“Fans of midnight movies will see familiar sights in The Greasy Strangler. It has human grotesques, like those in [David Lynch’s] Eraserhead. It marries horror and porn just like The Sinful Dwarf and other sexploitation films. It has a memorable antagonist-monster, like the weiner-eating freak in [Frank Henenlotter’s] Basket Case, with violence that’s as cartoonish as that in the Japanese ghost story House.
But it’s also a contender for the title of Weirdest Movie Ever by tinkering in freshly disorienting ways with gender, language and design. It was shot in Los Angeles, so the locations feel familiar. But the landscape unsettles the eye, as if [John Waters’] Multiple Maniacs had left Baltimore for Pluto. Christina Blackaller’s costume design, for example, is monochromatic and textural, like furniture. The silhouettes are deliberately ill-fitting, and the feminine tailoring — even for the men — lands somewhere between Comme des Garçons and Scooby-Doo.” – Erik Piepenburg / The New York Times
“If Barton Fink was made by John Waters, this is the sort of movie he’d write. — Utterly honest, to the point of purity.”
– Russ Fischer / IndieWire
“Made me laugh aloud several times — has its own comic coherence: a style sustained throughout that’s best compared to a live-action cartoon.”
– Jonathan Romney / Film Comment