Touches You

Too much of everything

Great Film overall

Fantastic!

Alta Leigh (Lynn Lowry) is a young actress killed by creepy film producer Max Pavell (George Shannon) during a "game". Max's associate Camila Stone (Mary Woronov) agrees to alibi for him while searching for a suitable replacement for Alta. After a while, she seems to find just the right person: Julie Kent (Ms. Lowry again), who's a dead ringer for Alta. Eventually the naive Julie finds that these new people in her life are more than a little twisted, and begins to get scared. While this is going on, there are subplots such as the sexual misadventures of Gus (Daniel Sador), the younger brother of Max's ex-wife Helene (Monique van Vooren)."Sugar Cookies" will likely be too slow and psychological for some tastes, but it's interesting and stands as a sharp contrast to the later productions of co-writer / executive producer Lloyd Kaufmans' Troma Studios. It's actually an intoxicating and moody mix of exploitation and art. Some of the music is rather nice, and everything is gorgeously shot by cinematographer Hasse Wallin. The story ultimately evolves into a practically two character drama as the bisexual Camila gets to know Julie and seduces her. If nothing else, this film is a solid vehicle for the charms of sexy cult actresses Woronov and Lowry (the latter receiving an "introducing" credit here); their admirers will appreciate how much flesh the two ladies bare, and absolutely love the steamy scenes with them later on in the film.Woronov was married to the co-writer / director Theodore Gershuny at the time; he actually wrote the part of Camila with his wife in mind, and also around this time they (and Kaufman) worked on the horror film "Silent Night, Bloody Night". The editor Dov Hoenig went on to bigger and better things, cutting films such as "Thief" and "Heat" for Michael Mann as well as "The Crow" and "Under Siege".Definitely recommended to those people interested in the artifacts of NYC's "underground" film scene of the period.Seven out of 10.

A very early Oliver Stone (associate-)produced film, and one of the first films in the impressive career of Lloyd Kaufman (co-founder and president of the world's only real independent film studio Troma, creator of the Toxic Avenger and, at the prestigious Amsterdam Fantastic Filmfestival, lifetime-achievement awarded filmmaker for over 30 years). Having raised the money for this film on his own, Lloyd wrote this script together with Theodore Gershuni in 1970 and in hindsight regrets having listened to advice to have Gershuni else direct the film instead of doing it himself. But back then he was still inexperienced in the business and it is probably because of decisions like these that he takes no nonsense from anyone anymore. Indeed it would have been interesting to see Lloyd's version of his own script - as one of the world's most original, daring, experimental and non-compromising directors he probably would have given it even more edge than it already has. But as it is we have the Gershuni-directed film. And weather it is due to the strong script, or the fact that he too is indeed quite a director of his own, SUGAR COOKIES is a very intelligent, highly suspenseful and well-crafted motion picture that deserves a lot more attention than it receives. The shoestring budget the small studio (this was even before Kaufman and his friend and partner for over 30 years now, Michael Herz, formed Troma) had to work with is so well handled that the film looks a lot more expensive, indeed does not have a "low budget" look at all. The story revolves around lesbian Camilla Stone (played by enigmatic Mary Woronow) and her lover who winds up dead through circumstances I won't reveal not to spoil a delightful story. This leads to a succession of plot-twists, mind games and personality reform that is loosely inspired by Hitchcock's Vertigo and at least as inventive. The atmosphere is a lot grimmer, though, and some comparisons to Nicholas Roeg's and Donald Cammell's PERFORMANCE come to mind. In this mix is a very original and inventive erotic laden thriller that keeps it quite unclear as to how it is all going to end, which, along with a splendidly interwoven sub-plot with a nod to Kaufman's earlier and unfortunately unavailable BIG GUSS WHAT'S THE FUSS, makes for a very exciting one-and-a-half-hour. Certainly one of the best films in Troma's library, and yet again one of those films that defy the curious fantasy that their catalog is one of bad taste. The DVD includes some recent interviews Kaufman conducts with Woronov and the other leading lady Lynn Lowry (later seen in George Romero's THE CRAZIES), thus giving some interesting insight in what went on during the making of this cult-favorite and a few hints of what would be different had Lloyd directed it himself. Highly recommended.

I am amazed Lynn Lowry never became a bigger star. She is beautiful in a unique way (not "movie star" beautiful; her beauty is much more natural) and actually manages to act (and act well!) despite the dreadful roles she is usually given. This is particularly the case in Sugar Cookies. Terrible movie no matter how you look at it. Unless you look at Lynn Lowry. It was her beauty, her charm, her grace, and yes her acting that kept me engaged throughout an otherwise dreadful experience. Mary Woronov is a good actress also, and she and Lowry played off each other well. Ladies & Gentlemen - you really have to check Ms. Lowry out! Her characters are always memorable, even in small roles such as the one Paul Schrader gave her in his remake of Cat People. Alas, we never did see this once budding talent be given the proper opportunities to fully develop her craft before our eyes. This is the only tragedy regarding Sugar Cookies that is worth discussing.

Although not a particularly good film, it is still loads better than anything Troma released in the 80's. This is the one of the first releases by Troma, a few years after the laughable "The Battle of Love's Return". Lynn Lowry plays a dual role(and cannot act in either of them) as Alta, a woman murdered by adult film-maker Max, & Julie, an actress pursued by lesbian Camila(the leggy Mary Woronov). It might have been a better film had there been better acting and if a stupid sub-plot involving Max's ex-brother-in-law had been deleted.