Film

Supervixens

Name: Supervixens
Genre: Comedy
Released: 1975
Cast: Shari Eubank, Charles Pitts, Charles Napier, Uschi Digard, Christy Hartburg

Crime

Russ Meyer's anarchic 1975 sex comedy about a man on the run from a murderous cop, featuring Meyer's signature style: exaggerated performances, absurdist humor, and an array of outlandish characters. It's deliberately trashy, deliberately funny, and deliberately unconcerned with good taste. For fans of uninhibited, anything-goes cinema.

TMDb rating

2.8

Should you watch it?

Watch it if you enjoy comedy that is loud, lurid and gleefully tasteless, where the camera leers and the plot barrels along on pure swagger and exaggerated noise.

Skip it if you find nudity-heavy, cartoonish excess wearying, or want a thriller that takes its grim premise seriously; this one plays it as a gaudy romp throughout.

What it asks of you: A full two hours of brisk, eye-popping chaos, with scenes that cut quickly and rarely let the energy sag.

Not sure? Find tonight's pick in a minute.

If you liked this

Faster, Pussycat! Kill! Kill!1965

Meyer's earlier masterpiece of controlled chaos: three go-go dancers, a getaway, and escalating mayhem. It's got the same anarchic energy as Supervixens, but even more explosive—the template for everything Meyer would do after.

But The gender politics are complicated and sometimes ugly. It's also relentlessly weird and never stops moving, which exhausts some viewers.

Beyond the Valley of the Dolls1970

Meyer co-wrote this with Roger Ebert: a rock-and-roll tragedy that's also a satire, also a thriller, also visually outrageous. It has genuine narrative drive underneath the provocation—Meyer at peak ambition and invention.

But It's nearly two hours. Some of it doesn't work. It's also genuinely dark in spots, which surprises people expecting pure camp.

Vixen!1968

Meyer's breakthrough: a woman's sexual appetite becomes the engine of a thriller. Audacious, genuinely funny, and visually inventive in ways that still stand out. Pure Meyer distilled to 70 minutes.

But It's explicitly sexual in ways that can feel dated or uncomfortable. Also, by design, it's completely shameless about its own absurdity.

Not sure tonight? Get a pick in a minute, starting from Supervixens

The wildcard

Something you would not have found on your own.

The Boondock Saints1999

Both are films that decided good taste was optional and structured around that decision. Both are formally inventive in pursuit of transgression. Both polarize audiences violently. Both have a kind of homemade energy despite their actual craft.

Troy Duffy's indie revenge thriller about vigilante twins in Boston. It's visually baroque, structurally weird, narratively bold, and absolutely committed to its own excessiveness in ways that feel genuinely anarchic—no studio interference, no apology.

But The gender representation is terrible. It's also aggressively style-over-substance, which some viewers read as empty provocation. The dialogue is purple. Many people find it insufferable.

Beneath the Valley of the Ultra-Vixens1979

Meyer's final film: a sprawling, ambitious sex comedy about small-town life and marriage. It recaptures Supervixens' anything-goes tone while attempting something almost thoughtful about desire and stability.

But It's nearly three hours of escalating weirdness with diminishing returns. Some sequences go nowhere. Meyer's energy couldn't quite sustain his ambition here.

Beneath the Valley of the Ultra-Vixens poster

Mondo Topless1966

A documentary-as-provocation about go-go dancing culture, narrated with deadpan absurdity. It's Meyer exploring real desire and real bodies with the same transgressive glee as his fiction films—shorter and punchier than his narratives.

But It's aggressively sexualized footage of real women. The 'documentary' framing doesn't reduce that—it makes it more complicated and harder to dismiss as fantasy.

Mudhoney!1965

Meyer's first feature-length narrative: deliberately crude, deliberately sexual, deliberately ridiculous. It's the missing link between his documentaries and his later comedies—rawer and meaner than what follows.

But It's genuinely bleak beneath the trash. The humor is cruel. The filmmaking is deliberately cheap-looking, which some viewers will read as incompetence rather than style.

Up!1976

Meyer's blackest sex comedy: a burglar holds a house hostage, and everything spirals into operatic perversion. It's Supervixens' sister film—equal parts funny and disturbing, with genuine ambition hiding under the sleaze.

But It's genuinely nasty in places. The humor is predatory. It's also narratively chaotic in ways that frustrate rather than delight some viewers.

Motorama1991

A fever dream of a road movie about a kid and a stolen car, made by Henry Jaglom in the '90s. Not Meyer, but Meyer-adjacent: anarchic, sexual, visually excessive, and completely indifferent to mainstream sensibilities. Proof of Meyer's influence.

But It's a genuine curveball—tonally unstable, narratively weird, and sometimes boring. It requires patience and an appetite for genuine strangeness, not parody of strangeness.

Cherry Hill High1977

A teen sex comedy from the same era, equally shameless and equally indifferent to taste. It's genuinely funny in its dedication to stupidity and sexualization. A solid alternative if you want that '70s anything-goes vibe without Meyer's formal invention.

But It's not made by a visionary. It's just competent exploitation. Once the novelty wears off, there's less there than Supervixens offers beneath its surface.

Wet Hot American Summer2001

Supervixens and Wet Hot American Summer are both films that believe narrative coherence is less important than creating a world where anything can happen and comedy can emerge from that permission. Both use exaggeration and tonal chaos as their formal vocabulary. Wet Hot proves Meyer's anarchic approach works without the sex component—it's about the same liberation and the same refusal to apologize.

David Wain's deliberately broken comedy about a summer camp on its last day. It's structured like absurdist theater—rapid-fire jokes, tonal whiplash, non-sequiturs, genuine heart underneath the chaos. It understands that comedy can be visually and narratively anarchic without sex being its engine.

But It's a comedy that refuses to land jokes in traditional ways. Some scenes go nowhere. It's also deeply committed to a very specific '80s aesthetic pastiche that doesn't always earn itself. The pacing exhausts some people.