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.

APOCRYPHA CANDIDATE: MARKETA LAZAROVÁ (1967)

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DIRECTED BY: Frantisek Vlácil

FEATURING: Frantisek Velecký, Magda Vásáryová, Ivan Palúch, Josef Kemr, Michal Kozuch, Pavla Polaskova

PLOT: In the early Middle Ages, a pair of brothers rob a caravan under protection of the King, setting off a chain of events that eventually leads to the kidnapping of Marketa, a virgin pledged to the convent.

Still from Marketa Lazarova (1967)

WHY IT MIGHT JOIN THE APOCRYPHA: Dreamy pagan sequences adorn a stylized and hallucinatory landscape in Vlácil’s stark medieval epic.

COMMENTS: Although Marketa Lazarová is almost universally praised, everyone remarks on its confusing narrative. The film, which begins with a highway robbery and kidnapping, starts off with a lack of context, and the remainder of the story is fragmented, peppered with abrupt changes of scene, and with dreams, visions, and flashbacks which are sometimes impressionistic, sometimes indistinguishable from reality. The plot elements are comprehensible—a petty noble goes too far and angers the king, a virtuous maiden is snatched from her home—-but the main problem is keeping track of who is who, and where their loyalties lie. If you are prepared for confusion, you can soldier through it and the parties should sort themselves out within an hour or so. But if you would like some guidance, I’ll start this review with a short overview of the major players to get you oriented.

Despite providing the film’s title, Marketa Lazarová herself is not a prominent character until the film’s second half. The story atually centers on her eventual abductor, Mikoláš, a lanky and handsome man in a tight beard. Mikoláš’ brother and partner in banditry, Adam, is easily identified because he has only one arm (although watch out for flashbacks where he has two). Although they behave like highwaymen, Mikoláš and Adam are pseudo-nobles, the sons of Kozlík, a bald and bearded feudal yeoman who rules the walled town of Roháček. Long-haired temptress Alexandra, a brunette contrast to Marketa’s blond innocence, is their sister. In the first chapter the brothers kidnap Kristián, a German youth of noble blood, intending to ransom him. Meanwhile, Lord Lazar rules Obořiště, Roháček’s rival village; he is Marketa’s doting father. Mikoláš spares Lazar after catching him scavenging the wreckage of the caravan the Kozlík clan intends to loot, but later regrets his mercy when Lazar refuses to provide assistance against the king. In revenge, Mikoláš kidnaps the virginal Marketa, whom the (relatively) pious Lazar has pledged to the nunnery. The relentless Captain “Beer,” the king’s military representative in the region, is easily distinguished by his bushy mustache. These are the major players; many minor characters enter and leave, but if you can keep these straight, you should be able to navigate the main thrust of the tale—though details are often elusive.

The narrative confusion matters less because the film is so beautiful. The black and white vistas show off the wintry Bohemian countryside, bare interiors where scar-faced men in furs and chainmail Continue reading APOCRYPHA CANDIDATE: MARKETA LAZAROVÁ (1967)

CAPSULE: REFLECT (2023)

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DIRECTED BY: Dana Kippel

FEATURING: Dana Kippel, Ryan Jack Connell, Grace Patterson, Marissa Patterson, Ariana Williams, Jadelyn Breier

PLOT: Five women travel to Sedona, Arizona to win a cash prize for completing a “spiritual obstacle course” (which turns out to be a front for an alien reality show).

Still from Reflect (2023)COMMENTS: Reflect, a girls-trip comedy that morphs into a psychedelic journey of self-discovery, seems to be aware that some of its ideas may come across as ridiculous. That may be the reason for the playful subplot pretending that character’s spiritual pilgrimage to the energy-vortex-ridden metaphysical mecca of Sedona is also an interdimensional alien reality show. Their lisping spiritual guide, Hermes, is a holy fool, bleating like a lamb, laughing off his own spiritual declarations, and engaging in silly hijinks like playing maracas while walking backwards, then giving status updates for the alien TV audience. Before embarking on the journey, the bougiest participant howls, “Time to get our chakras aligned, bitches!” And the movie is peppered with a few trailer-ready quips like “I’m down for being abducted. I’m not down for being killed by shadow people.”

But while Reflect sometimes presents as a comedy, at other times, it’s harder to tell whether it’s joking or not: our protagonist, Summer, tells the carload of down-to-chakra-align babes “so, aliens are basically higher versions of ourselves, right? So maybe these vortexes are doorways to other dimensions, like a wormhole.” The other women scoff, but maybe Summer’s just read the script. The gentle jokes—which never get within spitting distance of satire—are a preemptive defensive reaction: writer/director/star Kippel showing that she’s not taking all this too seriously. This language may sound silly to you, but it’s all really just a metaphor to help you… reflect. But the humor slips away as the movie progresses, and the script grows more earnest. By the midpoint, another guide delivers the monologue “Pluto is in Capricorn until 2023. This means that Pluto is forcing an upsurge of awareness of the current patriarchal ruling that uses control, fear, and destructive practices of the industrial world. It is time for a triune society…” without an ounce of irony.

What we have here is a bunch of basic white girls (even the black girl) with the optional astrology upgrade, off on a drug-free vision quest. A helpful opening scorecard associates each participant with a Tarot card and describes, among other relevant facts, their “shadow.” (One of the girls’ shadows is listed as “depression,” which is not exactly in-depth analysis, but I guess it’s OK given the space allotted). The “spirituality” they seek is amorphous, but is really more about basic psychology, overcoming generic neuroses about sexual orientation, suburban trauma (nothing too dark), and resentment towards their mothers. The ladies achieve insights into the source of their psychological quirks—I mean, “shadows”—and then, for unexplained reasons, fail at whatever undefined test the obstacle course/alien reality show is proposing. Summer goes through exactly the same process as the others, and passes the test (although the movie cuts off before she receives her cash prize). Enlightenment is a mysterious thing.

Fortunately, we do get some trippy surface weirdness in the second half to complement the subtextual weirdness of the movie’s vaguely ridiculous belief system. A series of eccentric guides, nightmare flashbacks, glowing spheres, blurry double-image lenses, and encounters with a trio of sarcastic goth vampires highlight the film’s hallucinogenic character (which, again, is explicitly not tied to drugs). But for many, Reflect‘s true surrealism will come from gawking at a the relics of the New Age subculture. This film is aimed at a specific demographic, and they have eaten it up. But it’s easier to believe that aliens are using the Sedona vortexes as sets for their interdimensional reality shows than that a low-budget indie sorta-comedy full of unknown generic blondes deserves the same 8.1 IMDb rating as Jaws or The Seventh Seal. The good news is that there is a market for tiny subcultural niche films like Reflect. The bad news is that, when those of us not in that subculture see it, we must resist the ungallant urge to mock that which we don’t believe. It’s an internal struggle not every viewer will be able to overcome.

WHAT THE CRITICS SAY:

“Writer-director-star Dana Kippel might be exploring the psychic scars of the mother-daughter bond (she herself is adopted) via the characters and their trippy encounters and hallucinations on this vision quest… [but t]he ‘insights’ are trite, the characters thinly-sketched irritants and the indulgent, self-absorbed ‘journey’ story makes too little sense to be easy to “trip” through.”–Roger Moore, Movie Nation (contemporaneous)