Gummo is an interesting film on many levels. Because many of the characters are never introduced by name, their credits often read “Boy on couch”, “Skinhead 1”, “Cowboy 2”, etc. Many critics panned the film. The New York Times called it the worst film of the year a few months before the year had even ended.
THE six-by-eight-foot flickering rectangle of light turns the white wall to amber above Quentin Tarantino’s fireplace. Not far away, back through a Spanish archway, a 16-millimeter projector rattles with a persistent click that never quite disappears beneath the bleating of the soundtrack, like static on a short-wave radio. ”I love this scene,” Mr. Tarantino says. ”It’s a really tough scene, a tough, tough scene. But it’s not the kind of scene you expect, all right. The emotion is right out there. But if you buy it, and I totally buy it, then it can make you cry.”