All posts by Gregory J. Smalley (366weirdmovies)

Gregory J. Smalley founded 366 Weird Movies in 2008 and has served as editor-in-chief since that time. He is a member of the Online Film Critics Society, and his film writing has appeared online in Pop Matters and The Spool.

48. INLAND EMPIRE (2006)

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Weirdest!

“My response to viewers who are puzzled by the plots is, I don’t think you’re so puzzled as you may think.  We all have a certain amount of intuition, and that is something that can be trusted and should be trusted… And so when you see something that’s abstract in a film, and you seem to be getting lost, the thing to do is to start talking to your friends, and they’ll say something and you’ll find yourself disagreeing with that, and realize that you really had formed opinions, and you had a scenario that made sense in your mind, and that’s valid.  We know more than we think.”—direct advice from David Lynch on understanding his films

DIRECTED BY: David Lynch

FEATURING: Laura Dern

PLOT: INLAND EMPIRE shifts around on a dozen tectonic plates of varying levels of surreality, but the unstable base layer involves Laura Dern as actress Nikki Grace cast in a melodrama based on an unproduced Polish screenplay which was abandoned as cursed after its two leads were murdered.  As she acts out the adulterous scenario, Grace becomes confused, coming to believe at times that she is the character in the screenplay.  After consummating a relationship with her handsome co-star, that reality slips away and Dern is seen playing several different characters, wandering around in a series of loosely interconnected sketches that involve (among other stories) an abused woman confessing her hatred of men to a psychiatrist, the lives of a gaggle of lip-syncing prostitutes, infidelity dramas, and a sobbing woman watching a room full of bunnies in an absurdist television sitcom.

Still from Inland Empire (2006)

BACKGROUND:

  • The film began as a series of individual short films shot on digital video, as Lynch was exploring the new format.  After Laura Dern suggested working on a project with the director, Lynch later noticed recurring themes in the shorts he was shooting, and decided to put them together into a feature film.
  • In his announcement for the movie and in interviews afterward, Lynch has said that he is done shooting on film and will work exclusively with digital video from now on, citing the greater freedom afforded by the format and going so far as to say that the idea of going back to film makes him feel “sick and weak.”
  • Lynch reported that he wrote the film scene by scene, working without a finished script and trusting that connections would appear.
  • The footage of the rabbits is recycled from a series of short films called “Rabbits” that was exclusively screened on davidlynch.com.
  • Lynch has said he decided to title the movie INLAND EMPIRE after hearing Dern say that her husband hailed from that Southern California enclave, simply because he liked the sound of the words.
  • Lynch invested his own money to get the film made.  He also distributed the film himself, thus facing no pressure to make cuts to the finished product.
  • David Lynch himself sings on the soundtrack.

INDELIBLE IMAGE: The nattily-dressed, stiff and deliberately posed bunny-people from the series of short “Rabbit” films, who were so evocative that Lynch decided to give them a new home in INLAND EMPIRE.

WHAT MAKES IT WEIRD:  INLAND EMPIRE is David Lynch at his most deliberately unhinged, experimenting with how far he can stray from linear narrative while still producing a work that feels thematically whole, searching for the minimum number of recurring images and themes needed to stitch a piece together so that it tantalizingly approaches coherence without ever actually resolving.

Trailer for INLAND EMPIRE

COMMENTS:  INLAND EMPIRE is a frustrating movie, or, more charitably put, a Continue reading 48. INLAND EMPIRE (2006) →

WEIRD LOVE

Hearts and flowers may not be the top things on the surrealist mind, but if you’re looking for some alternative Valentine’s Day gifts or rentals for that special weird someone, the following suggestions offer up at least a little bit of romantic sentiment:

Eternal Sunshine of the Spotless Mind (2004): With Charlie Kaufamn scripting don’t expect a happy ending, but there is a surprisingly sincere romanticism in Jim Carrey’s desperate quest to save his memories of ex-lover Kate Winslett from the memory-erasure procedure he impulsively decided to undertake.

I'm a Cyborg But That's OKI’m a Cyborg, But That’s OK (2006):  A love story set in a mental asylum.  Moving from vengeance to love, Chan-Wook Park shows an unexpected soft side in this hallucinogenic tale of love between a kleptomaniac and a woman who believes she is a robot.

Absurdistan (2008):  A young couple’s blooming passion is threatened when the women of their tiny village go on a sex strike against the lazy men.  The amorous young beau must find a way to restore the parched hamlet’s water supply if he wants any chance of getting some.

Wristcutters: A Love Story (2006):  Love blooms in the unlikeliest places: here, among dead souls in an afterlife reserved for suicides.

Annie Hall (1977): Not the weirdest, or the happiest, choice, but Woody Allen’s most popular movie is archly funny and breaks the fourth wall to an often absurd effect.

LIST CANDIDATE: DEAD MAN (1995)

NOTE: Dead Man has been promoted to the List of the 366 Best Weird Movies ever made. Commenting is closed on this review, which is left here for archival purposes. Please visit Dead Man‘s Certified Weird entry to comment on this film.

DIRECTED BY: Jim Jarmusch

FEATURING: Johnny Depp, Gary Farmer, Lance Henriksen, Michael Wincott, Robert Mitchum, Crispin Glover, Iggy Pop, Billy Bob Thornton, Mili Avatal, Gabriel Byrne

PLOT:  Mild-mannered accountant Bill Blake heads west, becomes a wanted man after he

Still from Dead Man (1995)

shoots a man in self defense, and, wounded, flees to the wilderness where he’s befriended by an Indian named Nobody who believes he is the poet William Blake.

WHY IT’S ON THE BORDERLINE:  Dead Man is a lyrical and hypnotic film, and one that comes about as achingly close to making the List on the first pass as is possible.  The quality of the movie is no obstacle to its making the List, but the weirdness, while there, is subtle and must be teased out by the viewer.  There is a mystical and dreamlike tinge to Blake’s journey into death, but the strangeness is almost entirely tonal; Jarmusch’s artiness aside, it’s possible to view the movie as a rather straightforward, if quirky, indie Western.

COMMENTS:  Dead Man begins on a locomotive as a naif accountant is traveling from Cleveland to a the western town of Machine to begin a new life.  We see him on the train playing solitaire or reading a booklet on beekeeping.  He looks up to survey at his fellow passengers, who meet his glance with indifference.  The train’s whistle blows as the scene fades to black, accompanied by twanging chords from Neil Young’s guitar (sounding like abstract, electrified snippets stolen from a Morricone score).  The scene repeats and fades back in again and again, each time with the traveler glancing around the compartment to find his companions slowly changing: their dress becomes more rustic, their hair longer and more unkempt; female passengers become less frequent, firearms more common; the indifference in their eyes turns into quiet hostility.

Dead Man tells the story of an innocent who becomes a refugee after being caught in the wrong place at the wrong time.  It’s a standard story, but the way Jarmusch tells can be strange indeed.  This opening scene sets the rhythm for the movie: it proceeds in a series of slow pulses punctuated by fadeouts and anguished bursts from Young’s guitar, and it slowly shifts locale from the civilized to the wild.  The continual fading out and Continue reading LIST CANDIDATE: DEAD MAN (1995) →

CAPSULE: CITIZEN TOXIE: THE TOXIC AVENGER 4 (2000)

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DIRECTED BY: Lloyd Kaufman

FEATURING: David Mattey, voice of Clyde Lewis, Heidi Sjursen, Paul Kyrmse

PLOT: An explosion inexplicably causes the Toxic Avenger to switch dimensions with hise vil Bizarro-world opposite, the Noxious Offender.

Still from Citizen Toxie: Toxic Avenger 4 (2000)

WHY IT WON’T MAKE THE LIST: None of the other Toxic Avenger movies made the List, so the fourth installment would have to do something different to break the pattern. Unfortunately, it follows the same path as the previous entries, showing no ambition other than to out-gross its predecessors. Fans of the series will want to watch to see more of the same; the rest of us will continue to marvel at how Troma continues to make unfettered anarchy seem so dreadfully formulaic.

COMMENTS: There’s little point to debating the merits of a Toxic Avenger film: you either admire Lloyd Kaufman’s dedication to offensive insanity, or you find it  juvenile and annoying. You either “get it,” or you like it. What can you say about a movie that begins with a gang of automatic-weapon toting teenagers clad in diapers (the “diaper mafia,” a reference to the disaffected teens of the “Trenchcoat Mafia” who committed the Columbine Massacre slayings) taking a class of “retards” hostage—on “Take a Mexican to Lunch” day, no less? It ain’t Jonathan Swift; there’s only the feeblest and most obvious satirical point to the reference. More to the point, it ain’t Zucker-Abrahams-Zucker, although the gag-a-minute pacing is an attempt to mimic the style of the Airplane! auteurs. It’s the kind of thing the Zuker-Abrahams-Zucker would come up with if they spent six months sniffing paint while working on the script. The problem is that Kaufman and his co-writers spend a lot more time and energy trying to think up ways to be offensive than they do trying to be funny. A lot of the gags—like superheros named “Master-Bater” and “The Vibrator”— are the kind of things that are screamingly funny if  you’ve never actually heard a dirty joke before, but when they appear halfway through Citizen Toxie, you can’t possibly avail yourself of that defense. We’re supposed to be amused on a meta-level, thinking about how “funny” it is that Kaufman would trot out lame joke after lame joke seemingly aimed at twelve year-old boys but wrapped up in a movie filled with “adult” content.

But of course, bad taste fans don’t want to hear the grumblings of a highbrow spoilsport; they want the list of anarchic atrocities documented in Citizen Toxie. A brief survey: farting; retards shooting up heroin; a cow superhero with squirting udders; a blind woman seduced/raped by lesbian art student; a morbidly obese particle physicist turned gay prostitute; a topless interpreter for the deaf; a human slaughterhouse; the Retarded Revenger and his sidekick, a severed head; a Citizen Kane parody; God as a foul-mouthed drunken dwarf; testicles ripped off and presented to the victim; a pump-up monster- faced penis; and about 100 jokes leftover from 1961, when Jerry Lewis rejected them as too corny. On the other hand, I did admire the originality of the scene with the twin fetuses battling to the death in the womb. And, in a movie with this many jokes, some funny lines have to land, to wit: “heroes don’t double amputate police chiefs and hurl 12-year olds into brick walls!” and “this film is respectfully dedicated to all those who have lost their lives facing down their own evil doppelgängers.” Still, the overwhelming take home message from this film is that Ron Jeremy needs to fire his agent for landing him roles that are beneath his dignity.

Besides Jeremy, who appears as the mayor of Tromaville, other offbeat celebrities who lent their talent to the film included Hugh Hefner, Al Goldstein, and Lemmy from Motorhead—who used their real names—along with Marvel comics magnate Stan Lee (who provides narration under the pseudonym “Peter Parker”), washed-up former child actor Corey Feldman (under the pseudonym Kinky Finkelstein), identical twin stand-up comics Jason and Randy Sklar (under the pseudonyms Foofy and Skippy Applebaum), and the Howard Stern Show’s “Hank the Angry Drunken Dwarf” (who is a living pseudonym).

WHAT THE CRITICS SAY:

“…imagine the zaniness of Mad magazine folded into the satire of ‘South Park’ with the grotesquery exponentially multiplied into free-for-all farce.”–Stephen Holden, The New York Times (contemporaneous)

Citizen Toxie: The Toxic Avenger IV [4K Ultra HD + Special Edition Blu-ray]
  • The mutant superhero (David Mattey) rises from the sludge to save a group of students held hostage in Tromaville.

2009 ACADEMY AWARDS: THE ONLY WEIRD THING ABOUT THEM IS THAT PEOPLE WILL WATCH THE 8 HOUR BROADCAST

The 2009 Academy Awards nominations are out, and they are every bit as tepid and conventional as we would have predicted.  The small sliver of hope is that, by expanding the field to 10 nominations, one mildly weird film did manage to worm it’s way into Best Picture contention: the Coen brothers’ A Serious Man, which also garnered a well-deserved “Best Original Screenplay” nomination.  The beautiful looking Imaginarium of Dr. Parnassus also got mentions for “Best Art Direction” and “Best Costumes.”

A few non-weird titles we covered in the past year got noticed by the Academy.  Coraline received a nomination for “Best Animated Film”: an honor, but a win isn’t in the cards considering the competition it’s Up against.  Stanley Tucci was mentioned for his chilling performance as a child murderer in the otherwise unremarkable The Lovely Bones.  And, to our shock, the musical snoozer Nine gathered a stunning four nominations: a Best Supporting Actress for the lovely and talented (but for this performance, undeserving) Penélope Cruz; one for art direction; one for costume design (corset and fishnet stocking fetishes are obviously common among members of the Academy); and one for the original song “Take it All” (now, which one was that, again?)

With all due respect to the Academy, we’d like to offer this alternative, weirder slate of nominees:

BEST WEIRD PICTURE OF 2009:

  • Antichrist: torture-porn in the style of Tarkovsky
  • The Box: a confusing sci-fi fable about moral dilemmas
  • Cold Souls: Paul Giamatti misplaces his soul and it winds up on the black market in Russia
  • Dark Country: Noir/horror hybrid about a couple that hit a man on a lonely desert road on the way back from their honeymoon
  • The Imaginarium of Dr. Parnassus: An ancient mystic with the power to make dreams real in a magic mirror tries to weasel out of a deal with the devil
  • Ink: A mysterious creature kidnaps a young girl and takes her into the world of dreams
  • Ponyo: A goldfish becomes a real live girl
  • A Serious Man: An absurdist retelling of the story of Job embodied by a Jewish physics professor in 1960s suburban Minnesota
  • Thirst [Bakjwi]: A Korean Catholic priest tries and fails to suck blood ethically after he is cursed with vampirism
  • Where the Wild Things Are: A rambunctious boy travels to a storybook land to meet symbolic psychological monsters

WEIRDEST ACTOR:

Continue reading 2009 ACADEMY AWARDS: THE ONLY WEIRD THING ABOUT THEM IS THAT PEOPLE WILL WATCH THE 8 HOUR BROADCAST →