John Waters' Polyester is a Douglas Sirk movie from hell. I mean that in the best way possible. For once it felt like Waters was trying to make a statement about American society, even though he's admitted that all his films are reflections of the twisted, corrupted parts of America--the parts, not so coincidentally, that he likes best. I'll probably find more later one, but this is the first one of his films I've seen that seems to have a purpose, even if it was grossing audiences out with Odorama. And has anybody else noticed how many of his films end with happy endings? This one ends with the American family purged and newly sanctified.
8/10
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