WEIRD HORIZON FOR THE WEEK OF 3/15/2019

Our weekly look at what’s weird in theaters, on hot-off-the-presses DVDs and Blu-rays (and hot off the server VODs), and on more distant horizons…

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

IN THEATERS (LIMITED RELEASE):

Knife + Heart (2018): A producer of gay porn films becomes obsessed with recreating a series of murders in hopes of winning back her lesbian lover. From , this queer slasher/giallo pic sounds fairly unclassifiable, with strong hints of weirdness. Knife + Heart U.S. distributor site.

Starfish (2019): Read our review! A slow rollout for this metaphorical psychological horror about a woman facing the apocalypse alone begins this week with a couple of dates in NYC, with scattered screenings across the country. Starfish official site.

NEW ON HOME VIDEO:

Piercing (2018): A man plots to thrill-kill an escort, but she turns the tables as things turn surreal. Starring Christopher Abbot and and directed by Nicolas “Eyes of My Mother” Pesce, (adapting a Ryû “Audition” Murakami novel), this one almost escaped our notice, but we’re planning on nabbing a review. On DVD, Blu-ray and VOD. Buy Piercing

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CERTIFIED WEIRD (AND OTHER) REPERTORY SCREENINGS:

The Rocky Horror Picture Show (1975). We won’t list all the screenings of this audience-participation classic separately. You can use this page to find a screening near you.

FREE MOVIES ON TUBI.TV:

Beyond the Black Rainbow (2010): Read the Canonically Weird entry! Explore the mysteries of the sinister, New Age-y Arboria Institute in ‘ psychedelic debut film. Watch Beyond the Black Rainbow free on Tubi.tv.

WHAT’S IN THE PIPELINE: The March Mad Movie Madness tournament will kick into another round next week as we will winnow the field from 128 weird movies all the way down to a manageable 64 contestants, and even start to take it down to 32. In the midst of all that voting and tallying, we’ll continue bringing you reviews: Pete Trbovich goes giallo for All the Colors of the Dark (1972), Shane Wilson raids the old reader-suggested review queue for the 80s campfest The Perils of Gwendoline in the Land of the Yik-Yak, and Giles Edwards looks at the “other” weird movie of 2018, the overlooked Between Worlds. Onward and weirdward!

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.

CAPSULE: STARFISH (2018)

DIRECTED BY: Al White

FEATURING: Virginia Gardner

PLOT: Aubrey is understandably depressed: her best friend dies, and soon after the end of the world arrives in the form of an invasion of alien monsters.

Still from Starfish (2018)

WHY IT WON’T MAKE THE LIST: Starfish is a weird exercise with interesting ideas and a good performance from Gardner, but its mopey and lingering moments drag it down. Still, it’s a promising, professional-looking debut from Al White.

COMMENTS: Just like Starfish‘s heroine, whenever I get tired of the hassle of dealing with other people, I sometimes fantasize that an apocalypse has hit and wiped out everyone but me. I’m free to roam around grocery store aisles and grab all the bags of Lays Sour Cream Potato Chips I can carry, and eat all the pints of Ben & Jerry’s before they melt.

This is a common solipsistic daydream, even though we all realize that this predicament would be nightmarish in reality. For Aubrey, both the fantasy and the tragedy of this scenario become “real.” I put “real” in quotes, because it’s clear that depopulated world in Starfish is a metaphor for the protagonist’s bereavement and isolation. The death of her best friend and confidant sparks her crisis, but a guilty memory that we glimpse in fragments as Starfish (slowly) progresses fuels her alienation. Starfish does not spell out its underlying story in explicit detail; it’s more impressionistic and often dreamlike. The literal plot is inessential: there’s no attempt to make the end of the world seem reasonable, no serious explanation of where the monsters that roam the streets came from, little backstory on the survivors who occasionally break the silence to speak to Aubrey via walkie-talkie. The “mixtape” she assembles is a roadmap to redemption (it contains seven songs, just like the Seven Stages of Grief), and the “signal” is a pure MacGuffin. And so, given the symbolic nature of the script, the ending may be a bit too ambiguous for the audience’s liking; after everything Aubrey’s been through, it would have been nice to end on a more unconditionally hopeful note. (The ending we got would have been perfect for a different movie.)

Virginia Gardner deserves praise for carrying the film; she’s alone in almost every scene, usually either talking to herself or bouncing ideas off a turtle. Gardner conveys a real sense of loneliness—nothing that she does (or wears) matters, yet she carries on, finding a purpose and dragging herself through the wreckage of the world. The deliberate pacing, which punctuates long pauses with brief, intense bursts of crisis, aids in conveying that sensibility. And yes, while slow at times, the movie is duly weird, with frequent dream sequences—from the dinner settings that suddenly turn weightless to a radical (if brief) stylistic change at the halfway point (I won’t spoil the surprise, but it would have been more of a  shock in a less-strange movie). Underwater, surf and oceanic imagery (including a reading from the opening of “Moby Dick”) flood the film, further reinforcing the sense of loneliness, as if Aubrey is marooned on a desert isle or bobbing alone on a life raft far at sea. Or in the process of slowly drowning.

It’s not a movie for those who value plot, but Starfish earns a recommendation for anyone who appreciates a heavy dose of psychological drama in their genre films.

Debuting director Al White (also known as A.T. White) also heads the U.K. based band Ghostlight. He wrote all the songs heard in the film, from the spooky cello cues to all seven of the indie-pop mixtape songs (a number of which have a silly “They Might be Giants” vibe; others rock). He’s got talent and is still young, and idealistic: he says that all of his profits will be donated to cancer research. Starfish plays at select theaters throughout the U.S. through April. Click here for a list of screenings. Home video/streaming dates have not yet been announced.

WHAT THE CRITICS SAY:

“It’s a beautiful, emotional, weird, and fascinating movie.”–Germaine Lussier, io9.com (festival screening)

CAPSULE: BLUE MOVIE (1971)

Recommended

DIRECTED BY: Wim Verstappen

FEATURING: Hugo Metsers, Helmert Woudenberg, Carry Tefsen, Ursula Blauth, Kees Brusse

PLOT: Michael has just been released from prison and has been advised to stay on the straight-and-narrow, but finding himself in an apartment block teeming with sexually precocious women is making that difficult.

WHY IT WON’T MAKE THE LIST: Blue Movie has all the characteristics of a standard studio film: a straightforward narrative, technical proficiency, and rather good acting. And plenty of sex. We at 366 do not consider sex to be weird.

COMMENTS: A colleague described Blue Movie to me as “basically a porno” — which I assure you was not the reason I volunteered to review it. From my history of watching low-rent “giallo” pictures, I’m used to the threat of nude elements (and the accompanying threat of lilting synth music). That said, I was happily surprised by Wim Verstappen’s notorious picture, and found that while it largely failed in a pornographic sense, it succeeded handily as a quirky romantic comedy.

The story begins with Michael (Hugo Metsers) as he is released from prison for a sexual offense, having enjoyed himself carnally with a fifteen-year-old girl some five years earlier. His parole officer, Eddie (Helmert Woudenberg), is keen to have his ward integrate into society, arranging for an apartment, lining up a job interview, and vetting some of his new neighbors to find a “nice young woman from a good family.” When Michael moves into his new apartment, he immediately finds distraction in the form of the countless married (and open-minded) housewives who live along the same corridor. After some shenanigans, Michael, in his way, begins to start a new life professionally, arranging a big block party while launching his sex service syndicate.

Blue Movie made quite a splash at the time of its release, resulting in a lot of hand-wringing on the part of more upright Dutch (and international) citizens. Large chunks of the movie are, indeed, akin to softcore pornography, but as much as possible, the sex is handled not just tastefully, but also with a refreshing sense of joie-de-vivre. It helps that Michael has a quiet charm that works quickly on his neighbors, and that Eddie is an hilarious foil as the eager-to-please parole officer. When visiting Michael to drop off a bookcase for him, Eddie is concerned that Michael might be up some sexual mischief. He is right to be, as Mrs Cohn (neighbor, and wife of the famed zoologist next door) sneaks around the apartment’s periphery in a well-executed bit of rom-com foolishness.

The whole movie has a light and breezy tone that simultaneously shows off a lot of pro-sexual sex alongside social commentary (“All of Amsterdam is like this”) and playful subversion. Blue Movie also flirts with a tiny bit of weirdness in the continual, cheeky musical cues that toy with the audience. Teasingly suggesting a bit of impending smut, more often than not a light synth tune hearkens nothing beyond cutesy comedy. By subverting this expectation, Blue Movie goes a long way to normalize the idea that sex, at least in the post-Pill, pre-AIDS world, was something to approach with a smile bordering on a laugh. And by touching on men, women, the gay, the straight, the bisexual, and even the asexual, it attains an open-minded, relaxed feel that modern sex cinema would do well to reemploy. As a film that hovers near the realm of a triple-x rating, Blue Movie is a nice reminder that good movies can have good sex.

WHAT THE CRITICS SAY:

“The twists that occur while Michael entertains his neighbors are quite predictable, so it is really the blending of the funny and the serious that makes them effective. Also, the film ends with a very bold segment questioning the relationship between sex and love that was almost certainly debated ad nauseam. “–Dr. Svet Atanaov, Blu-ray.com (Blu-ray)

MARCH MAD MOVIE MADNESS, ROUND OF 256 (5 OF 5)

Our March Mad Movie Madness tournament marches on with the final part of the round of 256. Things should get a little cleaner and easier to manage from here on out.

You can see the results and progress of the tournament here: https://challonge.com/tsut4018 (note that this link is just for viewing results. You must vote using the forms below.)

Today’s spotlighted matches: cult movie run-off Carnival of Souls vs. Wild at Heart; The Trial  vs. Werckmeister Harmonies (we honestly have no idea who will win between these two black and white classics); and (so sorry!) a death match, as Heavenly Creatures  goes head-to-head vs. Meet the Feebles. We told you these were going to be tough, and the choices will only get harder as the tournament progresses.

Part 1 of the round of 256 is complete: results here.

Part 2 (voting ends Mar 13).

Part 3 (voting ends Mar 14).

Part 4 (voting ends Mar 15).

We’ll start the round of 128 on March 17.

You may vote once every 24 hours.

Get to voting below! Continue reading MARCH MAD MOVIE MADNESS, ROUND OF 256 (5 OF 5)

MARCH MAD MOVIE MADNESS, ROUND OF 256 (PART 4 OF 5)

Our March Mad Movie Madness tournament marches on with part 4 of the round of 256.

Due to a mistake on our part (counting is hard), we did not reveal a full slate of 32 matches yesterday. To make up for that deficiency we’ll be featuring 24 contests today, and offer a fifth round of 24 tomorrow.

Today’s spotlighted matches: Bubby vs. Baby (an intriguing contest between an ancient cult film and a young-ish upstart), Eraserhead vs. Evil Dead II  (a very tough matchup for the first round), and Head vs. Vertigo (a quintessential quality vs. weirdness dilemma).

Here’s part 1 of the staggered tournament (voting ends today, Mar 12, at midnight).

Part 2 (voting ends Mar 13).

Part 3 (voting ends Mar 14).

Part 5 of this round begins tomorrow and ends on 3/16.

You may vote once every 24 hours.

Get to voting below!

 

Continue reading MARCH MAD MOVIE MADNESS, ROUND OF 256 (PART 4 OF 5)

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