5.9 | / 10 |
Users | 3.5 | |
Reviewer | 4.0 | |
Overall | 3.5 |
The three chief executives of Creative Concepts Systems & Procedures Brothers Unlimited Inc. of New York are in hot water as their latest venture has been a huge failure, and their Mafia investor, "Mr. Big", wants his $500,000 within 24 hours, or else. So Jimmy, a courier who over hears their plight, suggests they make a porno movie as an easy way of getting back the lost money.
Starring: Luis de Jesus, Al Goldstein, Gerard Damiano, David W. Beames, Jonathan Freeman (I)Erotic | 100% |
Comedy | Insignificant |
Animation | Insignificant |
Musical | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 1.85:1
Original aspect ratio: 1.85:1
English: DTS-HD Master Audio Mono (48kHz, 24-bit)
English SDH
Blu-ray Disc
Two-disc set (1 BD, 1 DVD)
DVD copy
Region free
Movie | 3.0 | |
Video | 4.0 | |
Audio | 4.0 | |
Extras | 4.0 | |
Overall | 4.0 |
I’m not entirely sure writer/director Gerard Damiano is aiming for titillation with 1976’s “Let My Puppets Come,” but that’s a deep dive down a kink hole I’m not currently prepared to investigate. Instead of overwhelming sexuality, the X-rated feature is more of a cartoon where marionettes and hand puppets are brought in to put on a show, albeit with adult movie interests. Over the years, there have been a few stabs at raunchy entertainment featuring felt stars (including 2018’s borderline unwatchable “The Happytime Murders”), and Damiano deserves credit for jumping into the wilds with this production, which resembles a vaudeville show, only instead of unleashing a steady stream of one-liners, the performers use their stage time to molest one another.
The AVC encoded image (1.85:1 aspect ratio) presentation pulls a rather obscure movie out of the depths of cultdom, with Vinegar Syndrome bringing "Let My Puppets Come" to Blu-ray, working with "35mm archival elements." There's significant wear and tear throughout the viewing experience, working through scratches, speckling, rough reel changes, jumpy frames, and blemishes. These are a reality but not a distraction, as detail is strong, offering spongy textures on the puppets, and costuming retains fibrous qualities. Sets are open for inspection, and the few street encounters maintain dimension, offering a glimpse of New York City in the mid-1970s. Colors are bold, dealing with lively hues on clothing and puppet design, while human co-stars retain natural skintones during scenes of nudity. Delineation isn't problematic. Grain is film-like.
The 1.0 DTS-HD MA mix is a straightforward understanding of dialogue exchanges, with dubbed puppet encounters coming through with proper volume, never obscuring the zaniness. Musical numbers are louder but retain reasonable stability, with acceptable instrumentation. Sound effects are pronounced. Hiss and pops are periodically encountered.
"Let My Puppets Come" is goofy, and because Damiano seems like he's winging it for most of the run time, the picture runs out of steam early. Oddity tends to pick up the movie when it comes to a stop, with nightmare fuel provided by Pinocchio's wish to become a real boy, magically turned into a young woman wearing a horrible mask. A few humans arrive to play, including Lynette Sheldon and Viju Krem, but the puppets are the main attraction, and while they lack Henson-style detail and movement, Damiano sure loves what they do, dreaming up as much absurdity as possible to keep the endeavor raunchy and, at times, charmingly ridiculous.
2013
1975
1977
1989
2011
1971
2007
1982
1970
1978
Limited Edition of 1500
1978
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1972
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Peekarama
1985
1953
1973