Meyers' product: beautiful, voluptuous, and mostly funny women (loved the one woman who's voice sounded out of femme fatale noir), total horn-dogs and beasts in men, and a bit of vicious satire to boot. More beer!

when people talk Meyer films, I never hear Up! mentioned at all and I don't know why. I am constantly perplexed that Supervixens gets much acclaim yet nobody mentions Up! Maybe it's just me.This is the 11th Meyer film I saw and I really enjoyed it. A lot. Again, maybe it's just the fact that Raven is so ravishing that draws me in. She is indeed one of the top Meyer girls, and tis a shame she wasn't cast in any others. She's gorgeous, has such a cool face, and of course, her bustline is amazing.I guess this one was made so much later in his career that it went under the radar. It came out in '76 and by then people were already experiencing more intense cinema like Star Wars and Jaw, the 'blockbuster' as it were....perhaps Russ was past his prime by then. Maybe it was too self-referential, too cartoon-ish, too zany, too sleazy, maybe it was bar rape scene, who knows.....whatever the reason, it's a shame. Love the rednecks and hillbillies in Meyer films- they don't seen Hollywood. And since I suffer from the same malady as Meyer did- Bosomania- I'll never argue with his casting, especially with Raven, who stands up there with Tura, Erica Gavin, Ann Marie, and others as top Meyer gals.Hope to attend a Meyer film fest someday to see this on the big screen.

Hallo everyone, in one of the later scenes of this film a signpost reads: Hanns Seidl Stiftung Wildbad Kreuth. On top of it is Adolph Schwartz' mailbox. Not everyone may know this political foundation, which is the propaganda-academy of the CSU party of Bavaria (Christian Social Union), a very right wing party, neo-con and very religious with Catholic fundamentalist tendencies, not openly fascist, but with occasional leanings in that direction. Adolph Schwartz' mailbox on this signpost suggests that Hitler resides at the Hanns-Seidl-Stiftung, which I consider an exaggerated but not too far-fetched insinuation. I wonder who gave Russ Meyer this brilliant idea. He cannot have been so familiar with local Bavarian politics. Pity I did not ask him in his lifetime. If anyone wishes to see the pic, I can mail it. Looking forward to comments. Gerhart, Munich

Russ Meyer does it again! Up! has something to offend anyone with any sensibilities. I have fond memories of wading through picket lines of feminists in Berkeley to see this in the theater. Meyer's perverse mix of humor, sex, and violence is at its best in this film. Not to be missed by people who....well, we know who we are, don't we?