Marketic It's no definitive masterpiece but it's damn close.

Console best movie i've ever seen.

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

BelSports This is a coming of age storyline that you've seen in one form or another for decades. It takes a truly unique voice to make yet another one worth watching.

dougdoepke So what do you do for a movie when you've got no script, no stars, and no money. First, you get a cast with tight pants and shoot them from the rear; then, you make sure everything and everybody stays in constant motion even if you get a headache; lastly, you throw in a spoof and hope it all comes out like camp. I'll say one thing for impresario Steckler--he knows how to wield a camera even if to no overall purpose. No, this isn't camp. It's more like a student film, with all the energy in the world, a pass to Griffith Park, and a 1940's gorilla suit. One thing for certain, Steckler's mania sure puts the 'motion' in motion picture. Too bad it left me with a headache, and a tug for poor Carolyn Brandt who gets one heckuva workout. Anyway, I think Steckler has proven something, I'm just not sure what.

moonspinner55 Masked Los Angeles crime-fighters Rat Pfink a(nd) Boo Boo come to the rescue after Rat Pfink's alter-ego, rock 'n roll singer Lonnie Lord, finds out his sweetheart has been kidnapped by hammer-and-chain link wielding street thugs. Director Ray Dennis Steckler wastes a lot of camera film (and probably a bundle of cash) filming rear-ends bouncing and cars driving...driving...driving. He shows unexpected talent with the rock music montages (especially the first, "You're Running Wild", where Lonnie and his gal-pal scamper, twist, and play basketball). Unfortunately, his sense of humor doesn't match the chilly black-and-white photography (also by Steckler), nor the violent original plot about teenage delinquents. The opening scene of a bar-broad mugged and left for dead on the deserted, early-a.m. streets of L.A. actually has some edge to it (apart from one of the goons jumping--surprise!--out of a trashcan); but Steckler didn't trust his instincts, and turned the low-budget project into a "Batman" satire. He lacks the verisimilitude to cover his own callow tracks, and the acting, sound effects, over-dubbing, pacing and narrative are each atrocious. * from ****

jtyroler "Rat Pfink a Boo Boo" is another entry of Ray Dennis Steckler's catalogue of extremely low-budget films. If you have a camera, some imagination, and some willing friends, you too can make similar movies. Overacted and under funded, you can see why Steckler's films have a cult following.Carolyn Brandt plays Cee Bee Beaumont who is captured by three menacing guys (one carries a hammer with him and another has a chain, so you know these are real toughies). Rat Pfink (alias Lonnie Lord, a rock n' roll singer) and Boo Boo (alias Titus Twimbly, Cee Bee's gardener) chase the bad guys using a BMW motorcycle with a side car. Rat Pfink for reasons unknown, often rides in the sidecar while standing.This is what AIP would have churned out if they didn't have Frankie and Annette. Plus, where else could you find a character named Irma La Streetwalker?

Torgo_Approves Not because it's good or entertaining or thought-provoking (although it did make me think of several better ways to spend an hour, like staring at the ceiling, eating cat food, donating my lower intestines to starving children, shaving my feet), but because it truly has to be seen to be believed. No, I'm not talking about my "little friend", you sicko, I'm talking about Ray Dennis Steckler's amazing parody-of-a-satire-of-a-real-movie from 1966, "Rat Pfink a Boo Boo". Being the film in which the first 40 minutes consist of a bad guy with more teeth than Julia Roberts stalking a woman for what seems like hours before just ditching her at the supermarket, and a dance number (you gotta dig those rhythm-y blues, momma! Or whatever). Then the film inexplicably (and quite amusingly) decides to transform best-selling rock singer (his fans in town reaching the impressive number of three) and nondescript leading man Lonnie Lord into the stiff-armed superhero Rat Pfink. Improvisational (and it shows!) action scenes, a man in a gorilla suit and his ambiguously gay owner (who keeps him in a leash and wears his pants too high), and a car chase that looks like a more action-packed, prolonged version of the opening scene of 'Manos' ensue.It's the kind of film where everything ends in a big dance number. It's the kind of film where the hero's sidekick has little blinking lamps on sticks on his head. It's the kind of film where the director waits until there's a real parade in town and just has his actors ride a bike in front of the parade, pretending to be the subjects of celebration, so the director won't have to hire extras. It's the kind of film that never really ends, because it never really begins. It's the kind of film that was so important to its creator that two missing letters in the title weren't such a big deal. See Rat Pfink ride a motorcycle with his arm stretched out for what seems like two hours. See what drugs and laziness can do to a director's mind. See a gorilla that sounds like a pig. See the best effects a movie with the production values of "El Mariachi" from the sixties has to offer. See the bad guy recite one of the most impressive "we gotta do something" monologues ever written.Or better yet, don't. I should've trusted my gut and spent an hour watching TV shop instead.