are going in an arguably weirder direction with their spinoff YouTube channel, Memory Hole. This newer project features similar editing over footage from home videos. Although the end goal still seems to be laughter, the lead up to the punchline is a lot less comfortable than their work under the EiT! brand… and we’re totally fine with that!


Our weekly look at what’s weird in theaters, on hot-off-the-presses DVDs, and on more distant horizons…

Trailers of new release movies are generally available on the official site links.

SCREENINGS – (Spectacle, Brooklyn, NY, July 6):

The Day of the Beast (1995): ‘s over-the-top, gory black comedy about a Basque priest, a heavy metal fan and an occult TV host who team up on Christmas Eve to try to find the location where the Antichrist will soon be born. This film is highly regarded but is little known on these shores because there is no English-subtitled version in circulation on home video. More de la Iglesia is on tap at Spectacle throughout July, including Accion Mutante, about a terrorist organization of the handicapped waging war on beautiful people, and Perdita Durango, with Rosie Perez and Javier Bardem. Hatchet to the Head: an Unholy Trinity by Alex de la Iglesia at Spectacle.

FILM FESTIVALS –New York Asian Film Festival 2015, New York City, June 26-July 8):

We’re a little late in noticing this Lincoln Center-sponsored festival featuring movies from China, Hong Kong, Japan, and Korea, which actually began a week ago. The fest’s weirder offerings are still upcoming, however, so we don’t feel too bad.

  • Full Strike – An absurd comedy that aims to do for badminton what Shaolin Soccer did for its sport, from  protégé . The U.S. premiere is tomorrow, July 4.
  • Tokyo Tribe‘s latest is described as a “yakuza-street gang-hip hop-musical epic” (!) Also playing July 4.

New York Asian Film Festival home page.


Evolution: As Innocence was about young girls in a world without men, ‘s long-delayed second film is about young boys—in a world without men. All we know is that the setting is an isolated island where boys are raised by the mothers and subjected to scientific experiments. Evolution announcement at distributor Wild Bunch.


Hard to Be a God (2013): Future Earth scientists land on a planet stuck in its own version of the Middle Ages, and are treated like gods. Director Aleksei German, who died in 2013, worked on this adaptation of a novel by the Strugatsky brothers (who also wrote the source material for Stalker) for the last 13 years of his life. Buy Hard to Be a God.

UHF (1989): Read our review. The 25th Anniversary Blu-ray of Weird Al Yankovic’s cult comedy came out last November, and for some reason Shout! Factory releases the DVD seven months later. Buy UHF.

Valerie and Her Week of Wonders (1970): Read the Certified Weird entry! Among the cool extras on Criterion’s deluxe edition of this surreal coming-of-age tale from the Czech New Wave are three shorts and the “psych-folk” soundtrack by The Valerie Project. Buy Valerie and Her Week of Wonders [Criterion Collection].


Hard to Be a God (2013): See description in DVD above. Buy Hard to Be a God [Blu-ray].

Kumiko, the Treasure Hunter (2014): Character study about a backwards Japanese woman who mistakenly concludes that the movie Fargo is a documentary, and sets out for Minnesota to discover the lost ransom money ‘s character buried.  No DVD yet, but presumably one will follow in about seven months? Buy Kumiko, the Treasure Hunter [Blu-ray].

Valerie and Her Week of Wonders (1970): See description in DVD above. Buy Valerie and Her Week of Wonders [Criterion Collection Blu-ray]

Vanilla Sky (2001): A remake of the Spanish mindbender Open Your Eyes with Tom Cruise (Penelope Cruz plays the same role in both films). A publishing magnate’s life is turned upside down after an accident which kills the other driver and leaves his face scarred. This Blu was supposed to come out last year, but the release date kept being pushed back over and over by months at a time; they must have had trouble syncing Cruise and director Cameron Crowe’s schedules to record the commentary track, or something. Buy Vanilla Sky [Blu-ray].


Fata Morgana (1971): Eccentric early “documentary” composed of footage he shot in the Sahara desert, set to Leonard Cohen music and Lotte Eisner reciting an ancient creation myth. Watch Fata Morgana free at Shout TV.

What are you looking forward to? If you have any weird movie leads that I have overlooked, feel free to leave them in the COMMENTS section.


In 2014, we later debuting the print version of our Yearbook later than ever before… a shameful record we’re hoping to reverse in 2015.

Here’s a glimpse at what you’ll be getting, and why it was worth the wait:

366 Weird Movies 2014 YearbookThanks to , whose work has been featured on this site before, for the extraordinary cover!

We think the ad copy speaks for itself:

Covering everything bizarre in cinema, from art house surrealism to next-generation cult movies to so-bad-they’re-weird B-movie atrocities, 366 Weird Movies has been meeting all of your weird movie needs since 2009 with a combination of sly humor and serious insight. This is our annual Yearbook covering all the weird movies released and re-released in 2014, from “Bad Milo” to “The Zero Theorem”, with over 50 full-length reviews and extensive supplemental listings. If it’s weird, and it’s a movie, and it’s from 2014, and 366 Weird Movies covered it, you’ll find it here.

You can buy the 366 Weird Movies 2014 Yearbook from Createspace (our preference, due to higher royalties) or from 366 Weird Movies 2014 Yearbook. Don’t forget that it’s also available (for a mere $3.49!) in a Kindle version (you’ll miss that sweet, sweet cover, though).

All profits derived from your kind purchase will go towards paying our (increased) hosting costs. Any leftover monies will be used to fly the 366 Weird Movies staff out to Cannes (but not for the film festival; we just want to hit the beach).


Multiple Maniacs (1970) was second feature-length movie (his first was 1969’s Mondo Trasho). Shot in grainy black and white, it lives up to its “Cavalcade Of Perversions” tagline. Even for those familiar with Waters’ early work (and everyone should at least sample one of them), Multiple Maniacs may be considered an extreme challenge. Comparatively, Pink Flamingos (1972), Female Trouble (1974), Desperate Living (1977) and especially Polyester (1981) might be seen as -styled celebrations of white trash.

Shot on a two thousand dollar budget (Pink Flamingos came in at $5,000 and Polyester, $200,000), Multiple Maniacs opens with the camera panning down credits typed out on white paper.

, as a carny broker, introduces us to Lady ‘s “Cavalcade Of Perversions.” As the locals ready themselves in a canvas tent, Lochary, in best tent revival tone, assures us: “This is the show you want: the sleaziest show on earth. Not actors, not imposters, but real, actual filth. These assorted sluts, fags, dykes, and pimps know no bounds. They have committed acts against God and nature that would make any decent person recoil in disgust.”

These are not mere words, and before we can scream “,” we are privy to a woman licking a bicycle seat, a hippie eating a bra, two men licking the hairy armpits of a topless girl, a Human Ashtray, and two-cent choreography of a naked human pyramid that makes us thankful Adam invented the fig leaf.

Mere warm-up acts: “See two actual bearded queers French kissing! See a heroin addict in Fruit of the Looms, writhing among the leaves… Now I give you Lady Divine.”

After Divine robs the audience and killing one of its members (with a pop gun), Lochary, , and gang cruise and dance to Elvis (without permission to use the music, which is one of the reasons Multiple Maniacs has never been made available on DVD and only appeared briefly on VHS). All that 1950s devil music inspires even more hedonism, and soon Lochary and Pearce are doing the nasty, despite the fact that David is Divine’s lover. Enter to spill the beans to Divine in a phone call.

Hell hath no fury like an oversized drag queen scorned, but before Divine can get her hands on the cheating beau, she is accosted by rival queens. Fortunately,  she is consoled by her guardian angel, the Infant of Prague, who takes Lady Divine by the hand and gets her to the church on time.

With blasphemy rivaling L’ Age d’ Or or Viridiana, Divine gets a “rosary job” from on the sacred pews of St. Cecilia, as the narrative literally parallels St. Francis’ “Way Of The Cross.” Perhaps even more blasphemous than Stole inserting prayer beads into anal orifices is future egg-lady Massey as the virgin Mary, meeting Jesus on the way to Calvary. Like before him, Waters actually knows the orthodox dogma he satirizes, which makes the film effective guerrilla heterodoxy. Multiple Maniacs is Waters’ weightiest, most literal, penetrating, and spiritual film (yes, I said that). Divine (she is divine for a reason) delivers a voice-over narrative: a conjoined, meditative, idiosyncratic homily between actor and director, advocating for the societal outcast forever opposed by the smug, suburbanite Pharisees.

Made at the height of the Manson murders, Waters catapults Divine and Stole into the mayhem that had paralyzed American culture in a frenzy of fear. Caught in a perverse, religious fervor, our heroines are ordained as Waters’ SS Perpetua and Felicity, martyrs of the Multiple Maniacs.  Unlike his country, Waters was anything but appalled. Rather, his brand of faith remained lucid and unwavering.

Still from Multiple Maniacs (1970)You can rest assure that neither the kitsch martyrdom of Dick Burton or Vic Mature included being raped and stigmatized by a lobster on a passion play couch. Perhaps that is the reason Moses forbade shellfish, which actually makes sense in a Waters’ universe. If only the hopelessly self-righteous Cecil B. would have been demented enough to know, he might have spared us those 1950s Hollywood Bible epic pornos. However, given 20/20 camp-value hindsight, perhaps it is better that constipated hypocrite wasn’t in on a Waters joke. Multiple Maniacs may just be seen as a healthy response to a sanctimonious Ten Commandments (1956).

209. BLACK MOON (1975)

“I see it as a strange voyage to the limits of the medium, or maybe my own limits.”–Louis Malle on Black Moon



FEATURING: Cathryn Harrison, Therese Giehse, , Alexandra Stewart

PLOT: A young woman is driving a car during a shooting war between the sexes. Escaping from a checkpoint where male soldiers are executing females, she finds refuge at an old farmhouse inhabited by a batty old woman, a mute brother and sister, a band of nude animal-herding children, and a unicorn. Initially rejected by the chateau’s residents, she gradually finds herself becoming part of this strange alternate society.

Still from Black Moon (1975)

  • Although Louis Malle had dabbled in light surrealism before with the whimsical Zazie dans le Metro (1960), there was nothing in the respected director’s then-recent oeuvre (mostly documentaries and historical pieces like 1974’s Vichy drama Lacombe, Lucien) to prepare his audience for the bizarreness of Black Moon. Sven Nykvist won a Caesar for his cinematography, but the film was mainly a commercial and critical failure, and quickly lapsed from circulation.
  • Black Moon was a transitional work in Malle’s move from France to the USA. He shot the film in France, at his own estate near Cahors, but in the English language, with a British, American and Canadian actor in the cast. After this movie, the director went to America where he scored a series of critical successes with Pretty Baby, Atlantic City and My Dinner with Andre.
  • Joyce Buñuel, Malle’s co-writer, was ‘s daughter-in-law.
  • Therese Giehse, who plays the bedridden woman, died before the movie was released, and Black Moon is dedicated to her. Malle credited her with partly inspiring the idea for Black Moon by suggesting he make a movie without dialogue (although the eventual script did have dialogue, it is sparse and often nonsensical).

INDELIBLE IMAGE: Appropriately for a dream-movie, the indelible image is an imaginary one; it’s the transgressive event you see transpiring in your mind’s eye the minute after the film officially ends on a provocative freeze-frame.

THREE WEIRD THINGS: Gender genocide; portly unicorn; resurrection by breast milk.

WHAT MAKES IT WEIRD: Black Moon concerns a young girl’s flight from an absurd world—where camo-clad men line up female prisoners of war and execute them, while the gas mask-wearing ladies returning the favor to their male captives—into a totally insane one. The movie is an unexpected assay of the irrational from nouvelle vague auteur Louis Malle, and although it’s congenitally uneven, it makes you wonder how wonderful it would have been if every master director had indulged himself by unleashing one unabashedly surreal film on the world.

Original trailer for Black Moon

COMMENTS: A frayed fairy tale set in no time or place in particular, Continue reading 209. BLACK MOON (1975)


Pro urodov i lyudey


DIRECTED BY: Aleksey Balabanov

FEATURING: Sergey Makovetskiy, Dinar Drukarova, Viktor Sukhorukov

PLOT: The lives of two bourgeois families and a crew of pornographers cross paths in pre-revolutionary Russia.

Stil from Of Freaks and Men (1998)

WHY IT MIGHT MAKE THE LIST: With its sepia-tinted, silent movie feel and its clutch of strange denizens—conspiring maids, conjoined twins, and eerie criminals—Of Freaks and Men straddles the line between black comedy and social commentary with a combination of non sequiturs and S&M photography.

COMMENTS: The tone is set early and thoroughly as a series of sepia bondage photos are projected beneath the opening credits. The story begins in a style that would not be unfamiliar to the first movie-goers, as a brief montage displaying the primary characters plays through in black and white (accompanied by the background crackle of a scratchy film projector on the soundtrack). The film switches to sepia, and the theme of connivance is introduced when we see a young woman, obviously a maid, furtively whispering in Johann’s ear. What follows is an unlikely but believable tale of plots, peril, and pornography (known, of course, as “the 3 P’s of cinema”). Through underhanded means Johann, a purveyor of obscene photographs, manages to infiltrate the household of a bourgeois engineer and his daughter. Meanwhile his assistant and hatchet-man, Victor, comes across a surgeon who is the adoptive father of conjoined twins.

Their combined efforts allow them to move their “studio” from the basement of a nearly derelict building (that seems to be more than half a dozen floors underground) to an upscale flat in the heart of the town. The engineer’s daughter Leeza is immediately coerced into posing for their wares, stripping on demand to be lightly whipped by Johann’s grandmother who is carted out of a nearby cupboard for the purpose. The criminal’s cameraman, Putilov, is hopelessly smitten by Leeza, as is one half of the set of conjoined twins.

Things go on this way for “months” (according to a title card), with repetitive photos thrown together, sometimes taken in front of a paying audience. Henchman Victor eploits the twins more benignly, as they both sing and play the piano (and, most amusingly, the accordion, each half held by one of them as they perform a song). All good things must come to an end, though. Nana passes away, prompting Johann to break down and experience a seizure. The captives take this chance to get outta there and try and make it on their own—with limited success.

One could well argue that storyline alone is enough to plant this film firmly on the “weird” side of things, and as you would hope for from a movie given space at this site, it cements its position—and then some. While certainly not the first modern movie to pose as a throwback to silent pictures and sepia tinting, Of Freaks and Men does so with off-key humor and an appreciable lack of pretension. An out-of-the-blue the title card appears reading “Johann readied himself to make a wedding proposal,” and we see the stone-faced criminal, dressed as best as he knows how, on the prow of a small steam boat. His expression then is of a in need of exorcism. When Leeza is first photographed in the nude and when she sleeps with one of the two conjoined twins, the title cards announce, “And so, Leeza became a woman for the first time”, and “And so, Leeza became a woman for the second time”, respectively.

Russians widely viewed the movie as allegorical. The conjoined twins, Kolya and Tolya, symbolize Russia. Kolya, on the right, is intelligent, talented, and spurns the offers of liquor from the various ill-intentioned adults. His twin Tolya, on the left, is buffoonish— talented, yes, but quick to fall under the spell of a licentious maid who shows him some of the Johann’s photos, and then happy to adopt the regimen of alcohol his overseers foist upon him. Kolya represents the Russia that could be; Tolya represents what Russia so often has been (and is likely to continue being). Not knowing their father has been murdered, in the end they head to his hometown, in the East. Pursuing this path, the twins rush toward tragedy.

There is sadness in Of Freaks and Men, but it is coupled with wonderfully black humor. Its weirdness is best seen in its self-assured tone. The world this movie creates is believable, while at the same time flying in the face of expectation. I haven’t even mentioned its other weird accessories: the blind wife of the doctor who “[falls] in love for the first time” with Victor when he forces her to expose herself to him, the recurring train yard scenes, the sinister quality of the two antagonists, and the nebulous ending with its beautiful ice flows. Now that I’ve mentioned them, I can promise the curious amongst you that there are plenty others to be found.


“When I first saw Alexei Balabanov’s Of Freaks and Men at the Edinburgh Film Festival in 1998, I thought it was touch and go whether a film quite so original, provocative, perverse and calculatedly offensive – not to mention weird in the extreme – would get British distribution at all… fans of Borowczyk, Peter Greenaway, Guy Maddin, early David Lynch and Jan Svankmajer’s Conspirators of Pleasure will have a field day, as will broadminded devotees of the more fantastical Russian novelists…”–Michael Brooke, The Digital Fix (DVD)



FEATURING: Kenji Sawada, Keiko Matsuzaka, Shinji Takeda, Naomi Nishida,

PLOT: The Katakuri clan retires to a remote mountain area to run a bed and breakfast, but the place seems cursed, as every guest who stays there dies.

Still from The Happiness of the Karakuris (2001)
WHY IT MIGHT MAKE THE LIST: They don’t come any closer to making the List on the first ballot than Katakuris. The only thing that holds it back is a dreadful unevenness, combined with the fact that there are already so many Takashi Miike films either already on the List of the 366 Weirdest Movies Ever Made or still out there in contention.

COMMENTS: The Happiness of the Katakuris begins with a four-minute scene, which has nothing to do with the rest of the movie, in which a claymation imp rises from a woman’s soup, falls in love with her heart-shaped uvula, and flies away with it. Unlike the serious and searing Audition, where the director springs the weirdness on an unsuspecting audience in a blistering last act, Miike does not allow anyone here to complain of stealth weirdness. After this bizarro prologue, the story about clan of hoteliers who break out into song whenever their guests die seems refreshingly sane and conventional.

The movie settles down into a narrative after that introduction as we meet the Katakuris: a patriarch and matriarch still very much in love, a feisty grandpa, a son with anger-management issues, and a desperate-for-romance daughter and her love child (who serves as the film’s narrator). The characters are well-drawn and likable, but ill-starred, as the location of their bed and breakfast proves too remote for foot traffic (and also too near an active volcano). When they finally do get a paying customer, he’s only checked in to commit a gruesome suicide (also the occasion for the film’s first musical number). The songs are definitely Karakuris’ high points; the dancers aren’t professionals, but neither that fact nor the unfamiliarity of the language to non-Japanese speakers impedes Miike’s imaginative stagings, which are decorated with simple special effects and colorful, kaleidoscopic green-screen backgrounds. The most memorable moments are a matrimonial fantasy that sends the bride spinning through space with her dashing half-Japanese sailor groom; a disco-ball love ballad between Masao and Terue with the cheesy production values of a 1980s K-tel records commercial; the final number, a direct parody of The Sound of Music; and any time the corpses peek out of their graves and try to dance along.

It may seem strange to criticize a project this deliberately loose and goofy for its aimlessness, but it really is a weakness in this case. Katakuris has energy, but lacks focus. It never decides whether the semi-serious family drama or mordant black comedy is most important, and the claymation action interludes just knock it farther off its axis. There isn’t much of a conclusion, just a series of incidents that eventually fizzle out. It’s much better in its parts, especially the musical numbers, then it is as a whole. But those parts are strange enough to make it a hard-to-forget oddity.

The Happiness of the Katakuris is actually a remake of a Jee-woon Kim’s (non-musical) Korean black comedy The Quiet Family. Miike made it the same year as Visitor Q, an even blacker comedy which also deals with the theme of a “happy” Japanese family. Arrow Video just released a 2-DVD or 1 Blu-ray special edition of the film, although most of the extra features appeared to be recycled from the 2003 Eastern Star DVD release.


“As weird movie openings go, this one’s in a class of its own. The rest of Miike’s musical extravaganza isn’t exactly your usual collection of song and dance numbers either.”–Mark Stevens, BBC (contemporaneous)


Next weeks movie review slate: Giles Edwards will cover the Russian faux-silent porno comedy Of Freaks and Men, while G. Smalley considers Takashi Miike‘s killer musical black comedy The Happiness of the Katakuris. This week’s reconsideration review is a second take on Black Moon and its portly unicorns, while Alfred Eaker watches get raped by a lobster as one of  Multiple Maniacs.

And, where is the print version of the 366 Weird Movies 2014 Yearbook? We’ve been wondering about that, too. We’ll see if next week brings an answer to that question.

Wow, is it ever getting tough to find weird movie search terms! We are blaming Google’s privacy settings, which are allowing more and more people to search anonymously. Good for privacy = bad for 366 Weird Movies’ Weirdest Search Term of the Week contest. Can’t we get our priorities straight here? Nevertheless, we’ll soldier on, sharing the meager weirdness we did see with you, our loyal readers.  We’ll start with “human cows nude farm,” which while weird by normal websites’ standards, is just a slightly stranger than average fetish search to us. Next we’ll try out “a group of people run into a gym and ask if anyone can fly a helicopter to escape the city but crash into boiling water,” which sounds a little bizarre but probably is just a bad description of a bad disaster film. Because something has to win the week, we’ll grit our teeth and hand the laurel to “inception hollywood of the weird?”, which probably started out as a normal thought (something like, “Inception was weird for a Hollywood movie”) but was mangled into a literally incomprehensible phrase, adding a “?” at the end to highlight its own confusion. Acceptable for a weird search term, but just barely. We’re not the types to tell deranged lunatics how to go about their business, but you guys need to step up your twisted Googling!

Here’s how the ridiculously-long reader-suggested review queue stands: Of Freaks and Men (next week!); Multiple Maniacs (next week!); Society; The Fox Family; Angelus; Conspirators of PleasureThe Continue reading WHAT’S IN THE PIPELINE


Our weekly look at what’s weird in theaters, on hot-off-the-presses DVDs, and on more distant horizons…

Trailers of new release movies are generally available on the official site links.


WarX2 (2014): A documentary arguing that a spate of suicides of U.S. servicemen can be attributed to the influence of evil spirits, possibly directed by foreign terrorists. Interviews with the world’s top witchdoctors support the thesis. Playing in Houston and Katy, TX. WarX2 official site.

SCREENINGS – (Cinefamily, Los Angeles, CA, Fri. June 26 [midnight]):

Brain Dead (1990): Not to be confused with ‘s Dead-Alive (released in 1990 as Brain Dead overseas), this mindbender stars  (not to be confused with ) as a neurosurgeon solicited by Bill Paxton (not to be confused with Bill Pullman) to try to extract information from the brain of a former employee who’s gone insane. Confused yet? Director Adam Simon will be present for this screening. Cinefamily is hoping this overlooked gem will become a new midnight classic. Brain Dead at Cinefamily.

SCREENINGS – (Cinefamily, Los Angeles, CA, Sun. June 28 & Tue. June 30):

Human Highway (1982): The apocalyptic comedy done by folk rocker Neil Young on a lark, featuring insurance fraud, flying saucers, and DEVO.  Young has been sending this director’s cut out on the festival circuit throughout 2014 and 2015, which we hope means a first-time-ever DVD will appear soon. Human Highway at Cinefamily.


The Man Who Killed Don Quixote (est. 2016): It looks like will finally make his Don Quixote project, thanks to a deal with Amazon that will also see him producing an exclusive miniseries for their Prime streaming platform. The film was to star Jack O’Connell and as the leads; this was announced, of course, before Hurt was diagnosed with pancreatic cancer. IndieWire’s The Playlist announced the news (along with many other outlets).


The Fisher King (1991): A depressed ex-shock jock gets a chance at personal redemption when he meets a homeless man who believes he is a knight-errant seeking the Holy Grail. This drama from 366-fave Terry Gilliam is perhaps not as weird as some of his others but contains a few wonderful fantasy scenes. Buy The Fisher King [Criterion Collection 2-DVD].

Horsehead (2014): French horror about a woman who explores her nightmares through lucid dreaming. Via Artsploitation Films, who declare it depicts a “psycho-sexual world of nightmares.” Buy Horsehead.

Meet Me There (2014): A girl who can’t remember her childhood visits her childhood home in small-town Oklahoma, and weirdness ensues. This low-budget indie horror got decent reviews from the few outlets that covered it; it’s biggest draw is pro-wrestler “Goldust” as a creepy preacher. Buy Meet Me There.

The Thing With Two Heads (1972): A racist brain surgeon (Ray Milland) has his head (accidentally) transplanted onto the body of a black death row inmate (Rosey Grier), who then tries to prove his innocence while whitey on his shoulder complains. “It seemed like a good idea at the time,” claimed the trailer in 1972. Buy The Thing With Two Heads.


The Fisher King (1991): See description in DVD above. Two discs of DVD content fits onto one Blu-ray, and it’s cheaper, too. Buy The Fisher King [Criterion Collection Blu-ray].

Horsehead (2014): See description in DVD above. Buy Horsehead [Blu-ray].

Meet Me There (2014): See description in DVD above. Buy Meet Me There [Blu-ray].

Sugar Hill (1974): Read Brandon Engel’s guest review. Blaxploitation zombies: ’nuff said. Buy Sugar Hill [Blu-ray].

The Thing With Two Heads (1972): See description in DVD above. Buy The Thing With Two Heads [Blu-ray].


Wonderwall (1968): Read our review. Go back to a simpler time, when a nutty old professor spying on a beautiful bisexual hippie model through the hole in his apartment wall was considered groovy, not creepy. Watch Wonderwall free on Shout TV.

What are you looking forward to? If you have any weird movie leads that I have overlooked, feel free to leave them in the COMMENTS section.

Celebrating the cinematically surreal, bizarre, cult, oddball, fantastique, psychedelic, and the just plain WEIRD!