All posts by Alex Kittle

I like ambiguous video and installation art, experimental comic books, screaming lady bands, and of course, delightfully strange and surreal films. I dig regular stuff, like pizza and The Kinks, too.

I also make and sell film-inspired art: http://www.etsy.com/shop/guiltycubicle

305. THE LURE (2015)

Córki Dancingu

“Our mermaids don’t look like sweet mermaids from Disney. We wanted to kill Disney.” –Agnieszka Smoczyńska

Recommended

DIRECTED BY:

FEATURING: Marta Mazurek, Michalina Olszanska, Kinga Preis, Jakub Gierszal

PLOT: Two mermaid sisters, Silver and Golden, wash up on the shores of Warsaw. They hook up with a family synth-pop band, joining their act in a seedy nightclub. Their voices bewitch everyone around them, but Golden’s carnivorous appetite and Silver’s infatuation with a young bass player lead to horror and heartbreak.

Still from The Lure (2015)

BACKGROUND:

  • Screenwriter Robert Bolesto was inspired by his friends Zuzia and Basia Wrońska and their childhood growing up around a nightclub in the 1980s. Director Agnieszka Smoczyńska had had a similar childhood experience, and decided to create a horror-fantasy allegory with that setting. The script was initially conceived as a straightforward biography of the sisters, but both the Wrońskas and Smoczyńska felt it was too personal, so the characters were changed to mermaids. Because mermaids are known for singing and the setting was a nightclub, the film easily evolved into a musical.
  • The Wrońska sisters form the Polish-language synth pop band Ballady i Romanse. They composed the music for The Lure. They appear at the end of the film in the wedding scene.
  • Much of the visual style pulls from the art of Aleksandra Waliszewska, who paints twisted, adult fairy tale scenes, as well as photographer Nan Goldin, known for her seedy images of the New York club scene and queer subculture in the 80s.
  • Though it was praised at its Sundance debut, in its native Poland the film received a mixed response. According to Smoczyńska, Poland doesn’t have a tradition of musicals (The Lure has been called Poland’s first musical) or horror. Those elements weren’t advertised at all, so incoming audiences did not realize what they were in for.

INDELIBLE IMAGE: Smoczyńsky addresses the reality of mer-people anatomy by showing a mermaid-human transplant. Shot from above, a mermaid lies on ice in a long metal gurney and sings sadly, while a surgeon saws through her torso and then stitches on a pair of human legs (taken from an anonymous woman lying on ice next to her). It is at once clinical, tragic, and sweet, made all the more memorable for being part of a low-key musical number.

THREE WEIRD THINGS: Merman punk rocker; breastfeeding mermaids; fish labia

WHAT MAKES IT WEIRD: Though working with some familiar source material, the film manages to feel fresh and strange. The visceral effects and gore matched against the upbeat synth tunes; the fantasy characters in a grimy, all-too-real world; the loss of chronology in the narrative; the sense that nothing is quite what it seems, that there is something under the surface of it all: no single element makes it weird, but rather a host of assorted factors.


Brief musical scene from The Lure

COMMENTS: A simple description of The Lure seems impossible. It’s Continue reading 305. THE LURE (2015)

LIST CANDIDATE: BUSTER’S MAL HEART (2017)

DIRECTED BY: Sarah Adina Smith

FEATURING: Rami Malek, DJ Qualls, Kate Lyn Sheil

PLOT: A mysterious loner living in isolation in the mountains survives off the food and shelter of unused vacation homes; through flashbacks we see how his life unraveled after meeting a doomsday-prophesying computer engineer.

Still from Buster's Mal Heart (2016)

WHY IT MIGHT MAKE THE LIST: With its nonlinear style and a few nearly incomprehensible plot elements, this is definitely weird. But it also throws in a by-now familiar twist that makes it feel less special.

COMMENTS: For years, a man (Rami Malek) known only as “Buster” has been haunting the woods where a number of high-end vacation homes lie empty the majority of the year. He breaks into these homes and stays for a few days at at time, neatly tidying up after himself but often leaving some memento of his visit behind for the owners to find. The only interactions we see him engage in are periodic phone calls to radio DJ’s and phone sex workers, warning them of some impending doom called “the Inversion.” In an alternate vision of his life, he is lost at sea, waiting out his own death on a small rowboat, alternating between English and Spanish as he shouts at the sky. With the third version of Buster, we learn his history. He was once named “Jonah,” a hard-working young family man who had overcome drug addiction and homelessness and found salvation (and a wife) in the church. He works the night shift at a quiet airport hotel, and dreams of whisking his family away from the toil of working-class suburban life to their very own plot of land in the mountains, where they can live on their own terms. Jonah’s chance encounter with an unnamed drifter (DJ Qualls) who foretells the end of the world sets a chain of events in motion that leads to drastic changes in his lifestyle and worldview.

Buster’s Mal Heart is an exercise in nonlinear, enigmatic storytelling. Each scene is a flashback, a flash forward, or a flash-sideways, with seeming revelations about the protagonist often resulting in more questions, wrong turns, or dead ends. But writer/director Sarah Adina Smith (known for her stunning, secretive debut The Midnight Swim) throws viewers some bread crumbs, hinting at overarching themes. It seems that all of Jonah’s life as we know it is a constant push-pull between a “normal,” responsible, social existence and a completely free, independent one. He works in the hospitality industry, but due to his hours he spends most of his shifts alone, cleaning up the barren spaces of the hotel or sitting at the front desk staring blankly at the empty lobby. He loves his wife, Marty (Kate Lyn Sheil), and young daughter, but refuses to imagine a buttoned-up suburban life for them, instead saving all of his money to build them a cabin on a lake. He is an active member of an unspecific Christian church, but not actually invested in religion, likely remaining only because it is so Continue reading LIST CANDIDATE: BUSTER’S MAL HEART (2017)

257. SWISS ARMY MAN (2016)

“Usually you can fall back on a genre or something and go, ‘It’ll be great!’ With us, we were like, ‘I don’t know man, we’re making something crazy, it might not turn out well…’” – Daniel Kwan

Recommended

DIRECTED BY: Daniels (Dan Kwan and Daniel Scheinert)

FEATURING: Paul Dano,

PLOT: Hank (Dano), on the brink of suicide after being stranded on a deserted island, discovers a flatulent corpse (Radcliffe) washed ashore. Investigating, he finds it is endowed with many with life-saving powers, and eventually develops the power of speech. Naming the corpse “Manny,” the two forge an unlikely alliance as Hank tries to find his way home and Manny tries to remember what it’s like to be alive.

Still from Swiss Army Man (2016)

BACKGROUND:

  • The film is the first feature from writing/directing team “Daniels,” Daniel Kwan and Daniel Scheinert. They met at Emerson College in 2008, and soon collaborated on short films and music videos that combined Kwan’s background in design and animation with Scheinert’s background in comedy and theater.
  • Kwan came up with the idea as a joke, and the two aspiring filmmakers would pitch it during studio meetings for fun until they were eventually encouraged to actually develop it into something. The script came together in 2014 at the Sundance Labs, where was one of their advisors. (According to Scheinert, he wanted them to somehow incorporate the Gilligan’s Island theme song.)
  • Paul Dano and Daniel Radcliffe were the first actors to whom they sent the script. Both agreed immediately, after which Daniels rewrote the parts to be more suited to the actors.
  • Daniel Radcliffe insisted on performing most of his own stunts.
  • Daniels’ Grammy-nominated music video for DJ Snake and Lil Jon’s “Turn Down for What” single was a testing ground for the idea of an independent-minded penis later used in Swiss Army Man. Daniel Kwan himself is the main dancer in the video.

INDELIBLE IMAGE: Hank’s descriptions of women and sex (along with help from an alluring advertisement) provoke a sudden erection in Manny, but it soon becomes clear that his penis is actually pointing their way home. The erratic movements of Daniel Radcliffe’s member as it jerks within his pants towards a nearby pathway create an image I certainly won’t forget any time soon.

THREE WEIRD THINGS: Corpse jet ski; DIY bus ride; fiery (and propulsive) bear escape

WHAT MAKES IT WEIRD: With a farting, hacking, spewing, singing, dancing, flying corpse front and center of its survival tale, Swiss Army Man is bizarre enough for the List based on premise alone. But perhaps the weirdest thing of all is the film’s complete sincerity, which despite all its high-concept groundwork makes its audience care deeply about its central characters.


Trailer for Swiss Army Man

COMMENTS: It is always easier to accept the strange when we are Continue reading 257. SWISS ARMY MAN (2016)

CAPSULE: THE FITS (2016)

Recommended

DIRECTED BY: Anna Rose Holmer

FEATURING: Royalty Hightower, Alexis Neblett

PLOT: A preteen tomboy finds herself drawn into the dance classes at her local recreation center, but soon after she joins the group the older girls begin suffering mysterious seizures.

The Fits (2016)

WHY IT WON’T MAKE THE LIST: While definitely of interest to aficionados of weirdness, and a highly recommended film overall, it just doesn’t reach the levels of  bizarre we aim for with the List.

COMMENTS: Toni (Royalty Hightower) is a quiet, athletic 11-year-old girl who spends her afternoons at the local rec center with her older brother, training in the boxing gym with a group of teen boys. She finds herself compelled to join the dance drill team that rehearses down the hall, feeling shy around the girls but determined to show off her moves. Though she doesn’t appear to be naturally gifted at dance, she sticks with it and befriends some of the other new recruits, observing the older girls who lead the troupe with the curiosity of a child and the growing understanding of a young adult. When the seizures start, Toni and her friends are more intrigued than scared, and they watch from afar as more and more of the older girls are affected by this unexplained malady. Toni begins to suspect that it’s intentional, that they want it, and it becomes a kind of calling card for a cool inner circle.

Based on plot alone, The Fits sounds like a fairly standard coming-of-age drama, and in some ways it is: a shy and intelligent girl finds community within a larger group, learns about new adult realities, maintains her independence, etc. The parallels between the girls’s seizures and female puberty are obvious, as Toni feels the kind of ostracization and curiosity that preteen girls might experience as their friends start getting (and discussing) their periods. Along with fear of the unknown there is a pride attached to the phenomenon, a feeling of special knowledge and maturity. Throughout the film, we see our tomboy protagonist slowly acquiring visual markers coded as “girly,” including glitter nail polish and pierced ears, which help her fit in with her friends. But she slowly sheds them all, retaining her sense of difference. Eventually, Toni (and the audience) senses that there is a kind of freedom attached to the seizures—the precise, fluid movements of the drill team are liberally flung out the window in the sudden and erratic fits the girls exhibit. There is a beauty to letting go, to giving in to being a girl, to finding acceptance in her changing, awkward preteen body.

With a keen observational eye and resourceful use of a single location (the town recreational center), first-time director Anna Rose Holmer fully engages with the perspective of her central character. We see everything through Toni’s eyes, and the subtle, powerful performance of Royalty Hightower communicates a world of experience with little expository dialogue. But the most intriguing stylistic element of The Fits is its sound. While one might realistically expect a soundtrack of dance music, specifically pop or hip hop, to go with the performances of the drill team, the music rarely matches the action onscreen. Instead we are treated to bizarre, somewhat abstract soundscapes that create a sense of intrinsic eeriness, hinting that something must be wrong here. The surreal music serves to pick apart the weirdness of adolescence, and to heighten the anxiety and uncertainty Toni feels every day behind her stony exterior as she maneuvers the muddy waters between childhood and adulthood. Without it, the events of the film would be dramatic, but not necessarily extraordinary. With it, we are left with a distinct but ambiguous sense of strangeness, an itch we can’t quite scratch, a mystery never to be solved. And yet, thanks to an exuberant final dance number, there’s a contentment that goes along with it, suggesting the power of sisterhood.

WHAT THE CRITICS SAY:

“…a beautiful, hauntingly precarious coming of age film that uses mystery and an at times dream-like atmosphere to create a mesmerizing tale.”–Rob Hunter, Film School Rejects (contemporaneous)

DER INTERVIEW: NIKIAS CHRYSSOS ON “DER BUNKER”

366 Weird Movies’s Alex Kittle conducted the following interview with Der Bunker (review) director via email.

Alex Kittle, 366 Weird Movies: I was struck by the retro aesthetic, the mix of patterns and saturated lighting, and attention to detail in the set and costumes in Der Bunker. What made you decide to do a single location film? What were your inspirations for the look of the bunker? Did you face challenges with the limited space?

nikias chryssosNikias Chryssos: My grandparents had a holiday house in Switzerland. It had this big bunker room in the basement with a thick iron door as a shelter for wartime. I imagined it would be funny if someone wants to rent a room and he basically gets locked away. I wanted to build a story about a place like this. Initially, the film was set in a kind of fairytale house in the woods but when we found the entrance to this bunker during our location search, we decided to put the whole story underground. The limited setting gave us a lot of control but also provided us with specific challenges. My production designer Melanie Raab, the cinematographer Matthias Reisser, and I then did a lot of research and the main challenge was to make the setting interesting even though everything takes place in one house. We wanted to give the different rooms different colors and moods but still keep it coherent. We also worked with different lighting set-ups, like more contrast during the night scenes and softer light in the day, even though the light might not change that much underground. As the student, our main protagonist, is working on some big scientific work, it was also interesting to work with patterns and build little connections there, whether it is the wallpaper, the walls, his blanket, the door frames or Klaus’ pajamas. Sometimes, these patterns also give the feeling of a prison cell. Thanks to great production design team, I never had the feeling something I wanted wasn’t possible. Another challenge was to not go mad in such a claustrophobic set during the shoot.

366: Much of the film’s tension centers around Mother’s intense hold on her son, and fear of allowing him to grow up and leave her. What led you to approach the mother character with that angle? What about this theme resonates with you?

NC: I feel there is a big fear in today’s parents that their children might not make it, a fear they become a failure, and they don’t let them go. It may lead to a weird mixture of being overly demanding and over-protective at the same time, and I think that’s a hard situation for a child. Maybe it comes down to the old question of freedom versus security which we face again and again on different Continue reading DER INTERVIEW: NIKIAS CHRYSSOS ON “DER BUNKER”

LIST CANDIDATE: SWISS ARMY MAN (2016)

Swiss Army Man has been promoted onto the List of the 366 Best Weird Movies Ever Made. Please visit the official Certified Weird entry. Comments are closed on this post.

Recommended

DIRECTED BY: Daniels (Dan Kwan and Daniel Scheinert)

FEATURING: ,

PLOT: Hank (Dano), a young man on the brink of suicide after being stranded on a deserted island, discovers a flatulent corpse (Radcliffe) with life-saving powers. The two forge an unlikely alliance as Hank tries find his way home.

Still from Swiss Army Man (2016)

WHY IT MIGHT MAKE THE LIST: With a farting, hacking, spewing, talking, singing, dancing, flying corpse front and center of its survival tale, Swiss Army Man is probably bizarre enough for the List based on premise alone. But it’s the film’s kooky charm, black humor, and remarkable feeling that makes me recommend it.

COMMENTS: It is always easier to accept the strange when we are alone, when there is no social pressure to be reasonable or logical, when we can allow ourselves to think, just for a second, that maybe that unexplained feeling or movement is a ghost drifting through our house or a glitch in the Matrix. Swiss Army Man, the debut feature from filmmaking team “Daniels” (Dan Kwan and Daniel Scheinert), revels in the idea that in isolation people are free to be as weird as they are, and that maybe that is a beautiful thing. Lost, alone, scared, unsure, Hank not only finds himself immediately opening up to a random corpse (known later as “Manny”), but he accepts his magical properties almost immediately because he has no reason not to. He doesn’t seem to care if this crazy experience is all in his head or not, so the audience doesn’t need to, either.

Hank discovers more and more uses for Manny as the story moves along—he starts fires with spark-inducing fingers, acts as a fountain after collecting rain water all night, moves across the water as a fart-powered motorboat, and points the way with his penis-compass (really), among other things. However, the surprise of the film is that it isn’t really about its titular character’s multi-purpose nature, but more about the strange, surprisingly moving relationship that develops between the two men. Manny is a blank slate, with no memory and no knowledge of the outside world, so much of the dialogue is Hank answering never-ending questions about life, love, work, and bodily functions. They begin to enact a strange love-story-once-removed, with Hank playing the part of a semi-fictional woman so that Manny can learn how male/female romance works, but as time goes on the fantasy blurs into reality. They rely on one another so completely that their symbiotic relationship mirrors a romantic one, and despite the impossibility of their situation it is utterly believable.

Ultimately, Swiss Army Man is an exercise in contradictions. It combines thoughtful, often elegant visuals—a cool blue/green/ color palette, engrossing camerawork, soft lighting—and pairs it with exceedingly low-brow visual and audio gags, with the ever-present fart and dick jokes driving a lot of the humor. It gives us an inventive, gorgeous score from Andy Hull and Robert McDowell and overlays it with nonsense words and goofy lyrics sung by Paul Dano and Daniel Radcliffe. It reveals many of the terrifying realities of survival in the forest while eliciting comedy and wonder out of its fantasy elements. Much of its dialogue centers around a heterosexual love story, but it actually works better as a homosexual one. What makes the film work so well is that everyone involved accepts these contradictions wholeheartedly, knowing that something can be beautiful and disgusting and hilarious and strange and emotionally affecting all at once, because weirdness is okay, even after you’ve left the isolation of the woods.

WHAT THE CRITICS SAY:

“…this movie wears its weirdness as a badge of honor — as well it should.”–Peter Debruge, Variety (festival screening)

REPORT: BOSTON UNDERGROUND FILM FESTIVAL 2016

The final weekend in March saw a sudden influx of weirdness to the Boston area with the arrival of the 18th annual Boston Underground Film Festival, the region’s primary hub for new independent genre fare. Ever concerned with keeping the 366 Weird Movies community up to date with the latest in the bizarre, I took in a few of the weirder-looking titles (minus the special Belladonna of Sadness screening, which I reported on from Fantastic Fest).

sundance-the-lure-image-2

The Lure (dir. Agnieszka Smoczynska)

In her first feature, Agnieszka Smoczynska brings to life a delightfully strange genre mash-up that combines elements of fairy tale, horror, romance, coming-of-age drama,  and dark comedy, played out in catchy new wave musical numbers and set against a slightly surreal Soviet backdrop. With a loose, dreamy narrative structure, the story follows the adventures of mermaid sisters Silver (Marta Mazurek) and Golden (Michalina Olszanska) as they come ashore in Warsaw and establish themselves as a musical act at a seedy nightclub, shacking up with the house band, an eccentric mother/father/son trio. The sweet-natured Silver begins dating the son, a hunky but noncommittal bassist, though Golden warns her against the consequences of falling in love with a human. The sisters experience the ups and downs of life in show business (drugs, sex, betrayal, etc) while also occasionally feeding their lust for human blood.

Yes, The Lure has a lot going on, and yes, it is overly ambiguous at times, but if you aren’t completely entranced by a lush, synth-driven musical about killer mermaids then I don’t know how to help you. The film is at times funny, at others tragic, and frequently strange and viscerally gross. The locations pair dingy interiors and rain-soaked streets with neon lights and sequined costumes, with subtle reminders of the Soviet regime peppered throughout. The soundtrack, composed by Ballady i Romanse (a real-life sister act who partially inspired the film’s premise), is absolutely stellar, emotionally varied but generally sticking to the 80s discotheque vibe. While it offers weirdness in spades with its many genre oscillations, perhaps what is most notable about the film is how it subverts tropes relating to gender and sexuality. Silver and Golden are introduced as the typical seductive sirens many myths associate with mermaids, but their naiveté is soon made clear. They are viewed as sex objects from the beginning, but also treated as children due to their lack of understanding of the human world, a sly commentary on the sexualization of young girls so dominant in the media. A cult-friendly oddity with a feminist slant, The Lure is the first List-worthy release I’ve seen this year.

Chasing Banksy

Chasing Banksy (dir. Frank Henenlotter)

Largely based on a true story, indie horror favorite Frank Henenlotter‘s latest film focuses on Anthony (Anthony Sneed, playing a version of himself), a street artist struggling to make it in New York, who hatches a wild scheme to steal one of the Banksy artworks that popped up in the American South a few years after Hurricane Katrina. He enlists a few artist friends to help him out for a share of the Continue reading REPORT: BOSTON UNDERGROUND FILM FESTIVAL 2016

CAPSULE: ANOMALISA (2015)

Recommended

DIRECTED BY: ,

FEATURING: Voices of , , Tom Noonan

PLOT: A motivational speaker attending a business conference is dissatisfied with his humdrum existence, until he meets a seemingly average woman who, to him, is different than everyone else in his life.

01ANOMALISA2-facebookJumbo

WHY IT WON’T MAKE THE LIST: While many of Charlie Kaufman’s films are shoo-ins for any list of weird movies, Anomalisa is comparatively straightforward. The weird factor is there, but limited, with most of the film focusing on small details of human interaction.

COMMENTS: Michael Stone (voiced by David Thewlis) is a renowned expert in customer service, middle-aged and settled in, married with a young son, but his apparent career and familial success have not brought him happiness. He feels isolated from those around him, exemplified by their voices, which all sound the same. He reconnects with an old flame who lives in the city where he’s staying for a conference, but their meeting only leads to further estrangement. Michael’s hopelessness is finally lifted when he hears Lisa (voiced by Jennifer Jason Leigh), a shy, self-conscious sales representative attending the conference. Her voice is distinct, and thus she is distinct, and he immediately falls for her simply for her difference. They spend the night together and Michael hopes to begin a new life with her, but their connection is not as solid as he thinks.

Animated in an incredibly detailed stop-motion style with 3D-printed figures, Anomalisa is a film that opens itself up gradually, reveling in small tics and awkward moments and everything left unsaid. Whether intentionally or inadvertently, Michael has cut himself off emotionally from everyone around him, keeping his headphones in as he walks through the airport, unwillingly engaging in small talk with his cab driver, and acting uncertain around the polite staff of his hotel. His few attempts at connection are somewhat awkward and ill-conceived, most noticeable in how he sputters his way through a drink with a former girlfriend, whom he left for no stated reason, who is still getting over the loss of him, and still questioning herself because of it. Though he seems rueful, Michael is unable to explain himself, and they leave one another disappointed. Later, he finds a “toy” store that’s open late, looking for a gift for his son but eventually realizing this shop has more adult fare. He ends up purchasing a mechanical Japanese doll shaped like a geisha, perhaps an unconscious stand-in for the multiple women he no longer loves, preferring a robotic replacement for their human inadequacies. That Michael’s professional life is centered around customer service expertise is a blatant irony, but that knowledge allows viewers to see how he must put on an act when he is with other people, much like the sales representatives he advises. He must play at being a warm, sociable human being, despite hating the sound of every voice he hears, even with his wife and son. With Lisa, he can stop acting, and Continue reading CAPSULE: ANOMALISA (2015)

TOP 5 WEIRD MOVIES OF FANTASTIC FEST 2015

See also: Alex Kittle’s Report from Fantastic Fest 2015

Dedicated to films from all over the world of the horror, thriller, sci-fi, action, experimental, and/or mash-up persuasions, Fantastic Fest is the perfect place to discover all-new weird movies of various origins. I tried to take in a little bit of everything, and I’ve come out with a list of the Top 5 Weird Movies of Fantastic Fest for 2015. Note: Due to scheduling conflicts I missed ‘s Yakuza Apocalypse, which I suspect would have made this list. Oh well.

Belladonna_Of_Sadness_Anime_760x550
5) Belladonna of Sadness (1973, Japan)
This was the most significant repertory screening for weird-movie lovers: a long-lost anime acid trip directed by Eiichi Yamamoto that never received a proper release in the US, but has been restored and re-released by Cinelicious Pics for 2015. Known to some for its use as a backdrop for musicians, the film’s visuals are without par, composed primarily of sprawling watercolor paintings that the camera pans across like an unraveling scroll. The art style is complex and elegant, with detailed linework and selective color, a kind of animated Art Nouveau, and the soundtrack is a thumping psychedelic score that pairs perfectly with the hallucinogenic imagery onscreen. As a purely sensory experience, the film is remarkable. The script and themes are less so. Hailed by some as a feminist statement, the story (inspired by Jules Michelet’s 19th-century nonfiction book Satanism and Witchcraft) follows Jeanne, a peasant woman in feudal France who is publicly raped on her wedding night by a skeletal baron and his courtiers. Physically and emotionally shattered, she turns to a demon spirit who offers her revenge in exchange for sexual devotion, and eventually she becomes a powerful sorceress who controls her whole town. On paper it sounds empowering, but in action it tends to stray far more into pornographic objectification of Jeanne, and the script is so bare-bones it would be about half the length without all the sex scenes. Narrative issues aside, this is definitely a must-see for anyone interested in experimental animation or weird stuff from Japan.

1633851363-men-chicken-dcm_20150630-083106-1Mef
4) Men & Chicken (2015, Denmark/Germany)
My first foray into the wacky world of Danish filmmaker Anders Thomas Jensen, Men & Chicken is a sick, strange, and funny family drama about 5 brothers and their enigmatic scientist father. plays Elias, a chronic masturbator who, upon his father’s death, discovers that he and his brother were both adopted, and that they come from different mothers. The two go on a quest to find their biological dad and end up gaining three more brothers they never knew existed, all with odd habits and a decidedly anti-social bent. The five men try to make it as a family, to mixed success and much hilarity, while digging into the mystery of their brilliant-but-abusive father’s experiments. The narrative is meandering to say the least, but so incredibly enjoyable it doesn’t matter, with a perfect comedic cast, ridiculous dialogue, downright silly situational Continue reading TOP 5 WEIRD MOVIES OF FANTASTIC FEST 2015

REPORT FROM FANTASTIC FEST 2015

See also: Alex Kittle’s Top 5 Weird Movies of Fantastic Fest 2015

Fantastic Fest is an experience like no other. I say that not to shill, just to state a simple fact. This was my first time attending the now-storied genre film festival, hosted by the famous Alamo Drafthouse in Austin, and it’s safe to describe the event as “something else.” Over the course of eight days I saw over 30 films—primarily new releases but also repertory screenings of Turkish pop-cinema, Shaw Brothers classics, 80s horror, and two secret screenings—and attended karaoke performances, video game demonstrations, and a Wild West-themed party. I missed some of the night-time shenanigans either because of exhaustion or conflict with screenings, but I do know that the hardest question in the Fantastic Feud game was (to me) a no-brainer concerning the aliens in Earth Girls Are Easy. I made friends with locals and critics while waiting for my films to start. I ate a decidedly inappropriate amount of fried food. I danced the chicken dance along with Alamo director Tim League. I watched DJs in animal costumes rap about reincarnation. I learned all about the “Satanic Panic” of the 80s and 90s from authors who were connected to it. I bumped elbows with festival attendees , Kumail Nanjiani, and Karyn Kusama (but was too shy to talk to any of them). I had, for lack of a better word, a fantastic time.

Fantastic Fest 2015Throughout the week I saw almost everything I wanted see, including recent festival hits like The Lobster, The Witch, and Victoria, as well as new efforts from filmmakers I admire such as Sean Byrne’s The Devil’s Candy, Karyn Kusama’s The Invitation, and Mamoru Hosoda’s The Boy and the Beast. From the documentary Remake, Remix, Rip-Off, I learned about the remarkably resourceful filmmakers working in Turkey during the 1970s-80s, who took advantage of the country’s lax copyright laws and created hundreds of weird, pastiche remakes. And while I missed The Man Who Saves the World (aka “Turkish Star Wars”), I did catch The Deathless Devil, a highly enjoyable caper that combines elements of superhero serials, James Bond, and killer robots—plus the star of the film was there to tell us silly behind-the-scenes stories. After joking that I wished the secret screening would be Crimson Peak, I was elated to discover it in fact WAS Crimson Peak and I just about lost it when walked out on stage! Everyone received a complimentary pint glass and I’m still riding kind of high from the whole experience. The second secret screening was one of Drafthouse’s “unearthed” cult films, a haphazard action movie called Dangerous Men that doesn’t quite reach the enjoyably campy heights of personal favorites like Miami Connection or Hard Ticket to Hawaii, but certainly had its ridiculous moments. The most-hyped film was Jeremy Saulnier’s Green Room, which I saw only after hearing nearly every single fest attendee sing its praises, and while it is a very good, brutal thriller, it is, in fact, not the greatest thing ever, Continue reading REPORT FROM FANTASTIC FEST 2015