Catherine calls the office. She’d like to come back and work. Phillip asks everybody if that’s okay. Everybody says that Catherine can come back. They like Catherine. Great.
DIRECTED BY: Dash Shaw
FEATURING: Voices of
PLOT: An antisocial sophomore writer for the school newspaper becomes a hero when an earthquake causes (as the title suggests) his entire high school to sink into the sea.
WHY IT WON’T MAKE THE LIST: The central premise is more macabrely whimsical than surreal, and while the animation is out there, it’s not enough to advance this underground comic come to life to the grade of “weird.”
COMMENTS: An offbeat collision between “Daria” and The Poseidon Adventure, Dash Shaw’s My Entire High School Sinking into the Sea (adapted from his own comic) dips its toe into the waters of weirdness, but never wholly submerses itself. That’s fine, because it really isn’t aiming at all-out satire or savage surrealism. It’s content to be what it is: a quirky, amused, and almost-but-not-quite nostalgic look at horrors of high school cliquiness. Dash Shaw (yes, the protagonist is named after the writer) is a pretentious high school sophomore only recently recovered from a plague of freshman acne, with high hopes for the upcoming school year. He writes for the school paper and quarrels with his only friend, Assad, when the latter strikes up a romantic relationship with their editor, Verti (proving that just because you’re a nerd doesn’t mean you can’t also be a jerk). When an earthquake sends their precariously-perched school sinking into the sea, the three junior journalists team up with the sophomore class president and an ass-kicking lunch lady to save as many of their fellow students as possible.
Characterization, plot and comedy take a back seat to the visuals, which, while generally crude squigglevision-style inkings, are at the same time enormously inventive and constantly shifting so that the eye is never bored. Cut outs, silhouettes, and a yogic lung-cam are among the styles Shaw assays, along with undersea lava lamps and a psychedelic scene that features super-closeups on individual pixels. Tributes to Mortal Kombat and the Peanuts are among the visual gag, and Shaw gives the “normal” scenes unreal color schemes to further liven things up.
Satirical highlights include a popular girl eaten by sharks and a senior football star who sets up his own fiefdom, but the plot is just a serviceable frame to hang the animation on. As a comedy, it doesn’t produce a lot of laughs, but the gently snarky, tongue-in-cheek tone is pleasant. It comes close to earning a “recommended” tag, but while High School easily earns a passing grade—we’ll say a B+ average—it’s not graduating with honors. It’s a bit of a slacker, honestly, skating by on natural intelligence and outsider charm. It does earn a qualified recommendation for experimental animation fans, high school satire completists, and anyone looking for an amiable way to kill 90 minutes.
WHAT THE CRITICS SAY:
“A super-fun, bananas-weird tale of thrilling heroics and life-defining friendships animated with collage, line art, paint, Sixties liquid-light effects, and realistic botanical and animal sketches.”–Ashley Moreno, Austin Chronicle (festival screening)
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.
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).
DIRECTED BY: James Merendino
FEATURING: Matthew Lillard, Michael A. Goorjian, Annabeth Gish
PLOT: Young rebels grow up in Salt Lake City, Utah, USA—a location not very conductive to rebellion.
WHY IT WON’T MAKE THE LIST: One-and-a-half acid trip sequences do not a weird film make, especially when they’re just played for a quick laugh. SLC Punk is in fact a pretty wholesome teenage rumination which happens to be set against the background of the 1980s; in this modern day, it plays like Disney trying to make its own Trainspotting.
COMMENTS: Punk, especially ’80s punk, is a genre defined largely by arguments about its own definition, and SLC Punk spends a lot of time on the debate itself. At the end of the day, we have to give up trying to pin down the genre nobody can agree on and just move on, waving our hands at “that thing over there,” whatever you call it. Punk is Tao; to define it is to grip the air. And we all know the Billie Joe Armstrong quote, thanks.
With that out of the way, you will search far and wide for a comparably mature and realistic snapshot of punk rock culture, the Reaganomics ’80s, or Salt Lake City, for that matter. Stevo (Matthew Lillard) carries us through from start to finish, telling us of his life and coming of age. Along the way, we get some philosophizing about what it means to be a non-conformist, and how to harmonize your nonconformity with the world around you. Stevo’s cast of friends are characters in a punk-culture parable: some come to good ends, some to bad, and some just cruise along.
Not only does Stevo narrate, but he erases the fourth wall and takes us on live guided tours around his life, introducing us to his friends at a party as if we, the audience, were attending. Further segments become mini-documentaries, tackling the rivalry between punk and other cultures, the dichotomy of “posers” within the culture, U.S. vs. U.K. punks, what it’s like to score drugs or even decent alcohol in Utah, and other video-blog topics. We meet Stevo’s chum “Heroin” Bob (Michael A. Goorjian), his dad (Christopher McDonald) who doesn’t quite see eye to eye with his son but manages to have an amicable relationship anyway, his girlfriend Trish (Annabeth Gish), and his drug connection and part-time psycho Mark (Til Schweiger). There’s no real plot to be found here, just a series of interrelated vignettes in the day-to-day lives of these characters.
SLC Punk is a much-cherished cult classic which looks amazing for its six-figure budget. Its soundtrack is one of the greatest punk albums you will ever own; this is the music punks actually listened to in the ‘80s, as opposed to the music we think they listened to. While the movie puts the dyed mohawks and party hi-jinks up front, at its core it’s a thoughtful documentary masquerading as a fictional dramedy, one that wears its heart on its sleeve. It even winds up on a positive note, miraculously pulling through the nihilism to come to some upbeat conclusions, even though not everybody pulls through. You’ll laugh, you’ll cry, and you’ll be left with a story that transcends a punk culture exposé and resonates with any youth scene in any state during any decade. All of us, goths, mods, emos, slackers, hippies, yuppies, and hipsters, are all our own brand of punk… and in the end, we are all posers to somebody.
WHAT THE CRITICS SAY:
“…an absurdist coming-of-age comedy… likable for its outlandishness, less so when it shows a self-important streak. For all of Merendino’s jump-cutting affectations and other flashes of attitude, it’s finally as mainstream as its hero turns out to be.”–Janet Maslin, The New York Times (contemporaneous)
J’irai Comme un Cheval Fou
“…where you go look for the grotesque, the dirty, you find God, happiness, beauty…”–Fernando Arrabal
FEATURING: George Shannon, Hachemi Marzouk, Emmanuelle Riva
PLOT: Accused of killing his mother and stealing her jewels, Aden Rey flees to the desert. There, he discovers a mystical dwarf shepherd named Marvel who offers him refuge. They develop a friendship verging on romance, and Aden decides to take the innocent nature boy (and his favorite goat) to see the big city.
- Together with and , Fernando Arrabal founded the Panic movement (named after the Greek satyr god Pan). Starting in 1962 in Paris, the Panic movement staged disruptive live public “happenings” and plays that included (reportedly) live animal sacrifices, Jodorowsky being stripped and whipped, nude women covered in honey, and a replica of a giant vagina. The movement was inspired by the idea that Surrealism had become too mainstream and lost its power to shock the viewer; Jodorowsky officially dissolved it in 1973, after the three principals had already gone their own ways.
- I Will Walk Like a Crazy Horse was Arrabal’s second film as director (after 1971’s surreal fascism satire Viva la Muerte). He may be best known to 366 readers as the screenwriter for Fando y Lis, which he adapted from his own play. ‘s 1968 debut
INDELIBLE IMAGE: The most unforgettable image in I Will Walk Like a Crazy Horse is one I actually wish I could forget: Aden and Marvel silhouetted in the sunset, squatting back to back, defecating. If you need something less repulsive (and we do, for illustrative purposes), go with the dwarf making out with a skull so fresh that bits of meat still cling to it.
THREE WEIRD THINGS: Synchronized pooping; cross-dressing skull-birthing; butt-flower eating
WHAT MAKES IT WEIRD: With its sharply dressed, on-the-lam hero wandering the streets of Paris as the cops close in, I Will Walk Like a Crazy Horse plays at times like an exceptionally strange nouvelle vague crime flick—as if Alejandro Jodorowsky seized control of the project, firing and installing a dwarf as the love interest. Oedipal, mystical, scatological, blasphemous, surreal, and still shocking even today, Crazy Horse is crazy indeed.
DVD release trailer for I Will Walk Like a Crazy Horse
COMMENTS: Fernando Arrabal’s sophomore feature I Will Walk Like Continue reading 278. I WILL WALK LIKE A CRAZY HORSE (1973)
That guy in the thumbnail wants to open up to you, and let you know just how he feels. This short also works as an icebreaker for an old friend you haven’t talked to in a while, or even a special someone that caught your eye.
CONTENT WARNING: Contains strange stop-motion rear nudity and oddly suggestive dialogue.
“God gave him a calling in life, and that was to make pornography.”–George Kuchar on Curt McDowell
DIRECTED BY: Curt McDowell
FEATURING: Marion Eaton, Melinda McDowell, Moira Benson, Mookie Blodgett, Ken Scudder, Rick Johnson, Maggie Pyle,
PLOT: On a dark and stormy night in the Nebraska hinterlands, several individuals on the road end up taking shelter at “Prairie Blossom”, an old dark house that is the dominion of alcoholic matron Gert Hammond (Eaton). Everyone present has secrets and obsessions that are brought to light, and pair off in various combinations for sexual liaisons. The group also finds itself trapped inside the house by a gorilla rampaging outside.
- Producers John Thomas (who briefly appeared as country singer Simon Cassidy) and Charles Thomas were film students of Thundercrack! actor/writer George Kuchar, classmates of director Curt McDowell, and heirs to a fortune from the Burger Chef fast food chain, which they used to fund the movie. They also provided a rooms in their home for the shoot.
- George Kuchar was a legend in the underground film industry, making hundred of short, campy avant-garde films together with his twin brother Mike. Noteworthy titles include Sins of the Fleshapoids and Hold Me While I’m Naked (both from 1966).
- Actress Melinda McDowell was director Curt McDowell’s sister.
- Kuchar and McDowell were rumored to be lovers.
- The movie was shot for $9,000 and $40,000 in deferred costs.
- Buck Henry used his clout as a judge to set up a (scandalous) screening at the 1976 Los Angeles Film Festival.
- The original negatives disappeared and only five 16mm prints of the film were struck. One print was seized by Canadian authorities and three had been edited in an ineffectual attempt to make the film more marketable. The badly-damaged but uncut fifth print was primarily utilized for the transfer of the 40th anniversary Blu-ray release by Synapse Films.
- El Rob Hubbard’s Staff Pick for a Certified Weird movie.
INDELIBLE IMAGE: Among the various obvious (and mainly pornographic) images to choose from, the one that sums up the spirit of Thundercrack! is the publicity photo of Gert and Bing in a melodramatic clinch—Bing in a wedding dress, Gert staring off into the horizon. It’s iconic, yet subversive, and pretty much encapsulates the film’s mood.
THREE WEIRD THINGS: Versatile cucumbers; pickled husbands; amorous bipeds
WHAT MAKES IT WEIRD: The collision of several elements: the lurid melodramatics along with the hardcore action, the visual stylization and the complex wordplay, all combine to make a film much more engaging and—dare I say it—innocent than one would expect from a mid 1970s hardcore sex parody film. Or, is it a parody film with porno elements? You decide…
Brief scene from Thundercrack!
COMMENTS: “What the heck is going on here—some sort of communal therapy group? Is that what this is?!!”—Bing
That’s probably a fair assessment of Thundercrack!, Curt McDowell’s Continue reading 275. THUNDERCRACK! (1975)
- Fun Fact: actress “Maggie Pyle” and her husband (one of the crew members) were my landlords for a short time in San Francisco in the early 90’s. [↩]
“…a writer or painter cannot change the world. But they can keep an essential margin of nonconformity alive… The final sense of my films is this: to repeat, over and over again, in case anyone forgets it or believes to the contrary, that we do not live in the best of all possible worlds.”–Luis Buñuel, 1973
DIRECTED BY: Luis Buñuel
PLOT: Two well-to-do couples arrive at the home of a third for dinner, but find there has been a misunderstanding on the date, and their hostess has not prepared a meal. The sextet tries to reschedule dinner over and over, but meets with increasingly absurd obstacles: dead restaurateurs, a platoon of soldiers who intrude on the evening, police officers who burst in and arrest the entire party before the first course. Complicating the scenario further is a bishop who imposes himself on their party, flashback ghost stories told by minor characters, a subplot about an ambassador smuggling cocaine and being hunted by a female terrorist assassin, and scenes that turn out to be dreams.
- Buñuel had announced that he would retire after Tristana (1971), but was inspired to make this movie by a story his producer Serge Silberman told him about having dinner guests show up unexpectedly due to a calendar mix-up.
- Co-written by Surrealist screenwriting specialist
- Among other honors, Discreet Charm won the Academy Award for Best Foreign Language Film (an indifferent Buñuel did not bother to show up to accept the award) and is included in Steven Schneider’s “1001 Movies You Must See Before You Die.”
- Stephen Sondheim has a musical based on both The Exterminating Angel and Discreet Charm of the Bourgeoisie in the works.
INDELIBLE IMAGE: Shots of the six bourgeois friends, walking down an isolated country road, inserted at random between scenes. Their stride is purposeful, their destination… nowhere.
THREE WEIRD THINGS: Dinner theater; bishop with a shotgun; electrified piano cockroach torture
WHAT MAKES IT WEIRD: exercise in bourgeois frustration begins simply, with a canceled dinner appointment, but quickly spirals out of control with a cocaine smuggling subplot, a foxy female terrorist, a vengeful bishop, and dreams inside of dreams. They never do get to that dinner party, although Fernando Rey does get to sneak in a slice of lamb and a midnight snack.
Original trailer for The Discreet Charm of the Bourgeoisie
COMMENTS: Luis Buñuel is cinema’s poet of frustration, of eternal Continue reading 273. THE DISCREET CHARM OF THE BOURGEOISIE (1972)
La città delle donne
“It’s the viewpoint of a man who has always looked at woman as a total mystery.… Through the ages, from the beginning of time, I’m certain man has covered woman’s face with masks. They are, however, his masks, not hers.”–Federico Fellini defending City of Women
DIRECTED BY: Federico Fellini
FEATURING: Marcello Mastroianni, , Ettore Manni, Bernice Stegers, Donatella Damiani
PLOT: Waking on a train across from a seductive woman, Snàporaz pursues her into the carriage’s wash-room. Abruptly, the train stops and the woman de-embarks, heading across a field with Snàporaz in close pursuit. During his long journey he explores an hotel teeming with Feminists, hitches a ride with a crew of drugged-out teenage motorists, and meets a doctor whose “manly” villa contravenes local law.
- A massive re-work of the story was required when the second male lead (Ettore Manni, who played “Dr. Katzone”) died from a fatal, self-inflicted gunshot wound to the groin.
- Before returning to his reliable proxy Marcello Mastroianni, Fellini offered the role to Dustin Hoffman. Hoffman declined, as he was concerned about the post-dubbing process being detrimental to his performance.
- Though it received largely positive reviews on its general release, it fared poorly at Cannes. Nostalghia, dismissed City of Women in his diary, saying “…it’s true, his film is worthless.” , in Rome at the time working on
- Production designer Dante Ferretti was kept on his toes while making of the film, as Fellini would constantly request that new, elaborate sets be whipped up in a small amount of time. Farretti invariably obliged the director’s requests, and his success allowed him sole billing as “Production Designer,” a title usually nabbed by Fellini himself in the movie’s credits.
INDELIBLE IMAGE: After the brief introduction of the train ride turning into a romp across a field, virtually everything that follows in Fellini’s City of Women starts globbing on to the memory. From a long list of choices (addled Feminists fomenting in an hotel, drugged-out [?] minors driving the middle-aged protagonist to a haunting techno-pop tune, and an aged Lothario blowing out 10,000 candles among them), perhaps the best choice is the joy-filled sequence in the museum of women at Katzone’s villa. Snàporaz darts back and forth with an innocently lecherous glee as he flicks on the photographs’ illumination and hears a snippet from that woman’s sexual history. The visual and sonic overload goes up to eleven when Snàporaz’s ex-wife appears at the end of the corridor and turns on all of the displays. Women, women everywhere—in sound and vision.
THREE WEIRD THINGS: The hall of sexual conquests; memory lane slide; ideal woman escape balloon
WHAT MAKES IT WEIRD: Traipsing along for two and one-half hours, City of Women somehow combines the sugary charm of a light-weight musical with the non-stop adventure of an epic film. Beginning with a tone bordering on the mundane (the tediousness of travel), Fellini quickly pushes things from believable, to somewhat believable (the feminist convention), then onwards and upwards to a literal and metaphorical peak of disbelief as our hero escapes an arena full of spectators by clinging to a hot-air balloon. Between the jostling in the train car and the flight into the unknown, it would be faster to answer the question, what isn’t weird about it?
Original Italian trailer for City of Women
COMMENTS: Obsession can be a dangerous thing, but it can also be Continue reading 272. CITY OF WOMEN (1980)
Dave, an aging astronaut teams up with a sentient cantaloupe on the first ever Mars mission.
This concept piece is currently being made into a full-length television series, and the team has turned to crowd funding to help cover the costs. If you’d like to help the cause, please visit their Kickstarter page.
Content Warning: This short contains some cartoon nudity.