A lonely Minotaur’s socialization skills are put to the test when he gets an unexpected visit from a girl.
“[Wishman] seemed genuinely surprised, even skeptical, that anyone could find her work worthy of study, probably because at first glance her films often reveal such trademark low-budget production values as dodgy lighting and interiors resembling rundown motel rooms. Yet behind her economically deprived visuals lie a wealth of imagination: wildly improbable plots, bizarre ‘method’ acting and scripts yielding freely to fantasy.”–“Incredibly Strange Films”
FEATURING: Sharon Kent, Michael Alaimo, Trom Little, Jackie Richards
PLOT: A nebbishy pack rat finds a ring and a blonde doll in a trash can; soon after, he sees secretary Ann walking to work, then sees the image of the doll overlaid on Ann’s body. Returning to his dingy apartment, he puts on the ring and gropes the doll, and Ann feels invisible hands on her as she stands by the water cooler. The stalker follows Ann home after she leaves work, discovers she has a steady boyfriend, and takes out his jealousy on the doll.
- Doris Wishman, who had worked in film distribution, began her directing career after her husband died at a young age as a way to keep busy. She originally began working in the brief nudist camp genre, movies that rushed to exploit nudity after a New York judge ruled that stories set within the nudist lifestyle were not per se obscene. After the fad for nudist films, and the “nudie cutie” sub-genre that grew out of them, died out, Wishman moved into the production of “roughies,” a sexploitation genre with less actual nudity but more violence and kink. She was one of the only women directing such films at the time. Indecent Desires comes from the middle of this period, which lasted roughly from 1965’s Bad Girls Go to Hell to 1970’s The Amazing Transplant.
- Wishman’s 1960s movies were mostly shot without sound. Dialogue was dubbed in later. She often directed longtime cameraman C. Davis Smith to focus the camera on ashtrays, potted plants, or an actress’ feet instead of the person speaking in order to make the sound syncing easier later. This technique initially confused audiences, but later became recognized as a Wishman trademark.
- Like most of her work of this period, Wishman used “Louis Silverman” as her directing pseudonym and “Dawn Whitman” as her writing pseudonym.
- Terri McSorley‘s Staff Pick for a Certified Weird movie.
INDELIBLE IMAGE: The image of the blonde trash can doll superimposed over Ann as she walks to work. This sight is the closest thing to a special effect to ever appear in one of Wishman’s movies.
THREE WEIRD THINGS: Doll-groping transient; Babs makes out with herself; nude leg lifts
WHAT MAKES IT WEIRD: Doris Wishman made sleazy sexploitation movies marked by their strange camerawork, unsynced sound, grimy settings, amateur acting by curvy models in lingerie, odd plots, burlesque house jazz soundtracks, and a weird, pervasive sense of erotic guilt. Indecent Desires features her usual shenanigans delivered in one of her most inexplicable stories: a tale of a symbiotic relationship between a stalker, a doll, and a beautiful woman that is so context-free it serves as a fill-in-the-blank sexual parable. It’s perhaps her strangest and most disconnected plot, which makes it the perfect item to represent Wishman on the List of the Weirdest Movies of all Time.
Short clip from Indecent Desires
COMMENTS: Whatever her filmmaking talents, or lack of same, Continue reading 277. INDECENT DESIRES (1968)
Rekopis Znaleziony w Saragossie
“Simultaneously erotic, horrific and funny… This is one mother of a film.”–
FEATURING: Zbigniew Cybulski
PLOT: During a battle in Saragossa during the Napoleonic Wars, a soldier wanders into a house and discovers a large book which enthralls him (and his captor). In it, he reads the story of the Walloon captain Alfons Van Worden, who meets, and is seduced by, two princesses while sleeping at a haunted inn, only to wake up under a gallows between two hanged men. Van Worden’s further adventures include meeting a hermit, a cabalist, a gypsy leader, and other colorful characters, each of whom have tales to tell—often leading to stories inside of stories.
- The Saragossa Manuscript is a mostly faithful, if necessarily abridged, adaptation of Jan Potocki’s massive 19th-century novel “The Manuscript Found in Saragossa” (occasionally translated as “The Saragossa Manuscript: A Collection of Weird Tales”). Potcoki was a fascinating character, worthy of his own novel. A Count, adventurer (he was the first Pole to fly in a hot air balloon) and polymath, he published The Manuscript Found in Saragossa in fragments during his life. Legends revolve around his spectacular 1815 suicide: he shot himself with a silver bullet he made himself, and which he had blessed by his castle chaplain beforehand.
- Noted fans of the film include
- The restoration, which included the addition of about an hour’s worth of material cut from previous prints, was initially financed by The Grateful Dead’s Jerry Garcia, who died before it was completed in 2001. Filmmakers and
INDELIBLE IMAGE: Near the film’s climax, Van Worden stares out through an gap in a castle wall and sees a vision of himself receding into the distance with the two princesses, headed towards a poster bed standing alone in the middle of a desert. The only other features in the landscape are a cow’s skull and a dead crow half buried in the sand. There’s a wonderful trick to the shot, indicative of the film’s obsession with misdirection and game playing.
THREE WEIRD THINGS: Between hanged men; incestuous Islamic princesses; five levels of flashbacks
WHAT MAKES IT WEIRD: The Saragossa Manuscript winds through a Gothic journey replete with gallows, ghostly seductresses, duels, occult symbols, Inquisitors in bondage gear, and more, an epic tale told in the ever-receding stories-inside-of-stories style that Guy Maddin would later adopt (in a more fetishistic fashion) for The Forbidden Room. Wojciech Has’ 3-hour adaptation of Jan Potocki’s grandiose novel is storytelling in its purest form; it’s a world cinema classic that has been unfairly neglected, out-of-print in the USA for far too long. The film’s design unfolds slowly, wandering through a disorienting labyrinth of stories that eventually resolve, only to dissolve again in a mystical finale in the Spanish desert.
Re-release trailer for The Saragossa Manuscript
COMMENTS: “All that has made me confused,” complains Captain Continue reading 265. THE SARAGOSSA MANUSCRIPT (1965)
Le Tout Nouveau Testament
DIRECTED BY: Jaco Van Dormael
PLOT: God, who’s something of a jerk, lives in an inaccessible high-rise apartment in Brussels; rebelling from his authoritarian control, his 10-year old daughter hacks his computer and leaks humanity’s death dates, then goes to Earth to write a new Gospel.
WHY IT WON’T MAKE THE LIST: In the earlier days of this site, a movie like The Brand New Testament would easily have been shortlisted as a candidate. But with available slots on the List of the Weirdest Movies Ever Made shrinking, the field grows more competitive by the week. In a way, with two entries already on the List, Jaco Van Dormael is a victim of his own success—and this high-concept comedy is not as weird as Toto the Hero or Mr. Nobody, although the Catherine Deneuve bestiality subplot nearly puts him over the top one more time.
COMMENTS: Since nothing can come from Nothing, God seems to be an ontological necessity. Yet, our fatally flawed world of starving children, male nipples, and Kanye singles argues against the existence of a perfect, benevolent Supreme Being. There is one way to reconcile this seeming paradox, however. What if God exists, but He’s not a pure and loving spirit: in fact, he’s not only imperfect, but a mildly sadistic bastard? Such a God would perfectly accord the necessity for a First Cause with our experience of life on this planet as frequently annoying, sometimes torturous, and genuinely tragic—besides explaining the whole “made in His image” thing.
Jaco van Dormael takes this whimsical philosophical proposition as the basis for his fantasy The Brand New Testament, a congenially blasphemous lark that winkingly rewrites Christian theology to tweak human nature. This God—played with wicked gusto by a perpetually peeved Benoît Poelvoorde in a ratty bathrobe—is a petty tyrant who delights not only in crashing planes but in setting up universal laws of annoyance, such as the cosmic rule that toast must always fall to the floor jam side down. So intolerable is his reign of terror that his eldest son, J.C., ran away from home to slum around Earth, embarrassing his father with his hippie antics. (“The kid said a lot of stuff on the spur of the moment,” God explains to a scandalized priest). J.C.’s sister, Ea, is now set to follow big bro’s example, climbing down to Earth via a magical dryer duct to escape her Father’s wrath after she hacks his computer and leaks the death dates of all of humanity, freeing them to live their remaining days to the fullest. The girl then sets about recruiting six new apostles, each of whom comes with their own mini-story, dramatized in segments like “The Gospel According to the Sex Maniac.”
The Brand New Testament is sprawling and ambitious, but despite a plot that wanders wide, it centers itself with a consistently off-center wit. The more you know your Bible, the more you’ll laugh (“not at my right hand!” objects an angry God when Ea sits down to dinner). The scenario is so absurd, and the underlying message so humanistic, that only the most humorless Bible-thumper could take offense at Poelvoorde’s clearly farcical deity. Van Dormael slips surreal gags into the interstices of the already fantastic film: an ice-skating hand, a chanson-singing ghost fish, and Deneuve’s simian liaison. The ending is a feminist apocalypse where the patriarchal God is sent into exile and the universe rebooted with flowery skies, male pregnancies, and the return of the Cyclopes.
Belgian Van Dormael’s movies are similar to the solo work of Amelie but with an oeuvre that, overall, has been both smarter and more consistent than that of the more famous Frenchman. With a small body of only five feature films full of philosophical ambition, wit, visual imagination, and thorough weirdness, he gets my vote for the world’s most underappreciated master filmmaker., without a giant blockbuster hit like
Despite having a role that’s no bigger than any of the other six apostles, Catherine Deneuve gets third billing. You can understand why. Her iconic presence dignifies the film, and her support for the project helped Van Dormael recover from the economic disaster of Mr. Nobody.
WHAT THE CRITICS SAY:
DIRECTED BY: Ate de Jong
FEATURING: Chad Lowe, Kristy Swanson, Patrick Bergin, C.J. Graham
PLOT: A supernatural cop abducts an eloping lover and takes her to a literal Hell; her beau must rescue her from her predicament.
WHY IT WON’T MAKE THE LIST: This is a fun movie with a cute premise, but it stays well within the comfort zone of your average ’90s frat boy. It’s a good beer-chugger, but it never jumps the cliff into weirdo land, when it very easily could have. What a shame!
COMMENTS: Just to get it out of the way, the band AC/DC has nothing to do with this movie, nor does their warbling appear on the soundtrack. The title, however, is shown in the first shot after the credits, as the title of an arcade video game. Confused yet? So are our protagonists, Charlie and Rachael, who are paranoid about being tailed by a cop due to their clandestine wedding plans, but don’t have the presence of mind to remove the huge pizza delivery sign from the top of Charlie’s car, which marks them with a big red arrow. As they head to Vegas to get married, they stop off at the proverbial Last Chance gas station, where they get warned by the attendant that theirs is not the safest course. Guess who’s not heeding that warning?
With absolutely no foreplay, the couple find themselves detained by a “hellcop,” who looks exactly like you’d expect a hellcop to look. Rachael is now a hostage and Charlie tasked with rescuing her. With a plot no more complicated than a Super Mario Brothers’ game, the festivities are now underway. The gas station attendant turns out to be just the guy to prep Charlie for his quest into the “hellzone,” the capitol jurisdiction of Hell City and the place of Rachael’s eventual incarceration. Charlie drives through a portal to get to this alternate universe, which looks just like the rural Arizona desert, and then has all kinds of encounters and misadventures with the citizens, who act pretty nonchalant about living in hell. As he careens from Satanic ice cream scoopers to patchwork biker gangs, who variously help or hinder his quest, you get the idea that this road movie was conceived with the cool-factor riding shotgun, common sense taking a backseat, and logic banished to the trunk.
What the movie lacks in depth, it makes up in pace. We hardly have time to ponder the silliness of frying eggs on the sidewalk (hell, it’s kinda hot, you know), before we’re being preyed upon by a AAA tow truck driver: “anarchy armageddon annihilation.” Then it’s off to Hoffa’s bar, where the go-go dancers are so hot that they literally set your arm on fire when you try to grope them. You have to be charmed by the extra dose of corny imagination, even when it’s wasted on lame sight gags. It’s also such a product of 1991 that it has cameos by Gilbert Gottfried, Lita Ford, and more than one Stiller. The whole comes off as a Python-esque series of sketches, connected more tightly and produced on a much higher budget. This is one movie where people can tell you to go to Hell, and they’re doing you a favor because you were asking for directions.
WHAT THE CRITICS SAY:
“…doesn’t have the coin to fully create a towering vision of the underworld, but it offers enough strange encounters and environments to pass, giving the effort a nice lift when attention turns from Charlie’s panic to the land’s weirdo inhabitants.”–Brian Orndorf, Blu-ray.com (Blu-ray)
Il Racconto dei Racconti
FEATURING: , Toby Jones, , Bebe Cave
PLOT: Peace and harmony reign between three neighboring kingdoms, but all is not well with the countries’ monarchs: in her desire for an heir, the Queen of Longtrellis goes to extremes; trying to avoid marrying off his daughter, the King of Highhills accidentally dooms her to wed an ogre; and the King of Strongcliff attempts to woo an unseen (and unsightly) singer that won his heart.
WHY IT SHOULD MAKE THE LIST: Director Matteo Garone weaves together three differently unsettling fairy tales with a sure hand and A-list actors. Sea monsters, giant fleas, and creepy albino twins are just a few of the wondrous sights to see in this medieval fantasy. The undercurrents of death, deformity, and violence make for an unsettling amalgam when coupled with picturesque castles and countrysides.
COMMENTS: An international cast, sumptuous European locales, familial conflict—yessir, Tale of Tales screams “Film Festival” and “Art House.” Fortunately for us, attributes like bloody murder, spontaneous gestation, and youth-bringing lactation also make it scream “weird”! Indeed, looking over some of the “Weirdest Search Terms” from my time here, I suspect at the very least that last one will notch 366 another visitor from the far corners of the web. Tale of Tales delivers a strong dose classic European fairy-tales without skimping on the grisly elements that made them such macabre stories.
Using three stories from Giambattista Basile’s early 17th-century collection of Neapolitan fairy-tales, director Matteo Garrone allows an unlikely group of fantasy characters to stumble toward their fates, occasionally stumbling into each other. The Queen of Longtrellis’ (Salma Hayek) husband is slain while killing a sea beast he hunted so that his wife could devour the monster’s heart—a solution, we are told, for the couple’s infertility. Attending the funeral is the kind-hearted King of Highhills (Toby Jones) together with his daughter Violet (Bebe Cave). We also meet the lusty lord of Strongcliff (Vincent Cassel), appearing from beneath the skirts of two courtesans in his coach before arriving at the procession. Things bat back and forth between their tales throughout the movie, and needless to say, the roads these monarchs and their families take are a bit bumpy.
Judging the “weird” merits of a fantasy movie can be a challenge, for while unreal things necessarily go on, that is expected from the genre. However, the defense of my bold claim in the case of Tale of Tales is made easier because of the extremes the movie goes to with its material. The story of the Queen of Longtrellis alone cements things firmly in our realm of the weird. Not only did the Queen need to eat the serpent’s heart, but during the preparation thereof (by, as specified, a solitary virgin) the young cook becomes with child herself; both women are pregnant just one day before delivering, separately, identical albino twins. Disapproving of her own son, Elias, fraternizing (as it were) with the peasant’s son, Jonah, the Queen eventually makes a second Faustian bargain resulting in, to put it crudely, “Form of Bat!” …And on top of that there’s the mightily growing flea-pet of the King of Highhills and the sad tale of the two crones who accidentally steal the heart of the King of Strongcliff.
I’m generally skeptical of the “interlocking narrative” structure found in some films — I regard it as a poor excuse to cobble together what should have been multiple short ones. However, the tone in Tale of Tales is consistent throughout, and any potential disjointedness is mitigated both by the very smooth editing work and the presence of a troupe of carnival performers who appear at key points throughout the three narratives. And did I mention there’s? Showing up barely in time for his own demise, I like how he can always be counted on to add a touch of pathos. Tale of Tales is a beautiful, weird movie that is a reassurance to fantasy genre fans everywhere.
WHAT THE CRITICS SAY:
“There was already something wonderfully weird and carnivalesque about Italian filmmaker Matteo Garrone’s past films… Now, the director has let his circus ringmaster’s instinct flower with the bold, barmy ‘Tale of Tales’… the sheer, obstinate oddness of ‘Tale of Tales’ sends crowd-pleasers like ‘Game of Thrones’ and ‘The Hobbit’ scuttling into the shadows of the forest in terror.”–Dave Calhoun, Time Out London (contemporaneous)
- “Elias” is a variant of “Elijah”, the prophet known, among other things, to be the harbinger of the End of Days; he twice fills this role vis-à-vis his own parents. [↩]
- That a boy conceived by the consumption of the heart of a giant fish should be named “Jonah” is, in my view, more than a bit gratifying. [↩]
Created by Steve Ditko, Doctor Strange was an authentically odd character in the Marvel universe of the 1960s. Aptly, he debuted in the “Strange Tales” comic. The character almost perfectly encapsulated Ditko’s idiosyncratic, surreal pencil work, even more so than his better known co-creation, Spiderman. Complementing Ditko’s art, Stan Lee scripted the character as a hybrid mixture of Jungian archetypes with a theosophist cocktail of Eastern mysticism and Egyptian mythology. When other artists took over Doctor Strange after Ditko’s departure, it never had quite the same texture, and quickly became bland before descending into parody as the good doctor could be found in superhero team-ups with the likes of Hulk and Spiderman (!)
A pulp mystic, the character hardly seemed like a viable nominee for big screen treatment, and when Doctor Strange (2016) was announced as the next Marvel movie, the prospects didn’t look hopeful, considering director Scott Derrickson’s execrable resume. Surprisingly, Derrickson and his co-writers went straight to Ditko and Lee’s original source material, delivering an entertainingly psychedelic production, which is helped by actor Benedict Cumberbatch in the title role,, the ever reliable , and .
As much asembodies Iron Man, Cumberbatch does the same for this surgeon with the Trump-sized ego. However, an accident leaves Doc’s precious surgical hands mutilated, prompting him to seek enlightenment via the Ancient One (Tilda Swinton, filling in for ), Mordo (Chiwetel Ejiofor) and Wong (Benedict Wong). Before you can say Expecto Patronum, Strange sees the light and transforms into Chandu the Magician heading to the next Hare Krishna meeting. Despite the here-we-go-again St. Paul conversion myth, it plays out much more uniquely, viscerally, and tongue-in-cheek than one might expect. As Strange perfects his new metaphysical trade, the CGI actually enhances the narrative, as opposed to distracting us from it—and, yes, see it in 3D, because that’s the best route for trippy 60s symbolism. Derrickson and company faithfully recreate and expand upon Ditko’s peculiar brand of surrealism and the havoc they wreak with illusionary imagery from the mirror universe is refreshingly off-kilter.
In a rarity for something churned out by Marvel, the director and team have been given room to play outside of conveyor-belt dictates. The fun they have is contagious, but such a subject can only be as good as its villain. Fortunately, they have one in the outlaw mystic Kaecilius (Mikkelsen) who engages in a phantasmagoric battle with Strange on the streets of New York (aided considerably by Michael Giacchino’s galvanizing score). Mikkelsen’s Kaecilius could very well be his astral, Dark Dimension, bony version of Hannibal Lecter (and shame on those who missed that late series, which rendered the/Jonathan Demme version obsolete), delivering his hocus-pocus dialogue with such aridity, he scares the hell out of you just by speaking. Mikkelsen is cast well (although underused) against Cumberbatch’s in-the-know remote wit. Likewise, McAdams is smartly cast as Strange’s ex-girlfriend who literally assists in his physical and metaphysical healing. The actors, coupled with visuals blatantly inspired by MC Escher, give Doctor Strange an all too uncommon individuality. This is not the Avengers taking turns pounding away at big shiny black, metallic thingamajigs. Rather, the good doctor, with his cloak of levitation, takes his battles to the realm of pop nightmares, which makes the late hint to an inevitable Avengers tie-in all the more disappointing. Is it weird? Nah, but it’s an empyrean burlesque and, for this studio, that is a surprising treat.
FEATURING: Chao Deng, Show Lo, Yuqi Zhang
PLOT: A wealthy Chinese business tycoon buys prime coastal real estate, but his Capitalist plans will destroy life for a tribe of mermaids (and one mer-octopus) living there. The merfolk dispatch an assassin to disrupt the tycoon’s plans, but they end up in a sappy romance instead.
WHY IT WON’T MAKE THE LIST: A stylish and entertaining comedy, yes. It’s good, clean, silly fun, even fit fare to bring the kiddies. But it doesn’t touch the farthest rim of the outside category of the fringe weird movies considered here. A helpful note to future List aspirants: “fantasy” does not automatically equal “weird.”
COMMENTS: From the opening credits over shots of factories belching smoke and marine life drenched in crude oil, we expect right away we’re in for a heavy environmental message. To our relief, we end up in a bargain-basement nature museum and a farcical comedy. Tycoon Liu Xuan acquires Green Gulf, a prime island real estate, to develop. That business venture doesn’t sit well with the local fauna, especially not the kind with both arms and gills.
Shan is a mermaid dispatched by her tribe to stop Xuan’s plans by acting as a siren to lures Xuan to his assassination at the hands of a crack team of merfolk activists. But things run awry when she grows emotionally attached to Xuan, despite her leader describing humans as “pure evil” during an expository history lesson. Xuan gets mushy for Shan, too, so the fate of the merfolk hang with these star-crossed flounders. It’s just as well; as an assassin, Shan’s about as threatening as Mr. Bean. Cue Very Important Environmental/Cultural Sensitivity Message you’ve seen a hundred times in everything from Fern Gully to Pocahontas.
Even though it doesn’t qualify as “weird,” there are some memorable action scenes, top-notch special effects, grand scale slapstick sight gags, and a CGI crew who couldn’t resist inserting a Finding Nemo nod at the end there. Keep an eye out for an amok jetpack, slingshot air corps training, an outrageously over-the-top sushi chef routine, and an elder merfolk shaman with a water-bending magic ability. Stephen Chow is one director who knows how to deliver everything you were expecting, plus ten percent. The last thirty minutes even get dramatic enough to almost take itself seriously, just enough to sell the ending. Rest assured, the environmental message is not dropped with an anvil, but a quick smack from a frying pan.
“Hilarity ensues” is about all there is left to say for the rest of the film. The comedy isn’t even surreal enough to make it intoterritory; this is more like the Chinese Mel Brooks, complete with many classic gags from the farce school of comedy. That being said, it’s a well-done, lavishly produced, fun movie, sure to be a crowd-pleaser—it’s the highest-grossing Chinese film of all time, after all. But “crowd-pleaser” isn’t what a list of weird movies would typically include.
WHAT THE CRITICS SAY:
Novelist Ransom Riggs and Tim Burton should have been an ideal match, but Miss Peregrine’s Home For Peculiar Children (2016) is yet another verification that this director is at the end of his tether.
Burton can’t take the sole blame. He shares that honor with screenwriter Jane Goldman, who previously scripted two of the better X-Men sagas. This is part of the problem: they treat the material as if it’s the initial entry in a new and potentially profitable X-Men-styled franchise. For a director who has long made claims to specializing in films for the peculiar, Burton shows no genuine enthusiasm for his newest project and, with Goldman, sucks all the peculiarity out of its source material. This has been Tim Burton’s modus operandi for a long time, apparent to almost everyone (the director’s zealous, in-denial cult excepted). Burton likewise neutered all the surrealism of Lewis Carroll’s Alice and Disneyfied Barnabas Collins, Sweeney Todd, and Willy Wonka. Even Disney itself, teamed with Bing Crosby, was more adept at interpreting Washington Irvin’s Ichabod Crane. There’s a problem when two paragons of artistic conservatism have a better feel for the kooky-souled than a self-proclaimed specialist.
Burton came closest to a return to form with The Corpse Bride (2005), which he co-directed with Mike Johnson, along with Big Eyes (2014), the story of Margaret Keane. Despite being a personal project, the latter film eventually faltered in focusing on a kitsch suburban artist who simply wasn’t as interesting as the working relationship between the world’s worst director and one the worst ham actors of all time in Ed Wood. Still, this is the director who took a pre-existing pulp character (Batman) and managed to produce two comic book-inspired masterpieces stamped with highly personalized weirdness (especially Batman Returns, which really should be one for the List). He probably would have done the same for Superman, or at least that appears to be the case from the fascinating documentary Death of Superman Lives: What Happened? (2015).
With his latest misfire, however, Burton is yet again crippled by his own brand crutch, producing a caricature of himself that imitates imitator’s imitations of Tim Burton, with Riggs’s narrative ending up a casualty. In addition to borrowing from his own past “hits,” Burton throws in a sink-full of other sources, including Groundhog Day, Back to the Future, X-Men, and Harry Potter, but this Burton is not the Burton of the Eighties and Nineties, nor is he a Robert Zemeckis, Harold Ramis,, or even journeyman David Yates. By now, Burton heading a project is an almost as guaranteed a recipe for disaster as is hiring .
There are a few plusses, including a campyin the title role. As the shape shifting matriarch of her orphanage for misfits, adorned in Coleen Atwood’s goth costuming, Green demands our attention (and gets it). Samuel L. Jackson also has fun hamming it up as the antagonist Barron. However, despite some good moments amidst impressive set pieces, Jackson’s Barron is a vague character. Supporting actors Chris O’ Dowd, Judi Dench, Rupert Everett, and Allison Janney are virtually wasted. Asa Butterfly, as Jake, turns in an off-colored and ultimately two-dimensional performance, which can be blamed on Burton, since the actor has done good work for others (i.e. Boy in the Striped Pajamas, Hugo). Best is Ella Purnell as Emma, who embodies an atmospheric sense of nostalgia in a star-making performance.
As expected, there is CGI aplenty (including a floating ghost ship, an ode to Ray Harryhausen’s stop-motion work, and post-production botox for actor Terence Stamp, something like to a roughly sketched version of Big Fish‘s Ed Bloom). Additionally, the physical space is well-utilized, even more so than in his previous few films. Even at his most fatigued, Burton still manages to produce a pretty package.
Unfortunately, the package is an empty box. Over-written, Miss Peregrine’s Home For Peculiar Children is woefully complicated, cram-packed, emotionally bankrupt, poorly-paced, and far too narcissistic in its mythology-building and exposition, feeling at times like lost footage from alternative production of Dune. Perhaps he and Goldman should have watched Rankin and Bass to learn how to convey a world of misfits more simply, or rewatch his own Batman (1989), which was comparatively underwritten (and it didn’t matter one damn bit). With Riggs’s array of misfits, one can easily imagine the appeal, but Burton’s (undeniable) strengths are slurped up by executive production demands as wholly as the Barron devours his eyeballs, which can be summed in a finale that has to be his most painfully obvious and dumbest since Burton’s 2001 Planet of the Apes.‘s
Die Unendliche Geschichte
“I was doing a tattoo in Seattle, and a girl came in and had the whole side of her buttcheek was the Auryn. So she pulled her pants off and asked if she could get a picture with me next to the Auryn, so I stuck my head right next to her butt.”–Noah Hathaway, star of The NeverEnding Story and tattoo artist, on the nexus of his past and current lives
DIRECTED BY: Wolfgang Petersen
FEATURING: Noah Hathaway, Barret Oliver, Tami Stronach, voice of Alan Oppenheimer
PLOT: An orphaned boy discovers an epic story about a young hero’s quest to find the cure for a mysterious force that is destroying the kingdom and killing a princess, only to discover that he is more integral to the story’s outcome than he had imagined.
WHY IT WON’T MAKE THE LIST: A fantastical milieu is always good for unusual characters and settings, and the story’s propensity for bleak and even nihilistic ideas goes well beyond the usual expectations for “children’s fare.” However, the weirdness is mostly concentrated in the Mobius strip plot (which inspires the title), making the film primarily weird for the sake of itself.
COMMENTS: Director Wolfgang Petersen parlayed his success directing the global smash Das Boot into a seat at the helm of this movie, which would wrap as the most expensive film in German history. As regards what’s up on the screen, it shows. In our CGI-rich present, the effects may appear dated, but they are surprisingly effective and charming. Petersen creates a fully-realized fantasy world, from the crystalline castle of Fantasia to the dour Swamp of Sadness. The stop-motion, animatronic, and puppeteered creatures are also quite spectacular, with the fatalistic Rockbiter and the treacherous Gmork coming across as especially believable.
All those expensive special effects mean that the burden of acting falls almost entirely upon the two child leads. Noah Hathaway (previously sighted as Boxey on the original Battlestar Galactica series) is particularly strong, doing his best hero’s quest despite being prepubescent. Barret Oliver (soon to be seen as D.A.R.Y.L.) has a harder time, since so much of his role involves reacting to reading. He’s acting by himself opposite events happening to other people, which turns out to be at the heart of the movie’s bait-and-switch.
The true weirdness of The NeverEnding Story lies in this ultimate twist: the Nothing, an encroaching void that is destroying the world of Fantasia, is the personification of the apathy of a disinterested human readership, and the world can only be saved by the imagination of Bastian, the boy who stole and is now reading this very story about how the world is dying because he’s not imagining the story. It’s hardly a coincidence that the hero’s amulet, the Auryn, is a double ourobouros. The movie itself tells us that there is no real world/fantasy world dichotomy to unpack; it’s all fantasy, feeding upon itself. Which certainly goes a long way to explaining some of the story’s more puzzling mysteries, such as why Bastian’s unsympathetic, egg-swilling father (a very grim cameo by future Major Dad Gerald McRaney) isn’t out scouring the city looking for his son in the midst of a storm hours after he should have come home from school.
(Evidently, that metatextual mindplay is an even greater component in the source material. The movie draws on roughly the first half of Michael Ende’s novel, and the author was so incensed by the adaptation that he sued twice: first to stop the production, and then to have his name removed).
Ultimately, the film has major problems articulating what is really important. Characters are introduced only to have no impact on the story at all. A major death is wrung out for every tear it can muster before we’ve ever had a chance to meet the character or understand his importance to the hero. And the ending is a borderline travesty. Given the awesome power to create worlds, the most Bastian can think to do is turn the tables on his bullies and torment them in return. It’s an ending that works (my son laughed uproariously), but it doesn’t fit the philosophical, high-minded tone of all that has come before. Which is perhaps why it’s best to assume that the story never really ended.
WHAT THE CRITICS SAY:
“… comes off as a Reading Rainbow episode covering existentialism… The NeverEnding Story’s virtues derive in part from its weirdness and uncompromising tone. Much of children’s entertainment instructs about self-actualization, but rarely is the message realized in a manner as respectful of its young audience’s intelligence.”
Mark Pfeiffer, Reel Times: Reflections on Cinema