Tag Archives: 2007

CAPSULE: THE DARJEELING LIMITED (2007)

Recommended

DIRECTED BY:

FEATURING: , , Adrian Brody

PLOT: Three brothers, each at a personal crossroads, reunite for a spiritual quest through India.

Still from The Darjeeling Limited (2007)

WHY IT WON’T MAKE THE LIST: The Darjeeling Limited comes from Wes Anderson’ mid-to-early period, where he flirted with stangeness in airy, slightly dreamy features like Life Aquatic with Steve Zissou and this before floating back to Earth for the family-friendly Fantastic Mr. Fox and the Oscar-friendly The Grand Budapest Hotel. He never became quite untethered enough from the bounds of indie movie reality and character-based comedy to soar all the way to the vertiginous heights of the weird, though he did aim high enough to make movies of this period worthy of some scrutiny by fans of unusual films.

COMMENTS: “How can a train be lost? It’s on rails,” Jack sensibly asks after the trio of brothers have been asked to disembark from the title vehicle mid-trip. The “off the rails” joke seems intended a wry, self-aware comment from Anderson about the shaggy dog nature of his story, but it’s not really accurate. For better or worse—I’d say better—The Darjeeling Limited never deviates from the path it sets. This director is known for his tight formalism, revealed in his immaculate set design—every swatch of geometric wallpaper, every piece of matching luggage covered in palm trees suggesting a proper Old World elegance—and in the distant, detached stiffness he enforces on his actors.

The Darjeeling Limited is a quintessential Wes Anderson movie: carefully composed visuals (with a stunning turmeric and saffron color scheme), quirky characters with muffled emotions, a mildly absurd plot. It’s perfectly capable of absorbing you in its off-center but oddly believable universe. Owen Wilson (as the ringmaster brother swaddled in bandages from his recent near-death accident) and Jason Schwartzman (as the womanizing writer brother) are old hands for Wes; lanky Brody, not known at the time for his comic performances, fits into the ensemble surprisingly well. , naturally, has an amusing sad sack cameo, and old hand turns up in a small role, too. These three brothers are allegedly off on a spiritual journey, but their quest turns out to be more about coming to grips with the legacies of their parents than discovering nirvana. A Wes Anderson protagonist is typically an upper-middle class (i.e., bourgeois) man focused on a peculiar obsession (Rushmore‘s Max and his crush on an older woman, Steve Zissou’s quest for vengeance), whose narcissism is deflated when he comes to realize that the universe will go its own way without yielding to his desires. These characters’ lenses gradually widen to compensate for their myopia, and they end up not with redemption, but with the resigned wisdom that comes from accepting disillusionment. Here, the realization comes in triplicate. Perhaps there is a legitimate spiritual lesson there, after all.

The Criterion disc includes “The Hotel Chevalier,” a short film starring Schwartzman (alongside ) that describes an incident just before the beginning of Darjeeling Limited. It screened before the feature in some theaters. It carries the same sense of whimsical melancholy as the main feature, but, despite plot connections to the main story, it isn’t necessary to enjoy or understand Darjeeling.

WHAT THE CRITICS SAY:

“…entertaining and engaging, and also deliberately strange.”–Rich Cline, Shadows on the Wall

(This movie was nominated for review by “bill,” who said it was “not as overtly strange as some of the movies on this list however there is a certain surreal aspect to the story telling that makes this a masterful cinematic oddity .” Suggest a weird movie of your own here.)

CAPSULE: MURDER PARTY (2007)

DIRECTED BY: Jeremy Saulnier

FEATURING: Chris Sharp, Kate Porterfield, Tess Porterfield Lovell

PLOT: On Halloween night on a whim, Chris collects an invitation to a “murder party” with no explanation and shows up in a cardboard costume; the party turns out to be more than he’d banked on, as his hosts are a collective of artists out to commit a murder to win a performance art grant.

Still from Murder Party (2007)

WHY IT WON’T MAKE THE LIST: Well, come on, it’s a black comedy/horror that never really strays into uncharted territory. Made on an impoverished budget, the premise is original and the characters are a raving cast of oddballs, but it only adds up to a fun diversion with chuckles and gore, not weirdness.

COMMENTS: Chris (Chris Sharp) plants his foot on a party invitation fluttering through the grimy streets of New York, and since the invitation isn’t directed at anyone in particular, he accepts it as his. It’s Halloween night, after all, and he just wants to party for once in his dull life. Woe betide Chris! His chakras are out of alignment, his lucky stars are in retrograde motion, and his karma is moldy. After fashioning a quick get-up, he sets out to find the party, attired as a cardboard knight. From the minute he arrives at a trashed warehouse in an industrial hell-zone, this party seems off-kilter. The other attendees scoff at the invitation and pounce on him, all but ignoring the pumpkin bread he baked for the potluck dinner.

Chris is tied up in a chair in the warehouse, and we get to know our hosts: Bill (William Lacey), a ghoulish baseball player who sullenly sits on the floor playing with his phone all night; Macon (Macon Blair), a drunk and insanely clutzy werewolf; Paul (Paul Goldblatt), a meek participant who has trouble living up to his aristocratic vampire costume; Lexi (Stacy Rock), in a gleefully deranged impression of Pris from Blade Runner; and Sky (Skei Saulnier), the closest thing to a normal person there, and also the most allergic to raisins. They’re soon joined by Alexander (Sandy Barnett), a purveyor of fine arts and hard drugs with a six-figure grant to hand out to an artist that impresses him. The gang of artists have decided that their art project will constitute committing a fully documented murder. But they needed to set a trap for a random victim, so they made this invitation—and they can’t believe it worked.

Now that we’re set up for a story, sit back and munch candy corn (no seriously, it’s featured prominently) and watch the festivities unfold. There will be lots of chaos, as none of these people, least of all Chris, are remotely capable at what they’re trying to do. Like any good horror movie, you will see lots of characters die, but this time most of them will be dismissed from this vale of tears by their own stupidity. Chris tries many desperate plans to escape, and what little success he has is by pure luck combined with a shocking lack of imagination. It’s a witty social satire for black comedy fans. It’s also the lowest-budget you could possibly have and still make a movie work. “Punk” is a perfect word to describe it; if you picture the people behind Repo Man making a Halloween movie that’s also a satire of pretentious artists—with an even smaller budget and no name stars—you’re pretty close to pegging it. The movie suffers from a lagging pace in a couple places, and some bits just plain don’t work. However, taken for what it is, Murder Party lives up to everything you’d expect from the title, just not much more.

WHAT THE CRITICS SAY:

“After an hour of entertainingly crass buildup, pic erupts in a riot of outrageous, quite funny violence that leaves almost no one alive. Punk/metal soundtrack is in keeping with gonzo tone.”–Dennis Harvey, Variety (contemporaneous)

295. NO SMOKING (2007)

“Look up the word ‘bizarre’ in the dictionary. It doesn’t mean dark. Was Eternal Sunshine Of The Spotless Mind a dark film? It was bizarre. No dictionary in the world says bizarre means dark or vice versa. This is the problem with Indians; they come with fixed notions. What is the definition of dark? Tell me!”– An exasperated No Smoking writer/director Anrag Kashyap in an interview

Recommended

DIRECTED BY: Anurag Kashyap

FEATURING: John Abraham, Ayesha Takia, Ranvir Shorey, Kiku Sharda, Paresh Rawal

PLOT: K, an arrogant businessman and highly-addicted chain smoker, agrees to enter a smoking-cessation program after his wife threatens to leave him. Going to the address his friend gave him, K is led through a labyrinth and forced to sign a contract which specifies that his loved ones will be harmed in increasingly severe ways every time he smokes a cigarette. Naturally, K relapses into smoking and is caught, eventually winding up trapped in a nightmare world.

Still from No Smoking (2007)

BACKGROUND:

  • The script (at least its early sections) bears some striking similarities to ‘s short story “Quitters, Inc.,” which was previously a segment of the 19865 anthology Cat’s Eye. The writer/director admits the story was an inspiration, although the credits do not mention King.
  • No Smoking was Anurag Kashyap’s third movie, but the first one released in India. His debut, Paanch, was never released outside of international film festivals due to state censorship (for violence and drug use); his second film, Black Friday, a true crime story, was delayed while a court case was pending and released after No Smoking. He later achieved mainstream success with 2009’s Dev D, an adaptation of a popular novel.
  • No Smoking was a colossal flop in its native India, where it baffled audiences with little exposure to psychological thrillers or surreal cinema.

INDELIBLE IMAGE: The bathtub sitting alone on a snowy plain in Siberia, just in sight of what appears to be a Soviet-era gulag, which appears in dream sequences at the beginning and end of the movie.

THREE WEIRD THINGS: Hitler’s Indian buddy; Fosse’s cigarette cabaret; banana peel suicide

WHAT MAKES IT WEIRD: No Smoking isn’t quite what would result if got a wild hair to direct a Bollywood film—but it’s a reasonable approximation. With it’s theme of bad men forced to forgo their vices against their will, a bit like a Hindi twist on A Clockwork Orange, as well, only with more elaborate musical numbers. With the tropes of Indian popular cinema colliding against a Western-style neo-surrealist narrative, No Smoking is neither fish nor fowl; it totally confounded Indian audiences used to simple stories with happy endings, and it will probably confound you, too.


Hindi trailer for No Smoking

COMMENTS:  Anurag Kashyap’s Advice for How to Stop Smoking in Continue reading 295. NO SMOKING (2007)

CAPSULE: BLACK DEVIL DOLL (2007)

DIRECTED BY: Jonathan Lewis

FEATURING: ” Mubia Abul-Jama,” Heather Murphy, Martin Boone

PLOT: A Black Panther, executed for the “rape and brutal murders of fifteen Caucasian women,” finds his soul transported into a ventriloquist’s dummy; he then resumes his evil ways.

Still from Black Devil Doll (2007)

WHY IT WON’T MAKE THE LIST: Not need to get into a deep discussion here: Black Devil Doll is simply too silly, spoofy and self-aware to count as weird.

COMMENTS: First things first: Black Devil Doll isn’t an homage to the charmingly naive Black Devil Doll from Hell so much as it is an afro-remake of Child’s Play, with added interracial rape. Basically what we have here is a trashy soft porn feature starring zaftig strippers acting opposite a racial stereotype puppet: cheap, offensive trash, and proud of it. Anyone who’s not tolerant of gleeful overuse of the n-word, boundary-pushing racial humor or blatant misogyny will want to steer clear of this movie—it’s trying to trigger you. Among its bad taste stunts are X-rated cartoons, puppet sex scenes, copious puppet semen, lesbian Twister, an emasculated wigger, Bill Cosby seduction techniques, rape and killing (not necessarily in the order), vomiting, caustic diarrhea… you know, “can’t we all just get along?” kind of stuff. It ends with the strippers-cum-actresses giving the puppet a lap dance over the credits, and a post-credits sequence (by another director) and with the devil doll killing a delivery guy from “Oakland Fried Chicken,” the only fast food outlet with a genuine Sambo on the label. The actresses have names like “Natasha Talonz” and “Precious Cox,” and it was naturally “rated X by an all white jury.” It’s real woke.

Black Devil Doll comes awfully close to earning a “” rating, but has enough virtues to just barely skate by. The James Bond-esque opening credits, with voluptuous silhouetted ladies undulating across a landscape of fire and blood, are actually rather amazing, looking far more expensive than the rest of the movie. They are credited to cinematographer/editor John Osteen, who also inserts a couple of hip-hop montages during the doll’s, er, climaxes, which feature blazing fires, morphing effects and flashes of scenes from the civil rights movement (!) Osteen is more talented than anyone else on the cast and crew, although like the rest he was never heard from again. The funky vintage waka-waka instrumentals aren’t bad, either, although the sexy car wash rap is atrocious (deliberately so). Finally, there are just enough guilty-pleasure politically incorrect chuckles to counteract the painfully insulting ones: “Of course I love you, you dumb-ass ho!,” references to a “half-puppet mulatto baby,” and the classic feminist one-liner, “I’ll buy a dildo.” The final point in the movie’s favor is its brevity and brisk pacing: it has the good sense to keep its provocations to just over an hour, although probably for budgetary reasons rather than out of an abundance of good sense.

Black Devil Doll was made by a black director, because no white director could get away with it. The rest of the cast is all-white (although there may be some mixed blood in there), and the entire thing seems to be a side project of the “Boone brothers,” a pair of Confederate crackers who ran their own straight-to-video mini-empire of catfighting comedy videos called “Brawlin’ Broads” (directed by Osteen). The fact that this comedy about a stereotypical black rapist preying on topless white women seems to have been made by white producers aiming at a white trash audience makes it all the more uncomfortable. At any rate, director Lewis won’t be winning any Image Awards anytime soon.

The DVD contains a surprising number of special features, including two commentaries (one in-character by the devil doll, the other by the cast, neither very amusing or enlightening) and an audience reaction track from the premiere. There are also trailers, behind-the-scenes videos from the premiere and a convention appearance, a videotaped interview, and three (in)decent animations from Rich Moyer.

WHAT THE CRITICS SAY:

“Part homage to the hilarious surrealism of Petey Wheatstraw and, to some, a respectful rip-off of Chester Novell Turner’s Black Devil Doll From Hell, this outrageous example of Joe Bob Briggs’ patented ‘three Bs – breasts, blood, and beasts’ is so insane, so silicon injected and silly that it’s almost impossible to take seriously.”–Bill Gibron, Pop Matters (DVD)

(This movie was nominated for review by “upgrayedd.” Suggest a weird movie of your own here.)

CAPSULE: AQUA TEEN HUNGER FORCE COLON MOVIE FOR THEATERS (2007)

DIRECTED BY: Matt Maiellaro, Dave Willis

FEATURING: Voices of Carey Means, Dana Snyder, Dave Willis

PLOT: Animated TV characters based on fast food items (Frylock, Shake and Meatwad) accidentally assemble an apocalyptic exercise machine and discover their own origins.

Still from Aqua Teen Hunger Force Colon Movie for Theaters (2007)

WHY IT WON’T MAKE THE LIST: Let’s face it: the Aqua Teens are lightweight, fast-food surrealism. We’re including this film mainly as a nod to the Cartoon Network’s influential “Adult Swim” programming, which brought a peculiar, hip-pop absurdism to the airwaves starting in 2001. Other, sometimes darker and weirder examples of this aesthetic are found in the work of awkward comedy duo and the standalone live-action experiments of and .

COMMENTS: “Aqua Teen Hunger Force,” the TV show about animated fast food characters and their Italian-American stereotype neighbor interacting with 8-bit aliens from “Space Invaders,” has only been out of production for two years now, but it seems like something that should go into the “fondly remembered” bin. I think it’s because the show was so aggressively minor, going (often successfully) for the easy laugh, always settling for snark instead of satire, randomness instead of surrealism. It was the kind of thing that you used to catch flipping through channels at 1 AM, watch until the next commercial break, chuckle once or twice, then move on. Like any long-running series, however, it spawned a dedicated fan base, in this case one large enough to justify production of a widescreen movie “for theaters.”

Colon Movie doesn’t do much to orient newcomers to Aqua Teen‘s world—although to be fair, the series had little structure in the first place. There are three main characters: cool and competent Frylock, a flying pouch of french fries; Master Shake, an arrogant but stupid milkshake; and Meatwad, a wad of meat with low intellectual capacities but shapeshifting abilities. Their adventures are free-form, involving space travel, mad scientists, and other silliness. Colon Movie begins with a widely-praised prologue: a parody of the old “let’s go out to the lobby!” snack commercials with a heavy metal junk food band howling angry suggestions at viewers (“This is a copyrighted movie by Time Warner. If I find you selling it on E-Bay I will break into your house and tear your wife in half!”) We then begin the movie proper, which begins with a segment set in ancient Egypt, followed by a digression involving time-traveling Abe Lincoln. Yep, it’s sketch comedy a la an animated , with a stoner edge. The introductory tomfoolery fades out and the actual plot-based tomfoolery begins around the  fifteen-minute mark with the introduction of the doomsday exercise machine and the crudely-drawn aliens (and a mohawk-wearing time-traveling robot) tasked with saving humanity from the machine’s destructive power. This plotline goes on for some time until it’s replaced by our heroes’ encounter with one Dr. Weird and flashbacks to several conflicting, inconsistent origin stories for the Aqua Teens. Along the way they encounter a giant poodle, more aliens (including a watermelon alien teamed up with a shrunken Rush drummer Neil Peart), a Space Ghost cameo, and other sporadically entertaining nonsense. It’s all over in a brisk 80 minutes, although with only an hour or so of actual story it still seems a little bit padded. Still, fans anointed it awesome, although newcomers would probably be better served with a shorter form 11-minute episodes as an introduction to the Force (although, with the cancellation of the series in 2015, that format may be harder to access).

Ultimately, Colon Movie will probably be remembered most for a bit of trivia: as part of a guerilla marketing scheme, LED boards featuring the “Mooninite” aliens were placed in several cities, including Boston. Unfortunately, the advertising was enacted during a period of high tension in Beantown (there had been a bomb scare earlier that morning) and the signs were mistaken for improvised bombs. Despite widespread criticism of the Boston Police Department for overreacting to the incident, the Cartoon Network’s parent company Turner Broadcasting agreed to pay the city 2 million dollars to release them from any liability in the matter.

WHAT THE CRITICS SAY:

“Like the ATHF television show, Colon Movie Film seemingly delights in making as little sense as possible. Its absurdist scenarios serve as little more than a ramshackle frame for bizarre non sequiturs, stoned pop-culture riffing, and some of the weirdest gags ever to make it into a studio-released film… roughly equivalent levels of tedium and hilarity.”–Nathan Rabin, The A.V. Club (contemporaneous)

(This movie was nominated for review by Caleb Moss [years before he became a contributor], who called it “unbelievably absurd, nihilistic, low budget animation filled with stony non-sequitors… I believe that it has weird potential all and all.” Suggest a weird movie of your own here).

CAPSULE: THE SEARCH FOR WENG WENG (2007/2013)

DIRECTED BY: Andrew Leavold

FEATURING: Weng Weng

PLOT: Curious about 2-foot 9-inch Filipino “action star” Weng Weng (For Y’ur Height Only, The Impossible Kid), an Australian video store owner travels to the Philippines to interview the people who knew the actor personally and to fill in the missing details of his scanty biography.

Still from The Search for Weng Weng (2007) (D'Wild Wild Weng, 1982)

WHY IT WON’T MAKE THE LIST:The Search for Weng Weng is an unexpectedly substantial, insightful, and even moving documentary. In weird movie terms, however, its role isn’t to crash the list of the weirdest movies ever made, but to fill in gaps in your knowledge of an esoteric cinema oddity.

COMMENTS: Reviewing a Weng Weng movie has been on my personal “to do” list for some time, but I always found something higher priority to work on instead. Poor Weng Weng still gets no respect; he’s a marginal curiosity even on a weird movie site. Andrew Leavold’s passionate, late-arriving documentary gives us an excuse to initiate some Weng Weng coverage, even if it’s only secondhand.

To be honest, a vehicle like this is probably the best way to experience the Weng Weng phenomenon; you get to see the cream of the crazy clips without the fat, and a real human interest story is thrown in as a bonus. As the title of his most notorious film—For Y’ur Height Only—makes clear, Weng Weng’s acting career was a one-joke phenomenon. The Guinness Book of World Records holder as the shortest actor ever to star in a feature film, in the West Weng is only known for two movies, the aforementioned Height and The Impossible Kid. These spoofs cast him as a secret agent and wring absurd fun from their star’s short stature by having him kung fu bad guys (who helpfully fall to the ground after being kicked in the shins) and romancing women who can carry him around like a baby. Weng Weng also did all of his own stunts, which were sometimes spectacular by B-movie standards: flying a jet pack or jumping from a building and drifting down while holding an umbrella.

Weng Weng’s time in the international spotlight began in 1982, peaked in 1982, and ended in 1982. Only two of his movies made it to the U.S., and there was almost no biographical information available save for a scant unreliable paragraph from the actor’s visit to the Cannes Film Festival (in, naturally, 1982). He would have been forgotten entirely if his two novelty films hadn’t made it to VHS tape, where enthusiasts of the oddball like Andrew Leavold rented them—and, after picking their jaws up from the floor, wondered if they could get more where that came from.

All available evidence suggested the answer was “no,” but Leavold didn’t take no for an answer. Traveling to the Philippines, the director discovered a nation in deep denial about Weng Weng. Folks either didn’t remember him at all, or were embarrassed to think that a court jester was the Philippines most recognizable cinematic export. Although most Filipino films from the Seventies and Eighties B-movie explosion have been lost, Leavold hit the national film archives and discovered a few domestic release Weng Weng gems, including a pair of previously unseen (by Westerners) Westerns. While there, the director bumped into Weng Weng’s old editor, who hooked him up with the actor’s old co-workers, leading, ultimately, to the film’s strangest surprise—an audience with former first lady Imelda Marcos, and a surreal visit to her 83rd birthday party.

This side trip isn’t as digressive as it sounds, because In Search of Weng Weng proves to be almost as much about the Filipino soul and the social context out of which Weng Weng arose as it is about the life of the forgotten celebrity. Weng Weng himself comes across as a fairly sad character, often exploited and ignored despite his fame; and yet, the picture also suggests his brief stint of movie stardom may have brought him more pleasure than he would otherwise have known in life. Because Weng Weng was no longer alive at the time of filming, we only learn about him through others, which means that we get a multifaceted portrait of an ordinary human being fated to live an extraordinary life. Some believe he was happy with his fame, others pity him. But there is no denying that, exploited or not, Weng Weng brought pleasure to millions of people worldwide, which is more than most of us can say. Despite his lack of real acting talent and his freakshow appeal, this dwarf from the slums of Manila rose to become a genuine entertainer and even an icon. When Leavold describes the climax of the unseen-in-the-West Western D’Wild Wild Weng—a finale where pygmies and ninjas suddenly show up for the final battle—as “one of the most insane Filipino B-endings, a micro-Apocalypse Now and a Dadaist triumph,” we’re swept up in his enthusiasm and genuine affection for the character of Weng Weng. We have to wonder if—pardon the unintentional but inevitable pun—we haven’t been selling the actor short.

In Search of Weng Weng was begun in 2007 and screened at festivals as a work-in-progress, which explains the 2007 date given by the IMDB. It was completed in late 2013 and shown in its final form in festivals and theaters soon thereafter. It arrived for the first time on DVD in late 2016 courtesy of Wild Eye Releasing, with a commentary track from Leavold, extended interviews with the actor’s colleagues, and other goodies, including a trailer for the lost Weng Weng feature Gone Lesbo Gone (!)

WHAT THE CRITICS SAY:

“…an interesting mix of the absurd and the tragic.”–Ian Shane, Rock! Shock! Pop! (DVD)

 

CAPSULE: SEXINA (2007)

AKA Sexina: Popstar P.I.

DIRECTED BY: Erik Sharkey

FEATURING: Lauren D’Avella, Adam West, Luis Jose Lopez

PLOT: When the shadowy CEO of Glitz Records devises a diabolical plot to take over the world’s music industry, it is up to Sexina, a top star at a competing label, to thwart him. A mix of huge egos, cyborgs, and assassins all collide as things build to a big showdown at a free high school concert.

Still from Sexina (2007)

WHY IT WON’T MAKE THE LIST: Eliciting more “okay then…”s than “what the…?”s, Sexina is certainly quirky and scattershot. But while there are moments when it hits the better side of absurd, Erik Sharkey’s pet project is more of a low key late night romp than an oddball masterpiece.

COMMENTS: “In the fine tradition of …” are generally not words a director likes to hear at the start of a review, but my suspicion is that Erik Sharkey, the man behind this pop-boy-band send-up, would not only be okay with it, but perhaps be flattered. Seeing as he did work with that venerable movie studio back in the ’90s, it is unsurprising that this has the budget studio’s unmistakable trashy aura—just without the gratuitous violence or nudity.

There’s no doubt that Sexina had more bite to it when it was released some eight years ago. Back then, to quote the Professor, “boy bands roamed the earth.” While never a difficult subject for lampooning, Sharkey ably takes the various flavors of pop sensation to their extremes. Luis Jose Lopez’s performance as the latest flash in the pan is something close to excellent. His Latino singer persona, Lance Canyon, is perhaps the most accurate distillation of commercialized machismo put to screen. His main obsession, reiterated in increasingly sexist ways, is women. (Or, more precisely, things which a male might, if one were so inclined, do with women). This slime-ball’s boss, known, appropriately, as “the Boss”, is the always-delightful Adam West. Ever since he finished his rounds at Batman lo those many decades ago, Mr. West seems to have maintained a successful career through the unlikely route of just showing up on screen and being Adam West. In Sexina, he does not disappoint.

Working less well, unfortunately, is much else in the movie. Plenty of jokes and scenes fall flat. This is somewhat made up for by the rapid pace, but there was a point about half way through that I realized I was just watching one- to two-minute vignettes loosely interspliced with each other. While I often found I was laughing despite myself, I kind of wished that there were more care given to the dialogue and timing. All the actors involved were, at the very least, competent, and it would have been good to see them given a clearer sense of the mania I felt the director was striving for. Alas, while his cast brought B-movie acting to the grade of Nigh High Art, there is only so much anyone can do with dialogue that’s “sorta funny” presented as “really funny.”

In the end, I wouldn’t recommend the movie; but I have no regrets that I’ve seen it. Despite clunkiness throughout, there was an undeniable charm to the whole thing, with the bits showcasing Adam West or Luis Lopez bringing the movie up from tolerable to amusing. Sharkey’s only follow-up to date was the fairly critically acclaimed documentary, Drew: the Man Behind the Poster, for which he was able to rally the likes of Steven Spielberg, Leonard Maltin, Michael J. Fox, as well as bunches of other A-List Hollywood types. It would be neat to see Erik Sharkey use his talent-gathering powers for the forces of good instead of the mediocre.

WHAT THE CRITICS SAY:

“It feels like a gentle, nostalgic trip through some of our favorite tropes from detective/spy TV combined with a disdain for contemporary boy-band culture (a target that even by 2007 was a bit dated). Even the film’s nods to drug culture and the over-sexualization of pop stars (including a weird dialogue about the size of a guy’s penis) feel more goofy than sleazy.”–Gordon Sullivan, DVD Verdict (DVD)

TRANSFORMERS (2007)

“What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle.”–

DIRECTED BY: Michael Bay

FEATURING: Shia LaBeouf, , Jon Voight,

PLOT: Giant robots attack a military installation. Shia LaBeouf buys a muscle car, but it’s actually a giant robot in disguise. A team of good giant robots from outer space battle a team of bad giant robots from outer space for control of a Rubik’s Cube.

Still from Transformers (2007)
BACKGROUND:

  • The movie Transformers was so successful that it launched a toy franchise and a Saturday morning children’s show.
  • Against the studio’s wishes, director Michael Bay deleted thirty minutes of explosions from the final cut, then added an additional hour of character development. A yet-to-be-released director’s cut incorporates all the explosion footage that was shot, and runs for over four days.
  • Jon Voight was once a respected actor.
  • Shia LaBeouf is a pseudonym which roughly translates from the French as “Made-up name the beef.”
  • Within five months after receiving her paycheck for Transformers, Megan Fox declared bankruptcy. Reportedly, she spent all of the money on unlicensed Mexican plastic surgery, including $500,000 for an experimental procedure which would have installed an expression on her face.
  • Stephen “Schindler’s List” Spielberg executive produced, haters.

INDELIBLE IMAGE: Oh, how about just a freakin’ awesome muscle car transforming into a bad-ass killer robot, is all.

WHAT MAKES IT WEIRD: One of the basic tenets of Surrealism is its insistence on juxtapositions and transformations of unlikely objects. As poet Pierre Reverdy said, “the more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be — the greater its emotional power and poetic reality.” In Un Chien Andalou, we see breasts that turn into buttocks; is this any stranger or more poetic than souped-up yellow Camaros that turn into giant missile-shooting bipeds?


Original trailer for Transformers

COMMENTS: Although some snob critics disparage the work of Continue reading TRANSFORMERS (2007)

193. MY WINNIPEG (2007)

“What happens, by accident, is that the way you choose to lie, because it’s coming from you, has something of the truth in it. Whatever you’re saying is something that’s intentionally coding the truth. And then somehow that coding gets worn down the more you retell it until finally you might as well just be telling the truth—under oath, and on sodium pentothal. It’s disguised somewhat but it’s as true as, say, Homer is true, the “Odyssey,” and the great literature is true. None of the surface is true, but… So in this case I started with a mostly true surface, and the more mischievous I tried to get about it… I just found myself returning to my way of thinking about the world, or my place in it, which involves laps and subterranean things. So it’s not like I was structuring the story so that things would rhyme or echo with each other, or belong in one piece, it’s just that they came from one place—me—and ended up in one sort of cohesive place—the movie My Winnipeg.”–Guy Maddin

Recommended

DIRECTED BY: Guy Maddin

FEATURING: Guy Maddin (narration), , ,

PLOT: “Guy Maddin” narrates a documentary about his hometown, Winnipeg, mixing fact with outrageous tall tales. In the course of the film he hires actors to portray his family and recreate scenes from his childhood. Maddin states his intent is to escape Winnipeg by “filming my way out;” but one of the running themes of the documentary is that no one ever leaves Winnipeg.

Still from My Winnipeg (2007)
BACKGROUND:

  • My Winnipeg was commissioned by Canada’s Documentary Channel.
  • The film is the third part of Maddin’s “Me Trilogy,” three partly autobiographical but fictional films all starring a character named Guy Maddin, which also includes Cowards Bend the Knee (2003) and Brand Upon the Brain! (2006),
  • During festival screenings the film was shown with live narration, usually performed by Maddin but sometimes rendered by guest narrators including and .
  • Ann Savage, who specialized in femme fatale bad girl roles in the 1940s, had not acted in 16 years (her last role was a bit part in an episode of “Saved by the Bell”) when Maddin called upon the then 86-year old actress to portray his mother in My Winnipeg. Savage died one year later.

INDELIBLE IMAGE: The eleven horse’s heads, distressed mouths filled with frost, flash-frozen in the Red River after they stampeded while fleeing a stable fire. The view is so romantic and astounding that (according to Maddin) young lovers used to picnic among the icy mares’ heads.

WHAT MAKES IT WEIRD:The Documentary Channel commissioned a documentary about the city of Winnipeg from renegade director Guy Maddin, and instead of a recitation of local facts, they got an icy plunge into the frozen lake of the director’s psyche. The mockumentary form turns out to be a perfect match for Maddin’s prankster temperament. Like the subterranean rivers the First Nations say flow with mystical power underneath Winnipeg’s surface rivers—“the forks beneath the forks”—he exhumes (or invents) fantastic myths about his hometown to try to get at deeper truths about himself.


Original trailer for My Winnipeg

COMMENTS: Relentlessly subjective, Guy Maddin’s My Winnipeg is Continue reading 193. MY WINNIPEG (2007)

READER RECOMMENDATION: STEAK (2007)

Reader recommendation by Caleb Moss

DIRECTED BY:

FEATURING: , Ramzy Bedia, Johnathan Lambert

PLOT: After he is released from being institutionalized in a mental ward facility for seven years because he was accidentally framed for the murders committed by his high school friend Georges, Blaise is flung into a strange, incongruous near-future where 1950’s kitsch a la “Happy Days” and extreme body modification mingle together swimmingly.

Still from Steak (2007)
WHY IT SHOULD MAKE THE LIST: Quentin Dupieux, as readers of this website are fully aware, has a young, idiosyncratic film career replete with odd meta-humor and other peculiarities. This sadly maligned debut feature is no different: it distinguishes itself through its mixture of ageless plastic surgery disasters, masochistic cricket bat gang rituals, wryly absurd dialogue, and very warped buddy comedy dynamic.

COMMENTS: Blaise is a very unfortunate, albeit slightly dimwitted, individual to be friends with the likes of Georges, who is by all accounts a superficial opportunist who carelessly places Blaise into predicaments that cause his mind to slowly unravel until he becomes a disfigured shadow of the loser Georges once was. If the previous description makes it sound as if Quentin Dupieux created something along the lines of a heart-wrenching melodrama, then fret not: this film is incredibly funny, sporting strange conversational oodles which skewer humor trends, clique culture, and even a few self-referential jabs at Quentin’s own career as an electronic musician. Also noteworthy is what may be some of the finest use of shallow focus framing in Quentin’s output, quietly transforming the bandage-wrapped, post-op profile of Georges into something distorted and rather unnerving.

This film features some of Quentin’s most ambitious sound production as well, pulling together fellow French electro collaborators Sebastian Tellier and SebastiAn on board to produce a consistently eccentric and addictive soundtrack which fades and swells in and out of the film’s oddity-rife tapestry.

WHAT THE CRITICS SAY:

“In many ways Steak is a much weirder film than Rubber.”–Rich Haridy, Rich on Film (DVD)