Tag Archives: 2016

10 WEIRDEST MOVIES OF 2016

Merriam-Webster anointed “surreal” the “Word of the Year” for 2016, so maybe the film world was just capitalizing on the zeitgeist when movies about a hotel prison for single people, a farting corpse, and an underage model devoured by the beautiful people all got major exposure on cinema screens this year. Old hands like and were joined by a promising crop of (often bloody) new blood: “,” , and Anna Biller. Pregnant druggies, greasy stranglers, and hooty-tooty disco cuties paraded across screens, while castaways rode corpses to freedom and Muppets assisted at the birth of Satanic alien spawn.

We had no problem filling out our list of ten weird ones for you to check out, and that’s not even counting the revival of 1973’s Belladonna of Sadness, the softcore psychedelic witchcraft rape-revenge anime that was so unseen it basically could count as a new release in 2016. We’re also leaving off a trio of features seen only at film festivals: the Polish mermaid musical The Lure; Psychonauts: The Forgotten Children, the feature-length expansion of the hit Spanish short film “Birdboy“; and She’s Allergic to Cats, the underground/avant-garde romantic comedy filled with grimy video art montages exploring the struggles of an L.A. dog groomer who wants to make a version of Carrie starring cats. (Plus the dialogue-free pharmaceutical horror [?] Atmo HorroX which, while not a favorite, beat everything in 2016 in terms of sheer weirdness). Any of those films would have made the list had they received actual distribution; hopefully, all of them will show up on next year’s list.

The Lobster Weirdest Movie 2016As for the choice of movies, I personally pick them using a secret proprietary formula that accounts for cinematic craftsmanship, the level of surrealism/weirdness, and the perceived prestige in the weird movie community based on buzz and reader feedback, then I rank them in whatever arbitrary order I momentarily feel like without regard to any of that. As always, we list the films in random order—the weirdest of orders.

9. The Brand New Testament: God is alive and living in Brussels, and he’s a jerk. His 10-year old daughter hacks his computer and leaks humanity’s death dates, then goes to Earth to write a new Gospel. Literate and genially blasphemous comedy with bizarre touches, like sleeping with a gorilla.  Also #6 on our 2016 mainstream movie list, which should tell you that it’s quality exceeds its weirdness. Director is already represented twice on the List of the 366 Weirdest Movies of All Time.

1. The Lobster – Certified Weird! Dogtooth‘s Continue reading 10 WEIRDEST MOVIES OF 2016

TOP 10 MOVIES OF 2016: THE MAINSTREAM EDITION

It’s fashionable to rag on 2016—with good reason—but this was an excellent year in film. My honorable mentions from the year past include a couple of fantastic foreign animated features that were ignored by the mainstream press: the French steampunk fantasy April and the Extraordinary World and Harmony, the only movie where the World Health Organization is cast as a villain. Also worthy of a mention are two-time Certified Weird director ‘s Arrival (almost a postmodern Close Encounters of the Third Kind) and I Am Not Your Negro, which is basically just Samuel L. Jackson reading unpublished reflections of writer James Baldwin—making it the most authoritative commentary on race relations in a year that included 13th and the epic O.J.: Made in America. Either could have made the top ten in a weaker year. We should also mention Weiner, a documentary giving us unprecedented access to the title character’s bizarre act of political self-destruction—a man so hounded by his own incomprehensible demons that he could not keep from publicly humiliating himself again even after the movie’s release. And how could we forget Swiss Army Man, which easily made the list of the 366 Best Weird Movies of All Time but barely missed 2016’s pan-genre top ten. With those out of the way, let’s get down to the ten films that did make the cut:

10. Peter and the Farm: Documentary following Peter Dunning, a depressed 68-year old alcoholic Vermonter who works his declining farm alone. Poetic and honest; Peter despairs, but keeps drinking and keeps farming, realizing he and his farm have become one. A good antidote to the populist and inspirational Gleason: not everyone is cheerfully persistent in the face of death. Some critics felt the documentary was exploitative, but I believe the articulate Peter is in full possession of his faculties (when sober) and is deliberately pushing our noses in a view of mortality we would prefer to deny.

9. Finding Dory: A fish with very early onset Alzheimer’s is lost in the ocean for years and tries to find her way back to her home and parents, assisted by characters from Finding Nemo, a “septopus,” and other colorful aquatic anthromorphs. There are four great things about this movie: the fast-moving plot, the cute sea creatures, the excellent animation, and I forgot the other one.

8. The Jungle Book: Mogwli, an orphaned “man cub” raised in the jungles of India by a pack of wolves, has adventures with the talking animals while fleeing the man-killing tiger Shere Khan. This is the first of Disney’s recent series of live action remakes that is clearly superior to the animated original. Jon Favreau keeps most of the humor and a little bit of the music but ramps up the peril and expands the scope so the movie feels like an epic adventure rather than a lightweight musical comedy.

7. Moana: Defying her parents, an island princess sails off to find a mischievous trickster demigod (voiced by the Rock) to help save her home. Once again, Disney successfully tweaks their formula with this Polynesian themed winner that features unique sidekicks (a particularly dumb chicken, an impudent tattoo) and adversaries (coconut pirates, a giant singing crab). The name had to be changed in Continue reading TOP 10 MOVIES OF 2016: THE MAINSTREAM EDITION

262. THE GREASY STRANGLER (2016)

“I was surprised by reactions to the film. I thought people would find it funny or absurd, but people look really shaken when they come out. When we screened it at South by Southwest, there was a filmmaker I know who makes very strange films. And afterward, he looked like he had been through the wringer: ‘I’ve never seen anything like that. I thought, ‘Oh, come on.’ What can seem fun to one person can seem totally deranged to someone else.”–Jim Hosking, Rolling Stone

DIRECTED BY:

FEATURING: Michael St. Michaels, Sky Elobar, Elizabeth De Razzo

PLOT: Big Ronnie eats an extremely greasy diet and runs a scam tour of L.A. disco locations with his unmarried adult son and live-in cook Brayden. At night he transforms into a lard-soaked monster who strangles people. When Brayden catches the eye of a girl on the tour, Big Ronnie becomes jealous and determines to seduce her himself.

Still from The Greasy Strangler (2016)
BACKGROUND
:

  • Jim Hosking worked as a music video and commercial director making short films on the side since 2003. His big break came when his bizarre and transgressive “G is for Grandad” segment of ABCs of Death 2 impressed that film’s producers, two of whom went on to produce The Greasy Strangler. and  also served as executive producers on the film.
  • The movie was supported and partly financed by the venerable British Film Institute.
  • This was 72-year-old actor and former punk-club owner Michael St. Michaels’ first leading role—unless you count his film debut in 1987s direct-to-VHS The Video Dead.

INDELIBLE IMAGE: Big Ronnie’s big prosthetic, flapping in the car wash blower’s breeze.

THREE WEIRD THINGS: Disco spotlight; pig-nosed stranglee; “hootie tootie disco cutie”

WHAT MAKES IT WEIRD: Gross, greasy and bizarre, ‘s debut feature is the closest thing you’ll see to a modern Trash Trilogy film, filtered through the fashionable surreal comedy sensibilities of Tim and Eric or . Strangler is more than the sum of those influences, however: it is its own little world where a lisping man with a pig snout can walk around town without raising an eyebrow, and a spotlight might suddenly appear on an alley wall for a character to do a spontaneous dance number. The fat-to-nutrient content is too out-of-whack for this to count as healthy entertainment, but it’s fine as a guilty pleasure treat. It’s too big, bold and weird to be ignored; it’s not 2016’s best movie, or even the year’s best weird movie, but it is this season’s most insistently in-your-face assault on taste and reality.


Short clip from The Greasy Strangler

COMMENTS: “Let’s get greasy!” shouted the producers from the Continue reading 262. THE GREASY STRANGLER (2016)

CAPSULE: DARLING (2015)

DIRECTED BY: Mickey Keating

FEATURING: , Brian Morvant

PLOT: A young woman hired to house-sit in the oldest residence in Manhattan discovers evidence of an occult history, and her grip on reality immediately begins to unravel.

Still from Darling (2016)

WHY IT WON’T MAKE THE LIST: Darling effectively captures a violent descent into madness, with filmic techniques that heighten the lead character’s insanity. But there’s not much that’s actively unusual about it, and the film’s most notable plot elements hearken back to earlier, superior movies.

COMMENTS: One person, alone. Only the sights and sounds as company. At what point does detachment make way for dementia? When does sanity start to break down? The idea of the lone individual doing battle with both oppressive solitude and personal demons is a hallmark of storytelling, whether in literature (Robinson Crusoe, The Shining), on the small screen (Doctor Who’s “Heaven Sent,” The Twilight Zone pilot “Where Is Everybody?”), and certainly in the movies (Cast Away, 127 Hours, Buried). So the near-solo effort that is Lauren Ashley Carter’s performance has a healthy precedent. But in this particular instance, one film looms over Darling like a mighty monolith: Repulsion. That’s bad news for Darling, because other than a reduction in the cast and an increase in the level of hinted-at gore, the new film is barely a gloss on its predecessor.

The film’s entire modus operandi is to minimize any of the elements that would serve to explain, justify, or add any depth to our heroine’s plight. She has no name (the credits offer “Darling,” but it still sounds more like Sean Young’s term of irritated affection). We have no sense of her past or history, until a very late reveal. Her wardrobe seems to consist of two dresses and a nightgown (with a soupçon of gratuitous nudity for good measure). She has virtually no interaction with others, save for one character who establishes the premise and another to serve as a target for her unleashed rage. With no clear wants or needs, nothing that marks her as an individual, your guess as to what drives her descent into madness is as good as anyone else’s; she’s a tabula rasa protagonist. Even the elegant black-and-white photography saps any color from Darling’s existence.

With that void at the center, all that’s left is the scare factor. We know that shock value is the movie’s raison d’etre right from the title card, which abruptly jumps from gentle piano music to a horror-saturated, Herrmann-esque stabbing cue that slams into the film like a speeding truck. From this point forward, Darling (and, accordingly, the audience) is assaulted by shock jump cuts, sudden surprising noises, and disturbing images. And to be fair, they work just about every time. But they’re a reminder of Alfred Hitchcock’s explanation of the difference between the shock of a bomb going off versus the suspense of waiting on that bomb. There’s no suspense in Darling. The main character’s fate is clear from the outset, and we’re just waiting for it to arrive.

The screenplay plays lip service to the idea of an explanation. A crumb of backstory about past occurrences in the house, a piece of jewelry in a blasphemous setting, and most notoriously a hint of sexual assault in our heroine’s past: these are the clues we have to help us answer the question of whether Darling is driven mad by her surroundings or brings the crazy with her. Carter throws herself into the role, walking the line between victim and aggressor, but ultimately, we can’t know what motivates her because the film doesn’t care. The scares are all that matters. It’s not so much a story as it is a haunted house.

Mickey Keating is a gifted filmmaker. He likes to use Kubrick framing, and plays with long takes, slow pans, and implied violence as much as explicit. He spices things up with jump cuts, inserts, blackouts, and every sound trick in the book. He even manages to extract shock value from moments that should be free of surprise, such as when a policeman inspects a bag whose contents are well-known to us. But he happens to be working with Keating the screenwriter, who has crafted a scare-delivery system rather than a story. That’s why the memory of Repulsion proves so damaging to any assessment of Darling: when you can get the same tale told with greater depth, adding more “gotcha” moments feels like a poor trade-off.

WHAT THE CRITICS SAY:

“More experimental than mainstream horror viewers will be expecting, ‘Darling’ works best as an alluring, hallucinogenic mood piece that makes its way under the skin. It feels classy even when blood is being shed in a monochromatic frame.”–Jeremy Kibler, The Artful Critic (contemporaneous)

366 UNDERGROUND: DELUSION (2016)

DIRECTED BY: Christopher Di Nunzio

FEATURING: David Graziano, Jami Tennille, Carlyne Fournier, Irina Peligrad

PLOT:  Frank, an aging widower still mourning the loss of his wife, follows a mysterious woman, ignoring the warnings of fortune tellers and his own intuition.

Still from Delusion (2016)

WHY IT WON’T MAKE THE LIST: It lacks extremeness in the weird department, with only some subtle spiritual themes to give the suspense an extra kick.

COMMENTS: Delusion is no ordinary suspense thriller; it’s got its fair share of dreamlike moments. The boldest aspects of its weirdness don’t come directly from the exploration of the supernatural, but rather from the quiet, introspective moments in between them. The contrast between light and dark, good and evil, is aggressive, and this effect gets multiplied up until the climax. Bouncing from polite conversations over the billiards table to moments of terror and shock, Delusion earns some weird-stripes for its tonal bipolarity. It fails to stretch its ideas of loyalty, loss, and redemption enough to exasperate and confound the mind, though. Instead, it snuggles warmly up into the mystery-thriller blanket, and then ends abruptly with some glorious goodies for weird movie lovers to chew on, but not swallow.

Playing wait-and-bait, everything starts off with silky politeness. Reflective death-related dialogue configures itself around lacquered settings in nature, and the sky is frequently grey, silvery and full of mourning. Frank (everyone’s got a depressed Uncle Frank, even McCauley Culkin from Home Alone) and his nephew Tommy drink brews and shoot pool, but Frank spends even more time standing alone next to swaying trees and thinking about his lost wife, Isabella. This period of reflection services the contrasting emotions at the film’s core by offering a portrait of a character’s earnest longing for closure. Frank is a lonely man. It raises the question: how could he resist the temptations of a succubus?

Before the succubus strikes, there comes a fortune teller who tries to convince Frank to think with the head on his shoulders, but that pesky human malady called grief gets in the way and he ignores her. Things get juicy when the lights go dim and Frank’s fortune is told. Amusing vibes come along with the “haunted” feel. There’s even a bit of James Wan-style pop-up house horror to keep the tension ratcheted up. Frank’s hallucinations get hairier; blood leaks out of sewer pipes, and strange apparitions follow him at home and abroad (some with face-paint straight from a flick).

Most fascinating are the peculiarly natural performances that weave through the staunch atmosphere. The actors have a smooth, organic style to their performances that give the movie a low-key vibe of sinister murmurs while it portrays internal rumination. The silences highlight Frank’s internal thoughts, and the white noise of nature (chirping birds, rustling leaves) offers a chance to process the feeling of aloneness that comes with being lost and vulnerable among soul-corrupting threats. Soothing as the warm pleasures of infatuation are, they aren’t enough to save Frank from himself.

Frank deals with, but does not resist, the temptation of the devil, who urges him to “trust your gut, not your head.” Life, he explains, is just moments and experiences, chaos. It’s hard to believe otherwise after watching Frank’s drastic transformation from a caring, reflective, sentimental man into an angry, womanizing, just-got-laid horndog. Sex can turn a man’s life completely around, and Frank is no exception; post-coitus, he does Baywatch-style beach runs and hits the bar for rounds with the boys. The dark side of his sexually-motivated metamorphosis comes during his reproachful trash talking at the end, which raises the question of whether he had a chance for redemption in the first place. There is one bizarrely violent moment in this movie, at the very end, but its cathartic edge can’t be found elsewhere in the picture. Delusion shows us that some men are doomed to die at the hands of what they desire, and the devil is always there to make the offer.

WHAT THE CRITICS SAY:

“…it’s rather labyrinthine in character and takes all the time in the world to let the story unfold while intentionally blurring the line between this world and the next, the lead character’s warped perception and his genuine nightmares – and it plays with all these elements in a way probably most reminiscent of David Lynch without aping his style.”–Mike Haberfelner, [re]search My Trash (contemporaneous)

366 UNDERGROUND: FIRST MAN ON MARS (2016)

DIRECTED BY: Mike Lyddon

FEATURING: Marcelle Shaneyfelt, Benjamin J. Wood, Gavin Ferrara, Kirk Jordan

PLOT: An eccentric billionaire flies to Mars, mutates into a monster, then returns to Earth to terrorize the silly citizens of Black Bayou, Louisiana.

Still from First Man on Mars (2016)

WHY IT WON’T MAKE THE LIST: Ironically, this movie is only 9/10ths bad enough. Movies like The Room or Santa and the Ice Cream Bunny are low-budget and bad, but done with a sense of conviction, albeit mis-aimed. First Man on Mars is just bad on the boring, no-ideas level, not even interesting enough to make the so-bad-its-good category.

COMMENTS: First Man on Mars is an intentional parody of ’60s-’70s sci-fi horror drive-in B-movies. We open on a coroner in an office giving us a desktop lecture a la Rocky Horror Picture Show, a scene that ends with a chant of “Keep watching the stars!” Then we get to Cletus and his chum hunting in Louisiana. They run across an abandoned space capsule and a rubber-mask monster who disembowels Cletus’ hunting buddy with no foreplay, sending the terrified hick running for the cops. Flashback: the monster from the capsule was once astronaut Eli Cologne, a very obvious parody of real-life billionaire, philanthropist, and visionary Elon Musk. Eli came to Mars seeking shiny gold, despite already being rich enough to buy his own rocket to go there. Grabbing his first nugget, however, results in a tear in his glove, which soon leads to an infection which will transform him.

Mission Control argues that he’s not allowed to come back infected, but Eli is hearing none of it. He returns just in time to transform into a growling monster in the backwoods of Louisiana. The rest of the flick is pretty much people scrambling around in forest either chasing or being chased by said monster, with only the thinnest veneer of justification. That cast includes Cletus and two cops who don’t believe his story; a sleazy photographer and two models from “Bullets and Bimbos” magazine who hire Cletus as a guide to the dark swamps of Black Bayou for a woodsy photo shoot; a group of scientists from Eli’s project; an innocent girl going fishing and being fished; and a coroner who investigates Cletus’ mangled remains in between bites of lunch.

“Low budget” doesn’t begin to describe it, and cash isn’t the only thing this flick is short on. It is very stingy with the alleged classic sci-fi references. Unless you blink and miss it, you’ll catch one of the bumbling scientists being dismissed as a “red shirt” (Trekkie, check), a clumsy bit of banter with a “Bullets and Bimbos” model name-dropping (Elephant Man, check), a scene where two scientists pitch a tent just so they can play D&D (gamer nerds, am I right, ha ha?) before getting slaughtered, and so on. However, the film is generous with poop humor, boob humor, gross-out humor, insulting stereotypes of country bumpkins and geeks alike, Dollar Store props that are milked for all the lead-painted rubber they’re worth, and an extremely fuzzy understanding of the meaning of the word “humor.” At one point, one of the scientists screams over and over that he needs to defecate, before wandering off and accidentally dumping a steamer (rubber doggy doo, $0.99) on a  yet undiscovered body. Said pile of doggy doo is referenced again and again, traveling with the body even to the coroner’s office. And that, apparently, is the movie’s best foot forward.

Let it be known, being low budget does not disqualify a film from the list of 366 Weirdest Movies Ever Made (see Robot Monster and After Last Season). And simply being bad is no barrier to entry, either. But there is low budget, and then there is being stingy beyond all reason. At least Robot Monster had the imagination to try to sell a bubble machine as alien technology. Imagination costs nothing. First Man on Mars seems to be done with no intention of being taken seriously, on any level, and nothing shows anybody seemed motivated to put in much effort, either.

Viewers who like sitting through every amateur production made by kids goofing around with mom’s camera on YouTube will find First Man on Mars right up their alley. It at least passes that standard.

WHAT THE CRITICS SAY:

“…an absurd blast from low-budget director Mike Lyddon and his team of willing actor and crew participants, putting everything on the proverbial line to make this ambitious project first and put their seemingly absent shame second.”–Steven T. Lewis, It’s Blogging Evil

257. SWISS ARMY MAN (2016)

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

Recommended

DIRECTED BY: Daniels (Dan Kwan and Daniel Scheinert)

FEATURING: Paul Dano,

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

Still from Swiss Army Man (2016)

BACKGROUND:

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

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

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

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


Trailer for Swiss Army Man

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