Here’s some background noise to turn on while you’re beginning to view yourself in third-person.
FEATURING: Voices of Mark Hadlow, Donna Akersten, Peter Vere-Jones, Stuart Devenie, Bryan Sergent
PLOT: A group of puppets, “the Feebles,” prepare for their first live TV broadcast. Unfortunately fragile egos, double-dealings, accidental killings, pornographic sidelines, rohypnol-aided assault, and drug and sex addictions plague their rehearsals. This ain’t no kid’s film.
- Jackson’s second film after 1987’s surprise low-budget hit Bad Taste, Meet the Feebles was originally conceived as a TV series until Japanese investors convinced Jackson to transform it into a feature. It was then hastily re-written and shot in twelve weeks.
- The dialogue was recorded before filming began.
- The film went over budget and over-schedule, forcing Jackson and crew to submit what they had so far to satisfy the New Zealand Film Commission, and then film a remaining scene (the Vietnam flashback) by breaking into the Studio at night. This sequence was then submitted as a separate film to the NZFC entitled “The Frogs of War.”
- Won Best Contribution to Design for Cameron Chittock, for the puppets at the 1990 New Zealand Film Awards.
- Bryan Pike’s Staff Pick for the Certified Weird list.
INDELIBLE IMAGE: The big finale where Heidi massacres fellow cast members with a machine gun.
THREE WEIRD THINGS: Chicken/elephant baby; heroin-injecting flashback frog; “Sodomy” massacre
WHAT MAKES IT WEIRD: There are no human beings in front of the camera whatsoever (with the exception of Abi, a human-esque contortionist puppet), only a lusty rabble of puppet misfits all clamoring for television stardom. Somewhere between “Avenue Q” and “The Muppets” lies this unseemly purgatory of puppet scheming, murder and mayhem.
Meet the Feebles opening theme song
DIRECTED BY: Jonathan Lewis
FEATURING: ” Mubia Abul-Jama,” Heather Murphy, Martin Boone
PLOT: A Black Panther, executed for the “rape and brutal murders of fifteen Caucasian women,” finds his soul transported into a ventriloquist’s dummy; he then resumes his evil ways.
WHY IT WON’T MAKE THE LIST: Not need to get into a deep discussion here: Black Devil Doll is simply too silly, spoofy and self-aware to count as weird.
COMMENTS: First things first: Black Devil Doll isn’t an homage to the charmingly naive Black Devil Doll from Hell so much as it is an afro-remake of Child’s Play, with added interracial rape. Basically what we have here is a trashy soft porn feature starring zaftig strippers acting opposite a racial stereotype puppet: cheap, offensive trash, and proud of it. Anyone who’s not tolerant of gleeful overuse of the n-word, boundary-pushing racial humor or blatant misogyny will want to steer clear of this movie—it’s trying to trigger you. Among its bad taste stunts are X-rated cartoons, puppet sex scenes, copious puppet semen, lesbian Twister, an emasculated wigger, Bill Cosby seduction techniques, rape and killing (not necessarily in the order), vomiting, caustic diarrhea… you know, “can’t we all just get along?” kind of stuff. It ends with the strippers-cum-actresses giving the puppet a lap dance over the credits, and a post-credits sequence (by another director) and with the devil doll killing a delivery guy from “Oakland Fried Chicken,” the only fast food outlet with a genuine Sambo on the label. The actresses have names like “Natasha Talonz” and “Precious Cox,” and it was naturally “rated X by an all white jury.” It’s real woke.
Black Devil Doll comes awfully close to earning a “” rating, but has enough virtues to just barely skate by. The James Bond-esque opening credits, with voluptuous silhouetted ladies undulating across a landscape of fire and blood, are actually rather amazing, looking far more expensive than the rest of the movie. They are credited to cinematographer/editor John Osteen, who also inserts a couple of hip-hop montages during the doll’s, er, climaxes, which feature blazing fires, morphing effects and flashes of scenes from the civil rights movement (!) Osteen is more talented than anyone else on the cast and crew, although like the rest he was never heard from again. The funky vintage waka-waka instrumentals aren’t bad, either, although the sexy car wash rap is atrocious (deliberately so). Finally, there are just enough guilty-pleasure politically incorrect chuckles to counteract the painfully insulting ones: “Of course I love you, you dumb-ass ho!,” references to a “half-puppet mulatto baby,” and the classic feminist one-liner, “I’ll buy a dildo.” The final point in the movie’s favor is its brevity and brisk pacing: it has the good sense to keep its provocations to just over an hour, although probably for budgetary reasons rather than out of an abundance of good sense.
Black Devil Doll was made by a black director, because no white director could get away with it. The rest of the cast is all-white (although there may be some mixed blood in there), and the entire thing seems to be a side project of the “Boone brothers,” a pair of Confederate crackers who ran their own straight-to-video mini-empire of catfighting comedy videos called “Brawlin’ Broads” (directed by Osteen). The fact that this comedy about a stereotypical black rapist preying on topless white women seems to have been made by white producers aiming at a white trash audience makes it all the more uncomfortable. At any rate, director Lewis won’t be winning any Image Awards anytime soon.
The DVD contains a surprising number of special features, including two commentaries (one in-character by the devil doll, the other by the cast, neither very amusing or enlightening) and an audience reaction track from the premiere. There are also trailers, behind-the-scenes videos from the premiere and a convention appearance, a videotaped interview, and three (in)decent animations from Rich Moyer.
WHAT THE CRITICS SAY:
“Part homage to the hilarious surrealism of Petey Wheatstraw and, to some, a respectful rip-off of Chester Novell Turner’s Black Devil Doll From Hell, this outrageous example of Joe Bob Briggs’ patented ‘three Bs – breasts, blood, and beasts’ is so insane, so silicon injected and silly that it’s almost impossible to take seriously.”–Bill Gibron, Pop Matters (DVD)
(This movie was nominated for review by “upgrayedd.” Suggest a weird movie of your own here.)
‘s work is notoriously dark and unfriendly for advertisers. He recently found himself in a financial bind, and was considering getting a day job. He plead his case to the internet, and started a Patreon campaign that succeded almost immediately. To express his thanks, he released a short he spent an entire year developing.
“Cream” is a cure-all for everything imaginable. Do you have acne? Just rub some Cream on it. Is your TV broken? All it needs is a dab of Cream.
Content Warning: This short contains disturbing imagery.
Destination: Planet Negro!
DIRECTED BY: Kevin Willmott
FEATURING: Kevin Willmott, Tosin Morohunfola, Danielle Cooper, Trai Byers
PLOT: In order to flee early-20th century racism and find a new home for African Americans, physicist Warrington Avery and a crack squad of Black adventurers attempt a trip to Mars, only to have their rocket ship sucked through a worm hole which transports them into the jarring reality of modern-day America.
WHY IT WON’T MAKE THE LIST: The “time-traveling fish-out-of-water” story is a cinematic trope with a long pedigree. That these time-travelers are Black luminaries from the 1930s is something a novelty, but Destination: Planet Negro plays by the rules in an expected, but not unpleasant, manner.
COMMENTS: Having another socially conscientious movie be next on my to-do list could be viewed as a punishment for me by those who may have taken issue with my diatribe about Arabian Nights. However, my dislike of that movie did not stem from its progressive agenda, but from its wanting for anything remotely approaching “entertainment.” It was no small relief that Kevin Willmott’s satirical piece, Destination: Planet Negro (DPN) proved to be quite amusing and watchable, in addition to proffering some salient observations about modern and historical race issues.
My lingering frustration put aside, let me dive into the movie at hand. DPN starts right off with a sense of place: crisp black and white film sets the tone, and after opening-credits over a cosmic montage, we jump to an assemblage of Black luminaries in 1939. These top African-Americans are gathered to discuss, as one describes it, “the Negro problem.” Not finding the United States welcoming, nor being keen on moving to Africa (too much poverty), Europe (risk of exotification), or the U.S.S.R. (these gents are no commies), Dr. Warrington Avery (Kevin Willmott) informs the august crowd that he has a plan to colonize the Red Planet for the Black Man. The skeptics are assuaged by none other than George Washington Carver. However, some of the attendees inform the local police, so Dr. Avery, his astronomer daughter Beneatha (Danielle Cooper), speed-demon Captain “Race” Johnson (Tosin Morohunfola), and a clumsy robot with a cracker personality are forced to take the trip on the fly.
At about the half-hour mark, the movie changes from black and white to color, as the space adventurers crash-land on a far off planet. The joke’s on them, though: it’s the same planet and same country, just 75 years later. And so DPN moves on from historical commentary to contemporary commentary. A run-in with Hispanic laborers in the back of a van suggests to them that slavery exists here. Observing a young black man making a purchase at a convenience store convinces them he’s a slave: no eye contact, no words from the black man to the white cashier. DPN continues in this vein, ably expounding on the many similarities of treatment, though occasionally veering into the realm of the silly. In particular, the montage involving “Race” Johnson learning how to “walk like a Black guy” shouldn’t have been included, much less gone on for as long as it did.
All told, DPN is a fun diversion for those seeking some observations about race relations. It didn’t surprise me upon researching DPN that Kevin Willmott was the driving force behind 2004’s speculative “documentary” C.S.A.: the Confederate States of America. There, too, he used the powers of humor and satire to make his point, all the while maintaining an appreciably light touch. Willmott seems aware that hitting people over the head with a blunt cinematic object can be counter-productive when making one’s point. While some more pruning could have helped it better maintain its momentum (after the crash-landing scene, the movie itself nearly crashes), that criticism could be laid against most movies. In brief: not weird, but not bad.
WHAT THE CRITICS SAY:
“…highly recommended, provided you’re in the mood for a campy, low-budget sci-fi whose cheesy special effects are more than offset by a profusion of insightful social statements.”–Kam Williams, Baret News Network (contemporaneous)
Purportedly, Beyond The Valley Of The Dolls (1970) was the filmfelt was his most successful work. It was certainly his most profitable movie, and has the most extensive cult following.
Its origin is well known. Upon learning that Meyer’s Vixen (1968) brought in six million dollars on a budget of seventy-five thousand, Fox Studios signed the director to a three-picture deal, with each budgeted at one million. The studio desperately needed a profitable venture, after the expensive flops Doctor Doolittle (1967) and Hello Dolly (1969). Meyer was assigned scriptwriterto make a spoof of the studio’s Valley Of The Dolls (1967). After Mark Robson’s adaptation of Jacqueline Susann’s trash novel had proven to be a surprise hit, Fox was taking no chances, counting on the Dolls name to bring in audiences.
Beyond The Valley Of The Dolls is only loosely related to its original source, and it was hated by both studio and Susann (who unsuccessfully sued to stop its release, fearing it would harm even her reputation). Fox insisted that Meyer insert a disclaimer, informing viewers that BTVOTD was not related to the Susann original. In hindsight, the studio’s misgivings are puzzling, since the movie is exactly what they ordered: a big budget Russ Meyer flick that became an instant cult phenomenon. While best viewed as a time capsule, BTVOTD is better than the pedestrian film it parodies. Valley Of The Dolls was directed on cruise control. Comparatively, BTVOTD has the vigor of a tawdry cartoon, supplied by its twenty-seven-year-old scriptwriter and a middle-aged perverted artisan.
Kelly Mac Namara (Dolly Read), Casey Anderson (Cynthia Myers), and Petronella Danforth (Marcia McBroom) are “The Kelly Affair,” a trio of buxom rockers who, in their “Josie and the Pussycats” van, travel from sleepy Texas to the wild and wooly Los Angeles in hopes of success. At a party, thrown by a bell-bottomed Caligula, the hexagon of singing mammary glands are discovered by the androgynous Z -Man (John Lazar, channeling Phil Spector), who redubs them “The Carrie Nations.” With their rapid success comes drug addiction, avarice, harlotry, lesbianism, abortion, alcoholism, transsexualism, porn stars, and Nazi orgies.
Visually, the film is a 1970 smorgasbord of primary colors, beautifully captured by cinematographer Fred J. Koenekamp. Accompanying the eye-popping visuals is catchy musical kitsch. The editing, like the plot, is episodic. As in the best of Meyer, the appeal of BTVOTD lies not in its narrative, but in its self-conscious camp. Comparisons to Chuck Jones cartoons are apt (as he would do again in 1975’s Supervixens, Meyer throws in Wile E. Coyote sound effects). BTVOTD hurls the viewer into an unexpected psychedelic, psychotic comic strip of a finale, which still divides the film’s fan base. It is unlike everything that precedes it. The ill-fated Sharon Tate was among Valley of the Dolls’ leads, which makes the nihilistic Charles Manson-styled massacre of BTVOTD a shrewdly tasteless finale worthy of John Waters.
BTVOTD is a celebration of counter culture trash. Despite its excesses, garishness, and plethora of broken taboos, its appeal will be dependent on the audience’s receptiveness to drug-induced soap opera pacing. For some, this is the director at his most accessible. Undoubtedly, BTVOTD is an essential entry in the Russ Meyer oeuvre, but it is debatable as a good starting point.
How many is too many? This is a fair approximation.
DIRECTED BY: T. S. Slaughter
FEATURING: Chris Tanner, Frank Holliday, Mike Russnak, Flip Jorgensen, Matthew Benjamin
PLOT: The wacky adventures of the Gay Family, matriarch Bob Gay-Paris and patriarch Rod Gay, who raise their gay sons, Alex and Tommy, and teach them valuable lessons in empowerment.
COMMENTS: The Gays is T.S. (Skull and Bones) Slaughter’s twisted take on the family sitcom, where everyone learns a lesson along the way. It also spoofs the Conservative Nightmare about The Gay Agenda: what would happen if gay parents educated their offspring about being gay?
It’s intentionally over the top, in‘ style, so conventional viewers should find a couple of things to be scandalized by. Aided by the performances of the two leads, Chris Tanner and Frank Holliday, most of the intended audience for the film should find it empowering and hilarious, and in that aspect, there’s much to recommend.
Objectively, some might find most of the humor a bit one-note to sustain a feature, and some of the other performances aren’t up to the level of Tanner and Holliday, but I think that most of the people who’ll like this film will be more than willing to overlook the lack of Hollywood polish.
The Gays is now available on DVD and streaming video; visit The Gays official site for ordering information.
, a director previously featured on this segment of our site, has been on the rise due to his involvement in the animated series “Adventure Time” on Cartoon Network. In fact, it was recently announced that he will play some role in future episodes of Comedy Central’s “South Park.” During an interview following the announcement David said in his darkly humorous fashion that he had no future ambitions. “This is it. Downhill from here.”
In honor of this, we’d like to feature him once more with an episode of “Heaven’s Countryland.” Below is one of a series of shorts commissioned by Adult Swim, parodying North Korean propaganda videos.
“Renegade” is an homage to 1940’s pulp magazines, you may assume correctly that there’s a good guy, a bad guy, and a damsel in distress. What makes these stories unique, and even weird by today’s standards, is what the good guy has to go through to save said damsel from her distress. “Renegade” maintains a great approach, and fortunately doesn’t go as far as the notorious story featured in Man’s Life, “Weasels Ripped My Flesh“.