This segment doesn’t feature music videos often, but when director Twin Peaks: Fire Walk with Me soundtrack.and composer Angelo Badalamenti release one that’s been sitting in a vault for a quarter century, that’s a real indication. Their 12-track self-titled album Thought Gang (2018) is available on all major streaming platforms. This song also appears on the
AKA Arise! The Sub Genius Video; Arise! SubGenius Recruitment Film #16
“Stand erect for your own abnormality, WISE UP! They’re out to get you. The ‘different’ are being silenced by a global conspiracy. WEIRD-MEN ARISE!”–The Book of the SubGenius : The Sacred Teachings of J.R. ‘Bob’ Dobbs
DIRECTED BY: Rev. Cordt Holland, Rev. Ivan Stang
FEATURING: Dr. Howl (Hal Robbins), Rev. Ivan Stang (Douglass Smith), Pope David Meyer II,
PLOT: The video begins with five minutes of instructions (e.g., “do not operate a motor vehicle following viewing,” “the demons you may see during the initial hallucination sequence are not real.”) Then, we are introduced to the Church dogma, beginning with an alarmed news anchor who succinctly describes the Church as a cult led by J.R. “Bob” Dobbs, “a comic book character who speaks with aliens and worships money.” Amid mind-melting montages, taped sermons, country/punk “hymns,” and stock footage from old B-movies, the Church doctrine is gradually (if confusedly) revealed, including the concepts of “Slack,” “the Conspiracy,” “the Elder Gods,” and “X-day.”
- The Church of the SubGenius is a long-running satirical cult, a multimedia performance art circus comprising radio broadcasts, books, associated musical acts (“Doktor bands”), happenings (called “devivals”), pop-surreal art collages, a website, and this movie (with more to come). It is said to have been founded in Dallas TX in 1979 by Rev. Ivan Stang (pseudonym for Douglass Smith), Philo Drummond, and “Dr. X.” Stang quickly became the dominant figure in the movement, and, now in his mid-sixties, is still active in the Church.
- The Church of the SubGenius is an offshoot of another fake religion, Discordianism, founded in 1963 by Greg Hill and Kerry Wendell Thornley. Discordianism’s most famous proponent is writer Robert Anton Wilson, co-author of the The Illuminatus! Trilogy.
- Co-director/”editor in the spirit” Cordt Holland is a pop-art collagist whose work can be found here.
- Much of the narration was taken from radio broadcasts from Stang’s “Hour of Slack” and text from The Book of the SubGenius. The environmentally-conscious Church continually recycles and remixes its material into new, mutated combinations.
- The appearance of President George W. Bush in this 1992 movie was not a prophecy; the video was updated with new material in 2005. (VHS copies will have less material.)
- Arise! was originally distributed by Polygram, until the Conspiracy caught on and squashed the plan. Reportedly, 800 rental copies were returned to the Church when Blockbuster video went “clean” and apparently deemed the videos deviant and offensive to Christians.
- In 2017 a Kickstarter campaign to create a “serious” documentary about the history of the Church was successfully funded. Look for Slacking Towards Bethlehem: J.R. ‘Bob’ Dobbs and the Church of the SubGenius to appear sometime in 2018 (we’ll alert you when the time comes).
INDELIBLE IMAGE: Obviously, it’s “Bob”‘s generic, white-bread, smug, pipe-sucking face, which is pixilated, melted, multilated, and pasted over other character’s heads throughout the movie.
THREE WEIRD THINGS: Pipe-smoking sex god “Bob”; the world ended on July 5, 1998; video evidence of “Bob”‘s martyrdom?
WHAT MAKES IT WEIRD: The world’s only absurdist recruitment video for the world’s largest absurdist cult, Arise! is too potent to play in Conspiracy theaters. It has circulated for over 25 years through that secret samizdat network known only as “the Internet.” Arise! will teach you about the genetic secret that makes you better than the “Normals” and about the long past/soon to come X-Day flying saucer apocalypse, puzzle you with the mysterious riddles posed by Old Testament alien JHVH-1, and give you the key to acquiring slack. All of this propaganda is scored to terribly annoying but hilarious music and illustrated with mind-melting psychedelic collages and subliminal images intended to put you into trance so that J.R. “Bob” Dobbs can insert the deeper, more esoteric meanings behind this lucrative cult directly into your forebrain and teach you to embrace your inner weirdness. Plus, live nude girls scattered throughout!
Excerpt from Arise! The SubGenius Movie
COMMENTS: I was lucky enough to discover the Church of the SubGenius near the very beginning. I’ve had Slack ever since. In 1986 I Continue reading 328. ARISE! THE SUBGENIUS MOVIE (1992)
“…after I saw Twin Peaks—Fire Walk With Me at Cannes, David Lynch has disappeared so far up his own ass that I have no desire to see another David Lynch movie until I hear something different. And you know, I loved him. I loved him.”–Quentin Tarantino
DIRECTED BY: David Lynch
PLOT: The first thirty minutes cover the FBI investigation of the murder of Teresa Banks (an event referred to in the first season of “Twin Peaks”). The action then moves to the town of Twin Peaks, focusing on high school senior Laura Palmer, the beautiful homecoming queen who has a secret life as a cocaine addict and upscale prostitute. As her father begins acting strange and tensions inside her home grow, Laura goes to a “party” at a cabin in the woods, where tragedy strikes.
- “The Secret Diary of Laura Palmer” (credited to David Lynch’s daughter ). Our coverage is similarly scattered: read about the pilot here, the original series here, and the 2017 series here. ” is a massive franchise, covering two original televised seasons, this feature film, a revival series broadcast twenty-five years after cancellation, and even two novels by co-writer Mark Frost and a book version of “
- Lynch had originally planned for Laura Palmer’s murder to never be solved, so the television network’s decision to force the writers to reveal the killer or face cancellation in the second season was an outside force that changed the direction of the overall story.
- Some of the actors in the TV series’ large cast either refused or were unable to reprise their roles for the feature film, the most significant of whom was (who played Laura’s best friend Donna). Boyle was replaced by Moira Kelly. Series co-creator Mark Frost also disagreed on the direction Lynch was taking the “Twin Peaks” story, and declined to participate in the movie.
- Over 90 minutes of additional footage was shot, including appearances by characters from the series who didn’t make it into the final product.
- Lynch originally hoped to make two sequels which would pick up where the television series ended, but Fire Walk With Me‘s disappointing box office ended those plans.
INDELIBLE IMAGE: The angel in the Red Room (although the curtains suddenly turn purple for this scene). It’s one of those tender moments Lynch likes to put in to remind his viewers that, no matter how much evil and perversion he throws onto the screen, he still unironically believes in the ultimate power of goodness, love, and salvation.
THREE WEIRD THINGS: The blue rose; Southern Bowie on security cam; garmonbozia
WHAT MAKES IT WEIRD: “Twin Peaks” is an uneven franchise, ranging over a landscape that covers everything from soap opera to surrealism and quirky comedy to rustic perversion, and so it may be appropriate that Fire Walk With Me is an uneven movie. The feature film continuation of the story is packed with dream sequences, unexpected cameos, mystical characters, and bizarre symbolism (an Arm eating creamed corn?). It was a financial and critical flop whose unremittingly dark and obscuritan tone turned off both casual series fans and mainstream critics, but for better or worse, David Lynch defiantly tears his own way through the universe he dearly loves.
Original trailer for Twin Peaks: Fire Walk With Me
COMMENTS: Early on in Fire Walk with Me, a woman in a red fright Continue reading 310. TWIN PEAKS: FIRE WALK WITH ME (1992)
“Being the Batman fan that I am, I pretended to like the film. I passionately defended it to my ‘non-Batman’ friends who found it ‘weird’ or ‘dumb.’ But eventually, I gave in to the fact that this film plain sucked. This macabre, morose, dark abomination was a Batman film in name only. Frankly, I felt screwed by Warner Brothers and Mr. Burton.”–Bill “Jett” Ramey, “Batman on Film”
“It’s human nature to fear the unusual.”–The Penguin, Batman Returns
FEATURING: , , Danny DeVito,
PLOT: The film sets Batman against three new villains: Oswald Cobblepot, a deformed outcast who lives in the sewers and adopts the name “the Penguin”; “Catwoman,” former secretary Selina Kyle turned feminist avenger after a near-death experience; and Max Shreck, a wealthy retailer who wants to build a power plant opposed by Gotham City’s mayor. With differing agendas and shifting loyalties, the three form a plan to run Cobblepot for mayor and to frame Batman for the city’s crime problem, while Batman’s alter-ego Bruce Wayne and Selina pursue a romance, not realizing that they are sworn enemies. After the superhero foils the initial plot, the Penguin pulls out a more elaborate, apocalyptic plan.
- Tim Burton, who had scored a blockbuster with the original Batman (1989), was reluctant to produce a sequel. Warner Brothers convinced him to helm the film by giving him almost complete creative control. Heathers‘ Daniel Waters was brought in to shade Sam Hamm’s too-sunny original script. It was a move the studio came to regret (the film was profitable, but not as big a hit as its predecessor, and parental complaints that it was too violent/sexy/weird for kids spooked the suits). Neither Burton nor star Michael Keaton returned for the third movie in Warners’ Batman franchise, which went in a lighter, more family-friendly direction under Joel Schumacher.
- Angry parents boycotted McDonalds for (unwisely) including Batman Returns action figures in Happy Meals, complaining that the movie was too violent for kids.
- Oscar-nominated for Best Visual Effects and Best Makeup. Also nominated (unjustly, in our opinion) for a “Worst Supporting Actor” Razzie for Danny DeVito.
INDELIBLE IMAGE: I’m going to go with the army of penguins equipped with missiles striped like candy canes (remember, this is a Christmas movie).
THREE WEIRD THINGS: Kitty corpse revival; poodle with a hand grenade; missile penguin army
WHAT MAKES IT WEIRD: Let loose with a budget of $80 million and almost complete creative control in 1992, Tim Burton smuggled weirdness into the cineplex in the guise of a superhero sequel. The resulting picture has as many excesses as you can possibly sneak into a blockbuster: suggestive S&M duels between sexually repressed loners clad in fetish gear, a carnival-themed gang who unleash their surreal clown fury on Gotham at Christmas, and an army of penguins led by a deformed sociopath.
Original trailer for Batman Returns
COMMENTS: Earning over 260 million simoleons at the box office—although some ticket buyers probably asked for a refund—Batman Continue reading 284. BATMAN RETURNS (1992)
FEATURING: , Shinya Tsukamoto
PLOT: After receiving a mysterious injection and having his son killed by members of a cult, a man’s body starts to slowly transform into a weapon of flesh and steel as he tracks down the cultists and their leader, the “Metal Fetishist.”
WHY IT WON’T MAKE THE LIST: Body Hammer is a larger-budgeted, more conventional reinterpretation of the original Tetsuo that partially attempts to rationalize its world. By common standards, however, it’s still very much a weird movie, packed with bizarre images and occasional outbursts of the nightmarish industrial madness that defined the first. With the List’s increasingly limited slots and Body Hammer‘s more surreal predecessor already certified, there isn’t a lot of pressure to add this one.
COMMENTS: Shinya Tsukamoto’s first Tetsuo, whose status as a landmark of weird cinema and one of the most defining representatives of the Japanese Cyberpunk film movement is contested by few, was a truly unique, aggressively hyperactive, feverish industrial nightmare set in its own immersive realm. To the dismay of some fans, the sequel is clearly a very distinct effort to craft a more accessible movie, with a structured narrative and a focus on its dramatic plot, and more nuanced and realistic characters along with their emotions and motivations (the protagonist even gets a name). The most obvious departure from the first film’s style is the cold, sterilized color palette (with an emphasis on blue and white) that sets up a robustly clinical and artificial world. Before the transformations kick in, it seems like the humans we see are already machine-like and dehumanized, moving lifelessly through an imposing urban environment that dwarfs and assimilates them. Inevitably, the main character’s metamorphosis into a man-machine hybrid mechanism later on may look like a natural evolution in such surroundings.
The first scenes after the opening credits show Tomoo, Body Hammer’s version of the “salaryman”, waking up and having breakfast with his wife and child while discussing a dream from the previous night. These initial moments would be almost casual if it wasn’t for Tsukamoto’s insistence on unconventional angles and a fluid camera that freely hovers and rotates. After the family is assaulted in a mall by a group of mysterious skinheads who kidnap the son and trigger Tomoo’s transformation with an injection, setting the main plot course in motion, we get the first glimpses of the original story. It’s easy to say that the more expository approach of the sequel robs it of the magic and low-budget charm that made the first so memorable and unique, but the sensibility behind it is the same. To describe it simply, Body Hammer feels like an intersection between our familiar world and the alternative, hallucinatory logic that governs the first Tetsuo universe. As such, it’s more accessible, but there are never any signs of the auteur’s vision being hampered by the imperatives of telling a coherent story.
In fact, Tsukamoto’s directorial tics shine through the film. Sometimes, he interrupts the narrative’s course with bizarre montages mirroring Tomoo’s grotesque mutation. It helps that the film grows progressively stranger and closer to its predecessor’s insanely energetic pace, with furious imagery of sprawling wires, cables, pipes and random metallic parts that overpower and merge with fragile flesh, with the difference being that here they are lightly mediated by a contextual plot. As the movie approaches the climatic confrontation between Tomoo and the fetishist, it even presents us an explanatory flashback that clarifies the antagonist’s motivations and introduces a final twist related to his relationship with the main character. This sudden device comes completely unexpected, mainly because we would never guess that Tsukamoto would show such a preoccupation with the narrative’s background. Even this passage, however, is infused with his surrealistic style, and it may actually contain the film’s ultimate surreal set piece, culminating in a murder scene that manages to be simultaneously gory, dreamlike and touching.
The additions to the Tetsuo mythology, possible through the bigger budget, are also welcome. It is, for example, nice to see a whole cult of metal worshipers operating, instead of a sole maniac like the original, as well as further inventive variants of the bloody and biomechanical mutations of flesh, steel and rust.
The consensus on Body Hammer is positive, but a number of fans show discontent with what they see as an ill-fated attempt at making sense out of the perfectly irrational fable that was the original. To a certain extent, they are correct. But the decision to flesh out the character dynamics and lend emotional weight to the chaotic events on screen, works because it passively accepts and coexists with the absurdity of the film’s plot. In the end, Body Hammer is immersed in its mix of alien atmosphere and cold, fantastical reality, making it both a satisfyingly strange movie and a distinct enough one from the original.
WHAT THE CRITICS SAY:
“Tsukamoto’s preoccupations with meta(l)morphosis, body horror and unchecked masculinity remain firmly in place, as does the writer/director’s way with outrageous images and ideas.”–Anton Bitel, Eye for Film
Known as Dead Alive in North America, Braindead elsewhere
“You know what they are saying about you don’t you? You’ve got funny in the head! A real bloody weirdo!”–Roger, Dead Alive
FEATURING: Timothy Balme, Diana Peñalver, Elizabeth Moody, Ian Watkin, Stuart Devenie
PLOT: An explorer discovers a Sumatran “Rat-Monkey” on Skull Island; the creature is safely housed in a Wellington zoo. The animal escapes and bites Lionel’s overbearing mother, who becomes a zombie and infects anyone she comes across. Lionel then juggles the advances of the local shop owner’s daughter Paquita and the machinations of his blackmailing uncle with the zombies mounting in his basement.
- Written before the controversial puppet black comedy Meet the Feebles, but filmed afterward. This was the first script co-written with longtime Jackson collaborator and partner Frances Walsh. The story originated with the third credited co-writer, Stephen Sinclair, who originally conceived of it as a stage play satirizing New Zealand society.
- Partly funded by taxpayer dollars through the New Zealand Film Commission.
- The film won Best Screenplay at the New Zealand Film and Television Awards in 1993. It won Best Film (and Best Special Effects) at the 1993 edition of the Fantasporto Film Festival for genre pictures.
- Released as Braindead in New Zealand, Australia, and other countries, but as Dead Alive in North America to avoid confusion with the practically identically titled 1990 horror film Brain Dead (directed by Adam Simon).
- The uncut version was banned for extreme violence in several countries, including Finland, Singapore, and South Korea.
- Came in it #91 on Time Out’s 2016 poll of the greatest horror movies.
INDELIBLE IMAGE: The Grand Guignol finale where Lionel cuts down a horde of zombies with a lawnmower. Three hundred liters of fake blood were used in this scene.
THREE WEIRD THINGS: Sumatran Rat-Monkey; zombie baby; the Lord’s ass-kicker
WHAT MAKES IT WEIRD: From the seemingly benign and placid surface of 1950’s New Zealand society, director Peter Jackson spews forth undead geriatrics consuming German Shepherds, amorous zombies who impregnate each other, sentient viscera, oedipal vaginal imagery on an epic scale, and an inexplicable excursion to the local park with a zombie baby. The invention and gory slapstick of this film are comparable to a Looney Tunes episode where Wyle E. Coyote falls into a spool of razor wire. Or perhaps the antics of and the Keystone Cops defending themselves from an undead invasion after ingesting speed-balls.
Original trailer for Dead Alive
COMMENTS: I fondly remember Braindead from my 1990’s adolescence, days of VHS and weekends spent with friends, trying to outdo Continue reading 268. DEAD ALIVE [BRAINDEAD] (1992)
DIRECTED BY: Tai Kit Mak (AKA Mak Tai Kit, Peter Mak)
FEATURING: Jacky Cheung, , Michelle Reis, , Roy Cheung
PLOT: Members of a secret government agency in Hong Kong charged with destroying shapeshifting “monsters” investigate a new killer street drug nicknamed “Happiness.”
WHY IT WON’T MAKE THE LIST: There is some admirable craziness here, but the combination of needlessly arty Dutch angles, poor pacing, and uneven special effects doom City‘s List aspirations. (A less murky print than current thrift-shop-VHS quality transfer would have helped).
COMMENTS: Wicked City is shot in an unreal neon-noir style, with hazy pale-blue lighting with accents of red and green, and the camera constantly tilted to one side to suggest an off-center universe. It’s an affectation that quickly becomes annoying, since we need no encouragement to view a world in which characters say lines like “as you know, my mother was a monster”—and mean it literally—-as fantasy. There are some amazingly clipped scenes: one minute, two agents are sitting in a busy go-go bar. One says, “I think there are monsters here” and in the very next shot the entire human clientele lies dead. Such rushed exposition adds a dreamlike quality to the proceedings. Although the plot, which involves mixed loyalties, betrayals, and a human-monster-monster love triangle, is too silly and obvious to be gripping, there are some wacky action set pieces. A courtesan turns into a spider lady, cutlery flies through the air of its own accord, agents lock hands to create an anti-monster magnetic field, our heroes employ Schwarzeneggeresuqe quips against a killer clock (“how time flies!”), and the climactic battle takes place on the wings of a jet liner in flight. Best of all is the scene where one of the monsters has sex with a pinball machine—not on a pinball machine, with a pinball machine. Overall, Wicked City‘s effects are cheap, and the tone is B-movie operatic. Still, it’s probably as much fun as Hollywood’s Men in Black, and significantly weirder.
Wicked City is an adaptation of a Japanese novel by Hideyuki Kikuchi (who also wrote the source material for Vampire Hunter D). It was more famously adapted in Japan as an anime in 1987. Hong Kong New Wave baron produced this live-action version. Because the film bears many of his hallmarks (fast-paced, effects and stunt-heavy fantasy), some speculate that he may have had an uncredited hands-on role in the direction (as is often suspected of films the prolific Hark produced).
WHAT THE CRITICS SAY:
“The action/fantasy scenes lack the kinesis and wildness that come in the work of other contemporaries of this era such as Ching Siu-Tung and the film’s producer Tsui Hark.”–Richard Scheib, “Moria: The Science Fiction, Horror and Fantasy Film Review”
(This movie was nominated for review by “Dani,” who said “. I found it on VHS in a thrift store and it blew my mind.” Suggest a weird movie of your own here.)