Four teenagers each get too caught up in a moment to act rationally.
DIRECTED BY: David Lowery
FEATURING: Casey Affleck, Rooney Mara
PLOT: A young musician dies and comes back as a ghost, moving back to his house and silently observing his wife’s grief.
WHY IT WON’T MAKE THE LIST: A melancholy meditation on man’s ephermerality, A Ghost Story‘s weirdness goes beyond it’s guy-in-a-sheet gimmick, but not far enough beyond to reach the realms of one of the all-time weirdest.
COMMENTS: Though modest in countenance, A Ghost Story is filled with formal audacity underneath its blank exterior. It’s got an Academy-Award winning actor who’s silent and hidden under a sheet for 90% of his performance; a constricted 4:3 aspect ratio with rounded corners, to evoke the feeling of a picture frame; and shots that go on for so long that would be tapping his finger on his armrest impatiently. (Not really, but you get the idea). And yet, what easily might have become a purgatorial ordeal emerges as a moving and thought-provoking experiment.
The plot is so simple its almost a wisp. The unnamed main character dies, wakes up in the morgue in a sheet, returns to the house where he and his wife lived, and watches her as she silently grieves (and grief-eats a pie). This sounds dull, and if the movie stayed in this rut, it would be. But, although Affleck doesn’t speak and barely moves, doing little more than turning his head or shrugging his shoulders, A Ghost Story finds ways to create narrative dynamism. There is a flashback or two, and a seemingly minor incident from the pre-mortem opening is fleshed out over the length of the movie. Affleck’s ghost engages in a bit of minor poltergeistism when distressed. In one of the film’s most poignant bits, which would almost be considered a running gag if it weren’t so sad, Affleck’s ghost spies another besheeted figure in the house next door, and they communicate in the terse language of the dead (translated to us in subtitles). The ghost experiences time differently than we do, and we gradually become accustomed to the rhythm of his eternal observation as time moves on without him. A new tenant in his house (musician) gives a speech about the vanity of human existence. And the ghost persists, chained to the plot of land where his house stands and inevitably once stood, waiting for an emotional release from his sentence. The movie plays with the idea of eternity in a philosophical sense that may be new to audiences, but which makes it ripe for post-viewing discussion.
A Ghost Story is definitely not a horror movie (unless you consider it an extremely subtle existential horror). It definitely is a philosophical/poetic drama about the psychology of grief and the nature of time, and it carries an implicit message about appreciating the now. It is, dare I say, haunting—at least, if you’re the type of attuned spiritualist who can see the ghosts around us.
WHAT THE CRITICS SAY:
“Interrupted by death, a couple’s love finds a weird way forward in this slice of supernatural risk-taking… Lowery is spending the capital he’s earned on big gigs like Pete’s Dragon to make something bizarre and experimental, and as his film starts flitting through the weeks in unannounced leaps, you’ll come to appreciate his gamble.”–Joshua Rothkopf, Time Out New York (contemporaneous)
“I have heard this insensible and necrophilous oath, ‘¡Viva la Muerte!’, and I, having spent my life writing paradoxes that have provoked the ire of those who do not understand what I have written, and being an expert in this matter, find this ridiculous paradox repellent.”–Miguel de Unamuno
FEATURING: Madhi Chaouch, Núria Espert, Ivan Henriques
PLOT: Fando is a boy growing up in Spain in the early days of the Franco regime, raised by his mother, about whom he has sexual fantasies. One day he discovers that his mother turned his father in to the authorities because of his “dangerous progressive” political views. In between fantasies, Fando decides to go searching for his father, but his quest is interrupted when he contracts tuberculosis.
- Like the father in Viva la Muerte, Arrabal’s own father was imprisoned by the Fascists during the Spanish Civil War (one report claims it was for an assassination attempt). After five years he escaped from custody and was never seen again.
- The title refers to a quote from the Fascist General Millan Astray: “Down with intelligence! Long live death!,” a line barked during a political debate with philosopher Miguel de Unamuno.
- The movie is an adaptation of Arrabal’s 1959 novel “Baal Babylone” (which does not appear to have been translated out of the original French).
- The sadomasochistic torture sketches first seen in the opening credits are by Arrabal’s fellow Panic movement member I Will Walk Like a Crazy Horse). (for more on the Panic movement, see the background information section of
INDELIBLE IMAGE: Fando’s papa, buried in the sand with only his head showing, and a quartet of riders fast approaching.
THREE WEIRD THINGS: Incestuous S&M mourning; priest’s tasty balls; slaughterhouse frolic
WHAT MAKES IT WEIRD: A howl of protest at the horrors of the Franco regime, as well as an autobiographical attempt to exorcise some serious mommy issues, Viva la Muerte uses surreal vignettes as a savage expression of personal outrage.
Original trailer for Viva le Muerte
COMMENTS: Fernando Arrabal’s Viva la Muerte is the kind of movie Continue reading 292. VIVA LA MUERTE [LONG LIVE DEATH] (1971)
“It’s hard to tell that the world we live in is either a reality or a dream.”–closing quotation to 3-Iron
FEATURING: Seung-yeon Lee, Hyun-kyoon Lee, Hyuk-ho Kwon
PLOT: A young man spends his days pinning advertising fliers to residences as a pretext to discover who in the neighborhood is on vacation; he then sneaks into their home and stays for a few days, always cleaning and fixing something around the house as a form of payment. One day he discovers that the residence he’s broken into isn’t empty; a battered woman catches him sleeping in her bed. The two silently connect and, after the intruder assaults the abusive husband with a barrage of golf balls, the wife accompanies him on his break-ins, until the law catches up to them.
- Major characters with no dialogue is something of a The Isle, featured a mute heroine, and the male protagonist of 2001’s Bad Guy was almost entirely silent. trademark: his 2000 effort,
- Included in “1001 Movies You Must See Before You Die.”
INDELIBLE IMAGE: An easy pick. It’s the image chosen for the poster: the husband and wife embracing, while the wife kisses her lover who stands behind her spouse, unseen. To the uninitiated, this shot suggests the movie will be about a love triangle; knowledge of the story imbues the scene with more ambiguity.
THREE WEIRD THINGS: Silent lovers; jailhouse golf; invisibility training
WHAT MAKES IT WEIRD: The premise of a man who lives in others’ homes is unusual. The fact that the two lovers never speak to each other, although capable of speech, adds a layer of mystery. In the mystical third act where the protagonist trains himself to be perfectly undetectable, however, 3-Iron opens up into legitimately weird realms.
Original trailer for 3-Iron
COMMENTS: 3-Iron is best understood as a ghost story. Not that Continue reading 291. 3-IRON (2004)
“At this point I had realized that Damon’s film was like a Zen riddle. The more you tried to understand it with rational thought, the more it’s true meaning eluded you. I’d learned just to sit back and enjoy the experience.”–Thad Vassmer, “The Making of Reflections of Evil”
DIRECTED BY: Damon Packard
FEATURING: Damon Packard, Nicole Vanderhoff
PLOT: Bob is a grossly overweight man trying to make a living peddling watches on the streets of present-day L.A. In flashback, we learn that his sister Julie died of an overdose in the 1970s. Julie’s spirit seeks out Bob with an important message from beyond the grave, which she eventually delivers to him at Universal Studios theme park.
- Packard self-funded the film with an inheritance he received—one source estimated it at $500,000. He spent everything on the film and was broke immediately afterwards.
- Packard sent out over 20,000 original DVDs he paid to have pressed for free, sending many to celebrities. He published some of their reactions on the movie’s now-defunct official website.
- Reflections of Evil encountered serious distribution problems because of its unlicensed use of copyrighted material (such as Crosby, Stills & Nash’s “Wooden Ships”). Packard recut the film in 2004 to avoid these issues (we review a different cut here).
- Per the end credits, Universal Studios “permanently banned” Packard (presumably due to his guerilla shooting on their property).
INDELIBLE IMAGE: Bob’s massive, angry face seems to fill about every third or fourth frame. You’d be safe picking any one of the many warped camera tricks Packard uses to make his own bloated visage appear even more grotesque.
THREE WEIRD THINGS: Young Spielberg’s death set; the Golden Guru; Schindler’s List: The Ride
WHAT MAKES IT WEIRD: Hiding behind the generic title Reflections of Evil (presumably chosen because Fat Guy Goes Nutzoid was already taken) is one of the most personal and peculiar movies ever made: a homemade mélange of bizarre editing, black helicopters, vintage 1970s commercials, angry L.A. street people, barking dogs, a barking watch salesman, a ghost in a see-through nightgown, and so much more. Repetitive, abrasive, grotesque, and intermittently brilliant, Reflections will shatter your mind, leaving you wondering whether you’ve just watched the magnum opus of a crude genius or a the manifesto of a genuine madman.
Trailer for Reflections of Evil
COMMENTS: Although there is a loose story to Reflections of Evil, if Continue reading 288. REFLECTIONS OF EVIL (2002)
FEATURING: Freddie Cunliffe, Lara Belmont, ,
PLOT: After moving to North Devon from London, Tom finds there’s little to do but wander the rainy countryside to avoid his family’s stifling cottage, until he discovers something dreadful is going on between his father and his sister.
WHY IT WON’T MAKE THE LIST: Inarguably well made, it is also inarguably hard to watch. The War Zone plays a subtle game at the beginning, but the unrelenting melancholy mixed with something much, much worse isn’t weird so much as harrowing.
COMMENTS: For those who may have been wondering what a Lifetime movie directed by might be like, look no further than The War Zone. Tim Roth’s directorial debut (and, as of this review, only directorial effort) is unceasingly dreary and rainy right up to the point when it gets truly disturbing. An overcast aura permeates the movie—inside, outside, and tonally—soaking the characters and narrative with an altogether melancholy atmosphere that, like the rains of North Devon, never lets up.
Matching Devon’s somber disposition, young Tom (Freddie Cunliffe) mopes through the movie. A sullen teenager, he barely interacts with his seemingly pleasant family. When his mother (Tilda Swinton) goes into labor shortly after their move, the whole family takes a frantic trip to the not-so-nearby hospital. A car crash immediately followed by the miracle of birth seems to bring them closer together. However, Tom discovers that his older sister (Lara Belmont) and his father (Ray Winstone) may be continuing something inappropriate that began in London. Their cottage’s isolation and unpopulated countryside provide the two with opportunities to continue the tryst. Upon Tom’s suspicions being confirmed, things get even more awkward, and spiral into a nasty climax.
Bleak, bleak, and then some. Tom’s only escape from his life is bicycling around outdoors and spending time on the beach, invariably in the rain. He loves his sister, but hates her for what she’s doing. His sister hates herself. The father, given no name (like the mother), is an oddity. Until we know what’s going on, he seems an altogether swell guy—and even after the truth is revealed, Ray Winstone does us no favors by contriving a sympathetic performance. Shot by shot and muddled conversation by muddled conversation, Tim Roth puts misery on parade, never stopping for a break. This movie is dark stuff; straightforward, depressing dark stuff.
Having been among the few to catch this in theaters when it was released eighteen years ago, I remember it as being bleak; re-watching it the sensation was compounded by the DVD’s awkward display. Released as widescreen in the days of square televisions, my newer TV put a box around the film: its claustrophobia magnified by the black bars on all sides. And there’s some unhappy history involving its production and release. Ray Winstone nearly left shooting after having to perform a particularly wrenching scene. During the Toronto Film Festival screening, a man left shouting he couldn’t take it any more, and Tim Roth had to talk him down from pulling a fire alarm. The War Zone is very well shot, very well acted, and very well scored; this generally isn’t a problem, and isn’t one for this movie, per se. However, it does mean that anyone thinking of watching it needs to realize it will grab you forcibly and not let go until it slams the door in your face.
WHAT THE CRITICS SAY:
“I generally have little patience for this brand of art-conscious dragginess, but Roth, there’s no denying, creates considerable suspense out of our desire to confront the forbidden.”–Owen Glieberman, Entertainment Weekly (contemporaneous)
(This movie was nominated for review by “skunky.” Suggest a weird movie of your own here.)]
DIRECTED BY: Sarah Adina Smith
FEATURING: Rami Malek, DJ Qualls, Kate Lyn Sheil
PLOT: A mysterious loner living in isolation in the mountains survives off the food and shelter of unused vacation homes; through flashbacks we see how his life unraveled after meeting a doomsday-prophesying computer engineer.
WHY IT MIGHT MAKE THE LIST: With its nonlinear style and a few nearly incomprehensible plot elements, this is definitely weird. But it also throws in a by-now familiar twist that makes it feel less special.
COMMENTS: For years, a man (Rami Malek) known only as “Buster” has been haunting the woods where a number of high-end vacation homes lie empty the majority of the year. He breaks into these homes and stays for a few days at at time, neatly tidying up after himself but often leaving some memento of his visit behind for the owners to find. The only interactions we see him engage in are periodic phone calls to radio DJ’s and phone sex workers, warning them of some impending doom called “the Inversion.” In an alternate vision of his life, he is lost at sea, waiting out his own death on a small rowboat, alternating between English and Spanish as he shouts at the sky. With the third version of Buster, we learn his history. He was once named “Jonah,” a hard-working young family man who had overcome drug addiction and homelessness and found salvation (and a wife) in the church. He works the night shift at a quiet airport hotel, and dreams of whisking his family away from the toil of working-class suburban life to their very own plot of land in the mountains, where they can live on their own terms. Jonah’s chance encounter with an unnamed drifter (DJ Qualls) who foretells the end of the world sets a chain of events in motion that leads to drastic changes in his lifestyle and worldview.
Buster’s Mal Heart is an exercise in nonlinear, enigmatic storytelling. Each scene is a flashback, a flash forward, or a flash-sideways, with seeming revelations about the protagonist often resulting in more questions, wrong turns, or dead ends. But writer/director Sarah Adina Smith (known for her stunning, secretive debut The Midnight Swim) throws viewers some bread crumbs, hinting at overarching themes. It seems that all of Jonah’s life as we know it is a constant push-pull between a “normal,” responsible, social existence and a completely free, independent one. He works in the hospitality industry, but due to his hours he spends most of his shifts alone, cleaning up the barren spaces of the hotel or sitting at the front desk staring blankly at the empty lobby. He loves his wife, Marty (Kate Lyn Sheil), and young daughter, but refuses to imagine a buttoned-up suburban life for them, instead saving all of his money to build them a cabin on a lake. He is an active member of an unspecific Christian church, but not actually invested in religion, likely remaining only because it is so Continue reading LIST CANDIDATE: BUSTER’S MAL HEART (2017)
Concerned about his safety in an abusive household, a mother leaves the fate of her newborn son in the hands of the ocean.
Content Warning: This short contains brief artistic nudity.
AKA Bad Timing: A Sensual Obsession
FEATURING: Art Garfunkle, Theresa Russell,
PLOT: A woman is rushed to the emergency room; flashbacks explain the troubled relationship between a psychology professor and a free-spirited younger woman that brought them to this pass.
WHY IT WON’T MAKE THE LIST: Extremely subtle weirdness + adequate Nic Roeg representation on the List already + shrinking available space (only 85 slots left at the time of this writing) make it a bad time for Bad Timing to come along. Had this review been written earlier in this site’s existence, this movie’s layers of mystery might have convinced us to shortlist it, but now we have weirder candidates waiting in the wings.
COMMENTS: Nicolas Roeg shows excellent, if somewhat deceptive, timing with Bad Timing. He feints that he’s about to give us a bittersweet meditation on a failed love affair, but instead probes ever deeper into a psychology of paranoia and obsession, using a subtly dislocating style to keep us off guard. Opposed dualities appear everywhere: male vs. female, rational vs. emotional, East vs. West, law vs. crime. The setup is classic amour fou, pairing successful academic Dr. Alex Linden with the hard-drinking, free-loving Milena. As the relationship is slowly revealed in flashbacks, we see the power balance between the two shift back and forth, as both parties become mired in an increasingly destructive relationship, in different ways. Alex appears coldly rational—Milena bitingly advises him to try to love her instead of trying to understand her—but his advanced training doesn’t inoculate him from human frailty; he’s as subject to jealousy as the next man, and when he falls from his logical perch, he falls hard, into a churning id.
Paranoia and second-guessing are the rule in Alex’s world. The ever-present Cold War background, which is seldom explicitly mentioned, aroused more paranoid associations at the time than it does now. Alex lectures his Intro to Psych students about how everyone is a spy, starting with children peeking on their parent’s lovemaking; later, it appears that the psychiatrist himself is being analyzed by the detective, whose intuition and experience may lead him closer to Alex’s essence than Freudian methodologies would. Alex’s nemesis is a source of mystery and paranoia, too. Harvey Keitel’s obsession with investigating what on the surface seems to be an open-and-shut suicide attempt is itself obsessive, and seems almost unmotivated (until a last minute revelation). Wearing a greasy mullet, Keitel doesn’t make the slightest pretense of being Austrian; I don’t think this is bad casting, but deliberate dissonance, a clue that his character is pure metaphor.
Art Garfunkle, on the other hand, really is bad casting, and his presence damages what could have been an unqualified classic. Roeg’s good taste in casting The Man Who Fell to Earth doesn’t carry forward here. Not only is Garfunkle a stiff in the acting department, but we’re asked to view him as a suave sex symbol, someone whose magnetism would ensnare the heart of a young woman who could have her pick of any stud in Vienna. Fortunately, an excellent, brave performance from the underappreciated Theresa Russell blows through Art’s inadequacies in their scenes together.as an alien
The finale is truly shocking, but well-earned. Also of note is the excellent soundtrack, featuring hits from, Billie Holiday, The Who, and Keith Jarrett. The difficulty of re-securing the rights to all of this music for home video release put Bad Timing out of circulation for many years. It was released to mixed reviews and big controversies: it was rated “X” in the U.S. (a commercial death sentence), and the U.K. distributor called it “sick” and had its logo pulled off prints. Although the film is better appreciated today (even receiving a Criterion Collection release), the furor over Bad Timing led to a perception of Roeg as box office poison. After starting his career off with five memorable films, the director’s career fell off precipitously in the 80s, with 1990’s adaptation The Witches marking a brief comeback to relevance.
WHAT THE CRITICS SAY:
(This movie was nominated for review by sometime contributor Eric Gabbard, who pleaded “The odd juxtapositions and time shifts. It’s a definite weird candidate. Give it a chance.” 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)