For some Adult Swim viewers, it was hard enough to believe that Tim Heidecker and Eric Wareheim’s grotesquely odd television series received a second season. To their dismay, Tim and Eric Awesome Show Great Job! premiered season five (season “cinco”) in February of this year. Although the series focuses on comedy, Wareheim claims that the show is greatly influenced by the awkwardness of David Lynch‘s work.
A 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.
IN THEATERS (LIMITED RELEASE):
Birdemic: Shock and Terror (2008): Badly animated CGI birds attack community theater actors who swat at them with coat hangers. Those of you who thought that the trailer we posted yesterday was an April Fool’s Day joke, consider yourself fooled. Birdemic is all too real. Watch for midnight screenings this week in New York City, Phoenix and Los Angeles; in upcoming months it will play Austin, TX; Washington, DC; Portland, OR; Denver, CO; Detroit, MI; San Francisco, CA; Philadelphia, PA; Milwaukee, WI; Minneapolis, MN; Houston, TX; Dallas, TX; Cleveland, OH; and Seattle, WA. Sounds worth a road trip. Birdemic: Shock and Terror official site.
NEW ON DVD:
Alice in Wonderland (1951) (2 Disc Special Un-Anniversary Edition): Disney re-releases Uncle Walt’s original animated version of Lewis Carroll’s tale to capitalize on the popularity of Tim Burton‘s mediocre live-action reimagining. Extras on the second disc include a “making of” documentary, a deleted scene and a deleted song, the Mickey Mouse short “Thru the Mirror,” and interactive games. Buy Alice in Wonderland (2-Disc Special Un-Anniversary Edition).
Girly [Mumsy, Nanny, Sonny and Girly] (1970): Intriguing sounding, obscure British black comedy about a lunatic family that kidnaps hippies and forces them to play deadly games; losers are “sent to the angels.” It’s comforting to see that offbeat, forgotten films like this still surface on home video from time to time. Buy Girly.
I Sell the Dead (2008): Offbeat tale of a pair of Victorian grave robbers who specialize in digging up, capturing and trafficking the un-dead—a lucrative underground business they dub the “resurrection trade.” With Ron Perlman. Part of Glasseye Pics innovative “ScareFlix” series (which also includes the Certified Weird I Can See You). Buy I Sell the Dead.
FREE (LEGITIMATE RELEASE) MOVIES ON YOUTUBE:
The Usual Children (1997): No real information on this obscure movie, but it’s a family musical fantasy about a young boy who wishes his sister dead on Christmas Eve, and finds his wish granted in a parallel universe. The hitch is, his little sister returns as a ghost to haunt him. Sounds pretty odd to us. Watch The Usual Children free on YouTube.
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.
We don’t usually like to pimp mainstream movies here, but we’ve recently learned of two upcoming films that we predict are going to dominate the Oscar buzz next season, and decided we just had to share them with our readers.
The two movies occupy opposite hemispheres of the cinema world. The first (still untitled) movie, from a director who shall remain nameless, is an inspiring drama/romance/comedy/thriller packed full of catch phrases that hip people are sure to be quoting on their Facebook profiles.
The second movie could not be more different, but is just as likely to find favor with the Academy. From visionary director James Ngyuen, master of the romantic thriller, this is a beautifully imagined, CGI-heavy (in the tradition of Avatar), an environmentally conscious thrill-ride that brings to mind Alfred Hitchcock’s The Birds:
It all began with the legendary Tom Mix, the yardstick by which all B-Western stars are measured.
Born in 1880, Mix had worked with the Texas Rangers, had been a bartender, a sheriff, and a champion rodeo rider in his Wild West Show. Hollywood had a bona fide true blue western legend. After becoming THE cowboy movie star at the age of 30, the extremely prolific Mix worked and played equally hard, developing a love for fast cars, fast women (married five times) , and reckless spending. Most of his 20’s westerns were adapted from Zane Grey novels and were high quality entertainment for the masses. Mix often wrote, produced and directed in addition to acting. He was the polar opposite to William S. Hart’s dusty realism. Mix combined humor, increased action which featured his own stunt work, a star horse named Tony, flashy showmanship and enthusiastic energy in his films. When his stardom naturally began to dim in the 1930’s, mainly due to age, he toured with his beloved Tom Mix Circus before an untimely high speed auto accident and a flying metal suitcase to the back of the head on an Arizona highway put an end to all the Circus in 1940, but not to the legend. For ten years after his death, the Tom Mix Radio Show continued on with immense popularity. Tom Mix comic books were also extremely popular for several decades, as was the touring Tom Mix festival which finally ran down (but not entirely out) in the mid 90’s. Since most of his films are silent, few today have even seen a Tom Mix film, and his reputation by far exceeds the actual films. Here are two Mixs from Sinister Cinema’s Sinister Six-Gun collection.
Just Tony begins, aptly enough, with a trailer. “Hit the Trail! The Gun Ranger is out to clean up the town! Bob Steel, two-gun deputy whose twitching fingers itch for fights! Outlaws Rustlers Cowboys Posses and Bob Steel as the Gun Ranger! A Republic Release.” This trailer promises white hat cow dude Steel kicking black hat bad guy butt, a mix of masked bandits, pencil-thin mustached villains and a pretty girl exclaiming “Oh, Dan!”
Tom has his eyes on the beautiful black wild stallion, Tony, that he wants to tame, but first things first as he has Continue reading JUST TONY (1922) & SKY HIGH (1922)
“I always wanted to make a Kenneth Anger movie, and I wanted to combine great theatrical tradition and British pop cinema of the 60s, which was very psychedelic, and at the same time, to make a movie about a man who creates his own mythology. It had to be surreal in order to pay off.”–Director Refn on Bronson
DIRECTED BY: Nicolas Winding Refn
FEATURING: Tom Hardy
PLOT: Narrated from a theater inside his own mind by Michael Peterson (later to rechristen himself Charles Bronson, his “fighting name” ), the movie is an aggressively stylized account of the true story of Britain’s most notorious prisoner, who spent 30 years of his 34 year sentence in solitary confinement for his violent behavior. Peterson knocks over a post office with a sawed-off shotgun and receives a seven year penitentiary sentence; inside, he finds he has a natural affinity for institutional life as he nurtures a burgeoning passion for taking hostages and picking fights with prison guards. Shuffled from prison to prison, and serving a brief stint in a hospital for the criminally insane, Peterson is furloughed, becomes a bare-knuckle boxer and adopts the name Bronson, and lasts a few months in the outside world before finding himself reincarcerated, at home once more.
- The movie stays true to the spirit of the real life Michael Peterson/Charlie Bronson, while omitting many facts and inventing others. The real Charlie Bronson has won several awards in prison-sponsored contests for his artwork and poetry and has published several books, including a fitness guide and an autobiography titled “Loonyology.” In one of his hostage-taking escapades, he demanded an inflatable doll, a helicopter and a cup of tea as ransom.
- Before incarceration Michael Peterson actually worked as a circus strongman, which may be where he developed his distinctive trademark handlebar mustache and shaved pate.
- Danish director Refn was previously best known for the gritty, documentary style Pusher trilogy, a look at the criminal drug dealing subculture in Copenhagen.
- Some of the paintings appearing in the film and in the animated sequences are actual drawings by the real life Bronson. Examples of Bronson’s artwork can be found here.
- Actor Tom Hardy put on about 40 pounds of muscle for the role. Previously best known as “Handsome Bob” in Guy Ricthie’s RocknRolla, Hardy is poised to become a breakout star, slated to replace Mel Gibson in the new “Mad Max” series.
- Cinematographer Larry Smith began his career with Stanley Kubrick, working as an electrician on Barry Lyndon and a gaffer on The Shining before graduating to assistant cameraman for Eyes Wide Shut.
- At the film’s London premiere, a tape recording of Bronson’s voice was played, stating, “I’m proud of this film, because if I drop dead tonight, then I live on. As long as my mother enjoys the film, I’m happy… I make no bones about it, I really was… a horrible, violent, nasty man. I’m not proud of it, but I’m not ashamed of it either, because every punch I’ve ever flung in my life I’ve taken 21 back.” This incident caused the Prison Officers’ Association to complain, because it is illegal to record a prisoner in a British prison without authorization. The Association also accused the film of “glorifying violence.”
INDELIBLE IMAGE: Bronson turning himself and his art teacher into living paintings in the very strange finale.
WHAT MAKES IT WEIRD: Hyperstylized to the point of surreality, Bronson is biopic as
Original trailer for Bronson
mythology, an appropriate tack when dealing with a self-deluded, self-promoting subject. The portrait that emerges is not so much of a fascinating but essentially unknowable real-life sociopath as it is a portrait of Bronson’s pseudo-artistic attempt to create a public image as an antihero, with notes of humanizing sympathy but also with plenty of knowing irony added to deglamorize its subject.
COMMENTS: Tom Hardy’s performance in Bronson undercuts my theory of acting. I Continue reading 53. BRONSON (2008)
NOTE: In our December 2010 poll, readers decided we too hasty to dismiss What?, and voted to make it a candidate for the List.
AKA Diary of Forbidden Dreams
DIRECTED BY: Roman Polanski
FEATURING: Sydne Rome, Marcello Mastroianni,
PLOT: An American hitchhiker in Italy loses her clothes and finds a Mediterranean villa full of oddball characters.
WHY IT WON’T MAKE THE LIST: What? is an absurdist sex comedy that’s highly absurd, mildly sexy, and not one bit comic. It’s weird, all right, but also slapdash and frequently insufferable; in short, not good enough to make a List of the 366 Best Weird Movies.
COMMENTS: Some films are ahead of their times, misunderstood on release, and are ripe for reappraisal years later. And sometimes, the critics get it right the first time, as when they ran screaming from early showings of What?. Sandwiched in between Roman Polanski’s intricately constructed classics Rosemary’s Baby (1968) and Chinatown (1974), What? seems like the improvised work of an overconfident director who believes he can do no wrong. Polanski may be a genius, but light tone and full-out surrealism are a poor match to his talent for creating tension through subtly weird atmospheres. The overarching concept is great, the assembled talent is impeccable, the Mediterranean setting is sublimely elegant, Sydne Rome is a perfect specimen of femininity… yet the script sucks all the life and fun out of the movie, delivering one scene after another that lands with a dull thud. Heroine Rome, a hippie-esque ingenue, escapes a gang rape and flees to a villa inhabited by a cadre of eccentrics. Foremost among them is Marcello Mastroianni, uncomfortably playing a dirty old man and ex-pimp. Despite rumors of homosexuality and venereal diseases, Rome inexplicably falls for the lecher, and their trysts involve Mastroianni dressing in a tiger skin while she beats him or dressing like Napoleon while he beats her. It’s a novelty to see an actor of Mastroianni’s status willingly degrade himself this way, but it’s neither as fun or as funny as it sounds. Other poorly-sketched weirdos populating the mansion include a scuba diver (portrayed by Polanski) nicknamed Mosquito, a piano playing doctor, a dying patriarch who also turns out to be a dirty old man, a priest, and a naked woman wandering about the grounds. Absurd gags fall flat: in one of the earliest, a housemaid sprays shaving cream in the air in an attempt to kill a fly. Later, a workman will paint the back of Sydne’s appealing thigh blue, a rather uninteresting incident that the script insists on reminding us of over and over. The biggest running gag is that someone keeps stealing Sydne’s clothes, although the thief doesn’t pilfer quite enough of them; there are long stretches of the movie where Rome runs around clothed. Not coincidentally, the movie then starts to drag. A few clever ideas emerge, such as when certain scenes start to repeat themselves with slight variations, but in general the movie misses several golden opportunities to ratchet the absurdity up to truly entertaining levels. Particularly disappointing is the dialogue; the potential for clever nonsense interplay between the innocent American and the depraved Europeans devolves into crude, uninteresting jokes. A classical music score, references to Heraclitus, and paintings by Francis Bacon and Théodore Géricault in the background are deployed in an attempt to dress up the sleazy material in the clothes of high art. What? isn’t recommended, but it can be viewed, and even enjoyed, as a novelty. It’s unhinged, unpredictable, and full of that slightly naive and innocent late 1960s/early 1970s experimentalism that can be refreshing in this cynical age. But it’s clearly a product of its time, not a work that transcends it.
The film that What? most resembles is the star-studded (Marlon Brando, Richard Burton, Ringo Starr) 1968 erotic misfire Candy, a doomed attempt to translate Terry Southern’s satirical porn novel to the screen. The concept of an erotic version of “Alice in Wonderland,” with a wide-eyed innocent encountering a cast of sexual deviants, has great promise, but has never been executed properly on screen. Alex de Renzy’s XXX feature Pretty Peaches (1978) is probably the movie that runs the farthest with that particular ball.
WHAT THE CRITICS SAY:
“Polanski seems to be enjoying a weird, borderline-nonsensical joke at our expense, one without a punchline or a setup… a self-indulgent mess masquerading as a trippy free-for-all.”–Nathan Rabin, The Onion A.V. Club (DVD)
WHAT MAKES IT WEIRD: Filmed by special effects maven Yoshihiro Nishimura in 2007 as an extra for the Meatball Machine DVD, Reject of Death was made without a net, and without a sense of accountability to anyone who might censor it for content, or for sense. Done in the style of a music video, it displays all the narrative rigor one expects from the form—which actually serves this material well. Add politically incorrect stereotypes to the fast-moving mix of absurdist gore, heavy metal music, and killer boobs, and you have one weird little extra.
COMMENTS: I can only imagine that the correct way to see Reject of Death is to view it before seeing Meatball Machine; not knowing the “rules” of the MM universe likely to boost the already pretty “WTF?” level into the stratosphere. The scene is set by a schoolgirl causally hacking at her arm with a razor, only to find a glowing button encased beneath her flesh. She presses the button, and heavy metal power chords assault our ears. Cut to a scene of a wigged prostitute whose trick turning is interrupted by the whir of tentacles and spray of blood that indicates infection by alien parasites. Intercut those scenes with three ethnic stereotypes—a Native America, and African, and an Asian—wandering bemused around the streets of a Japanese city. Bring all three groups together on a rooftop for a bloody battle royale which sprinkles in kung fu posturing, hermaphrodism, and a nipple that shoots barbed chains into eyeballs, and you have yourself an out-of-control featurette that will score with fans of pop-surrealism and exploitation-extremism alike. Rejects of Death utilizes the thin mythology set up in Meatball Machine, and very well may be an attempt to explain one character’s back story, but it stands apart stylistically from the feature that inspired it. Unabashedly (and gloriously) offensive, the short isn’t special enough by itself to justify a DVD purchase, but packaged together with the feature film, it may be enough to inspire fence-sitters to take a chance on a rental.
WHAT THE CRITICS SAY:
DIRECTED BY: Paul Schrader
FEATURING: Nastassja Kinski, Malcolm McDowell, John Heard, Annette O’Toole, Ruby Dee,
PLOT: A young woman struggles with an ancient family curse while pursuing the purrfect mate.
WHY IT WON’T MAKE THE LIST: Cat People, loosely based on the Val Lewton original, is a slightly atypical, high quality horror film. It is a variation of the old werewolf theme, focused on felines rather than canines. It is not quite unconventional enough to be weird, but it has a strange feel compared to other horror movies.
COMMENTS: Orphaned, beautiful Irena (Kinski) comes to live with her brother Alex (McDowell) in his creepy new Orleans home, after being separated from him for years by the mysterious death of their parents. Alex is a pastor at an even creepier chapel and he carries the burden of some rather odd baggage. It seems that he is taken to roaming and prowling at night, climbing trees, clawing things up, wolfing down prostitutes, and getting himself locked in zoo cages. Worse, he unceremoniously demands sex from the mousy Irena, who isn’t exactly keen on the idea. It never occurs to poor Alex to try sprinkling some catnip on his business areas and begging to have his tummy scratched.
Irena discovers that if she rubs up against anybody besides Alex, she will turn into a puma—a carnivorous puma with an insatiable lust for rich, red, raw human flesh. To become human again herself, she must feast on the living. This is of course, quite understandable. Few things are as disappointing as a menu of Fancy Feast, when one could be munching on a delicious man like John Heard (C.H.U.D.) or his lusty girlfriend Annette O’Toole (Smile). Heard’s zookeeper character certainly gives Irena aplenty to purr about. Irena falls in love with Heard, but will she be able to resist his charms—and the savory goodness of his tender, meaty loins and chops? Then there’s the matter of that pesky girlfriend with the hair like red yarn. She caterwauls her concerns surrounding Irena, and Irena wishes a cat had her tongue. Hopefully she’s nothing a hiss and a swat can’t take care of.
Irena explores the French Quarter and her blossoming desires, and experiences some very unsettling biological changes when she’s in heat. She becomes embroiled in a murder case as her brother stalks her, she stalks the girlfriend, chases after Heard, and Alex plays cat and mouse with the police. Meanwhile Heard is quickly beginning to realize that toying with the supernatural is not always the cat’s meow.
Cat People is a very arty film with a distinctive visual pawprint featuring Big Easy location cinematography and some striking, unusual shots. There are some interesting ultraviolet night sequences filmed from a werecat’s point of view that are innovative for the date of release, putting the simple thermal imaging used in Wolfen to shame. An original score by David Bowie and Girogio Moroder (Midnight Express) compliments the avant-garde look and feel of the film. Well acted, Cat People is a pleasing change of pace from mediocre, industry standard horror movies. It boasts an unusual, well-structured plot and a bizarre ending which nicely balances out the heavy compliment of cat shots. And by cat shots, I mean very solid thespianism on the part of a couple of beautiful and charming black leopards (in addition to all the of naked supple human breasts, and full frontal nude footage of the spectacular specimen of feline-esque femininity, Nastassja Kinski, captured in her prime. Rowwwr!)
WHAT THE CRITICS SAY:
“The obscure proceedings are often ludicrous (especially in the orange-colored primal-dream sequences), yet you don’t get to pass the time by laughing, because it’s all so queasy and so confusingly put together…”–Pauline Kael, The New Yorker (contemporaneous)
Next week you can expect to see reviews of Cat People (the 1982 remake), the overlooked biopic Bronson (a heavily stylized account of Britain’s most violent prisoner), and, from out of the reader-suggested review queue, the Roman Polanski absurdist sex-comedy (!) What (Diary of Forbidden Dreams) [Che?]. Add in another B-western review from Alfred Eaker and you have a week!
It was a poor week for weird search terms. Did the people searching for bizarre insect porn and Napoleon riding cults take the week off? But we found that “vega sex capsule man” (the worst superhero ever?) had a certain weird ring to it. Honorable mention to the guy looking for “zex in zex movies.”
Here’s how the reader-suggested review queue stands: What? (Diary of Forbidden Dreams) (next week); Xtro; Basket Case; Suicide Club; O Lucky Man!; Trash Humpers (when/if released); Gozu; Tales of Ordinary Madness; The Wayward Cloud; Kwaidan; Six-String Samurai; Andy Warhol’s Trash; Altered States; Memento; Nightmare Before Christmas/Vincent/Frankenweenie; The Science of Sleep; The Attic Expeditions; After Last Season; Getting Any?; Performance; Being John Malkovich; The Apple; Southland Tales; Arizona Dream; Spider (2002); Songs From The Second Floor; Singapore Sling; Alice [Neco z Alenky]; Necromania (1971, Ed Wood); Hour of the Wolf; MirrorMask; Possession; Suspiria; Mary and Max; Wild Zero; 4; Nothing (2003); The Peanut Butter Solution; Ninja Scroll; Perfume: The Story of a Murderer; Danger: Diabolik; Faust; Sublime; Battle Royale; Pink Floyd: The Wall; Escanaba In Da Moonlight; Jesus Christ, Vampire Hunter; Zardoz; The Films of Suzan Pitt; Toto the Hero [Toto le Héros]; Paprika; The Holy Mountain; Brazil; The Casserole Masters; Dark Crystal; Throw Away Your Books, Rally in the Streets; The Nines; 964 Pinocchio; The Pillow Book; Final Flesh; Lunacy [Sílení]; Inmortel; Tetsuo; Dead Ringers; Kairo [AKA Pulse]; The Guatemalan Handshake; Dead Leaves; Frownland; The Seventh Seal; Taxidermia; Primer; Maniac (1934); Hausu; A Boy and His Dog; 200 Motels; Walkabout; Private Parts (1972); Possession; Saddest Music in the World; Mulholland Drive; The American Astronaut; Blood Tea and Red Strings; Malice in Wonderland; The Films of Kenneth Anger, Vol. II (for Lucifer Rising, among others); The Human Centipede (First Sequence); Willie Wonka and the Chocolate Factory ; The Bride of Frank; La Grande Bouffe; Uzumaki [Spiral]; and Hedwig and the Angry Inch.
In other news, we added a slight update to Steppenwolf‘s Certified Weird entry after discovering this informative 2000 article from The Guardian about colorful co-producer Melvin Abner, whose idea of movie pre-production involved dropping acid with Timothy Leary!
From the title alone, one will likely infer that “Nagasaki Ding-Dong” is not your average short film. Rather, Nagasaki seems to be an experiment on just how far one can stray from the norm. Filled with nauseating scenes and sounds, it’s unpleasant nature will leave weird enthusiasts satisfied with a weighty feeling of unease.