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.
Top 10 Lists

TOP 10 WEIRD MOVIES OF 2022

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2022 is officially in the books, and we’re still here, against all odds.

Actually, for the purposes of weird movie accounting, we put 2022 to bed last month. Our annual movie calendar ends on the last day of November, to allow 366 Weird Movies Yearbooks to go out in December. We’re not missing out on much; usually, December releases are limited to extended universe entries and Oscar bait dramas. This year, however, we do have to apologize to one movie that got caught in the late November rush: Justin Benson and Aaron Moorhead‘s low-budget supernatural paranoid thriller Something in the Dirt. It might have the weirdo qualities necessary to make this list, but I confess I still haven’t seen it. So much to see!

mad god (2021) posterAs always, there were hard cuts at the bottom of the list. The eerie Finnish feathery horror Hatching was the last film cut from the top ten list. The whimsical dream auditing romance Strawberry Mansion also scored strong with our staff—when it was released in early 2022, I assumed it would finish in the top 10, but the weird movies just kept flowing in and passing it by.

I personally finalize this list. The staff here has input, but I set the voting rules, create the universe of candidates, and break all ties. Therefore, if you feel that it’s a crime that fan-favorite Everything Everywhere All at Once came in at a measly #3 when any idiot can see it obviously deserves to be #1, I am the idiot to blame. When ranking, I use a secret proprietary formula that accounts for cinematic craftsmanship, the degree of surrealism/weirdness, and the perceived prestige in the weird movie community based on buzz and reader feedback, then I shuffle them into whatever arbitrary order I momentarily feel like without regard to any of that.

So, on to the official Weirdest Movies of 2022 List! As always, films are listed in random order—the weirdest of orders.

7. Neptune Frost – In an alternate-reality Rwanda, an escaped coltan miner teams up with an intersexed refugee to hack global information systems through their dreams. This Afro-surrealist feature is also a musical (and the music is its most successful element). There’s almost too much to process here in this intellectualized film that deals with politics (global, local and imaginary), the intersection of technology and mysticism, gender identity, and more. It’s part of a larger independent universe that includes a concept album, “MartyrLoserKing,” from co-writer/composer Saul Williams.

2. Flux Gourmet – A “culinary performance” art troupe (e.g. a woman smears herself with tomato soup while a pair of DJs mike up her digestive tract and mix it with the sound of a blender) perform a one-month residency, where cutthroat rivalries and digestive problems Continue reading TOP 10 WEIRD MOVIES OF 2022 →

Miscellanea

FAREWELL TO CAMERON

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Don’t worry, Cameron Jorgensen is perfectly fine and in good health. He’s just stepping down as 366’s official shorts czar after today’s post.

Cameron is a talented musician who has played bass and drums in Salt Lake City rock bands. He’s also a master yo-yoist. And a very private person. And, since 2009, he has discovered and posted (by my estimate) 667 weird short films, rarely missing a week in the 13 years he’s been doing this. He may be the most underappreciated member of the 366 team, so I’d like to simply and personally say:

Thank you, Cameron, for the years of weirdness.

I’ll be taking over the posting of Saturday Shorts in the future (unless another competent volunteer steps up to the plate). So, expect the quality of this feature to diminish, though hopefully I’ll be able to operate at 90% of Cameron capacity.

Top 10 Lists

TOP 10 MOVIES OF 2022: MAINSTREAM EDITION

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Here is my obligatory/traditional annual top 10 list of movies, ranked according to mainstream standards. In other words, weird movies are allowed on this list, but I attempt to rank the 2022 releases according to their general cinematic merit, intended for people who don’t specialize in the surrealer genres. Don’t worry, the top 10 weird movies of 2022 are coming (and early adopters of the 2022 Yearbook already know what they are).

I’ve been prioritizing the smaller/rarer/weirder movies in my screenings, so there are a fair number of contenders that might have made this list but for the fact that I didn’t have time to get to them in 2022. In particular, I didn’t get to see All Quiet on the Western Front, Avatar: The Way of Water, Emily the Criminal, Glass Onion, Guillermo del Toro’s Pinocchio, Puss in Boots: The Last Wish, RRR, Tar, or The Whale before drafting this list. I expect to see all or most of these before awards voting season concludes, and some of them may end up deserving inclusion here.

Before the official top ten starts, here are 2022’s numerous honorable mentions (it was a particularly rich cinema year), in alphabetical order: The Adult Swim Yule Log [AKA The Fireplace], Apples, Bardo, a Chronicle of a Handful of False Truths, The Batman, The Black Phone, Bodies Bodies Bodies, Crimes of the Future, The Fablemans, The Fire of Love, Flux Gourmet, Hatching, The House, Inu-Oh, The Long Walk, Mad God, Masking Threshold, Men, The Quiet Girl, Resurrection, Ultrasound, Vengeance, Wildcat, and Wyrm.

And now, the official list:

10. Moonage Daydream: A moonage montage showcasing the work of , with previously unseen concert footage, vintage interviews, and Bowie’s own reflections on his artistic process. Director Brett Morgan embraces Bowie’s aesthetic of chaos and paces the film like he’s found the Thin White Duke’s private coke stash, filling the screen with overlapping images of concert footage, random film clips, ephemera, and psychedelia, cramming four hours of visuals into two hours of movie. It’s an impressive audiovisual assault, although it can be overwhelming at times. Arguably the #1 movie of the year for people who’ve taken too many edibles. Morgen sneaks clips from nine separate Canonically Weird movies into the mixtape (only one that you can guess for sure).

9.  Marcel the Shell with Shoes On: A fictional documentarian films Marcel, a shell with shoes on, and his grandmother (voiced by , also a shell with shoes on) as they make do living alone in an airbnb after being accidentally left behind when their former owner relocated his shell collection. Totally charming, funny and unforced, sweet without being treacly, it’s like an completely unlikely combination of The Borrowers and Grey Gardens. Although it’s a mix of animation and live action, it will probably get an Academy Award nomination for Best Animated Feature.

Still from Marcel the shell with shoes on

8. The Northman: A Viking prince swears revenge on the uncle who killed his father and usurped the throne, and years later returns to Continue reading TOP 10 MOVIES OF 2022: MAINSTREAM EDITION →

List Candidates

APOCRYPHA CANDIDATE: THE ADULT SWIM YULE LOG [AKA THE FIREPLACE] (2022)

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Adult Swim Yule Log has been promoted onto the List of Apocryphally Weird movies. Please check out (and make any comments on) the official entry.

The Adult Swim Yule Log is currently available for VOD purchase.

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DIRECTED BY:

FEATURING: Andrea Laing, Justin Miles, Charles Green, Tordy Clark, Brendan Patrick Connor

PLOT: It begins as an ambient shot of a Yule log, but then the cleaning lady walks into the frame, and soon enough we’re dealing with serial killers, aliens, occultists, flashbacks, and the Little Man: is this log haunted, or are the edibles hitting early?

Still from adult swim yule log [AKA The Fireplace] (2020)

WHY IT MIGHT JOIN THE APOCRYPHA: Considering the source, this prank probably caught no one off guard, but it is utter madness in seasonal horror. Don’t believe us? Read some responses on the Twitter thread.

COMMENTS: It would have been amazing if The Adult Swim Yule Log had managed to remain in that tight closeup on the crackling log for it’s entire 90 minute run time—a one shot, static found footage film—but that challenge exceeds even Casper Kelly’s ingenuity. He’s eventually forced to pull back and resort to a conventional omniscient third-person camera. Excepting a few haunted flashbacks, however, he does manage to stay locked into that perspective (with a small adjustment) for the entire first act.

But don’t be disappointed if you were looking forward to Yule Log pushing its fixed-camera conceit to the limit. The movie has plenty of other tricks up its sleeve. After a few minutes of a lightly orchestrated carols over hypnotic flames, the cleaning lady comes in tovacuum. Then there’s a knock at the door, and a couple of strangers arrive complaining of car trouble. A bit later, the couple who’s rented the cabin for a romantic weekend come in, and the film briefly turns into a relationship drama. And then some other visitors arrive with a dire warning, And then a quartet of attractive young podcasters arrive. And then things get… odd. The movie follows several threads at once, exploring a tragic backstory hearkening to the antebellum South, while introducing multiple inconsistent antagonists: serial killers, aliens, and the log itself, who puts in an inanimate performance nearly worthy of Robert the tire. And of course, there’s the dapper Little Man, who adds a real element of supernatural horror (and probably has a great recipe for fried chicken). What comedy there is arises naturally from the absurdity of the situation. But what impresses more is Kelly’s ability to create genuine unease and suspense amidst all the kookiness: a bit where a killer feeds a victim pimento cheese from a jackknife during a psychological cat and mouse duel, while another, more mentally-challenged killer selects a victim in the next room, creates horror tension worthy of a chef’s kiss. Then, of course, the scene resolves in the only way possible: through completely ridiculous deus ex machina. The unknown cast all competently enact slasher movie stereotypes, without ever winking at the camera. So accept your time privilege, grab a Nurse Nutmeg, and sit down by the fire to enjoy the soothing chaos of Adult Swim’s Yule Log. Yule like it.

Casper Kelly caught the world by surprise with his interminable viral sitcom introduction spoof “Too Many Cooks” in 2014. That success encouraged Panos Cosmatos to subcontract Kelly to direct the memorable “Cheddar Goblin” sequence in Mandy. Still, although Kelly continued to work on short projects for the edgy/surreal “Adult Swim” block on the Cartoon Network, his feature film debut was kept secret, coming as even more of a surprise than the fact that Adult Swim’s version of a Yule Log would go terribly awry. Now that Kelly’s broken out of the TV short game, it will be interesting to follow his career and see if he indulges his imagination with more conventionally distributed—if never conventional—material. For those who missed the original broadcast, Adult Swim’s Yule Log can be seen on HBO Max or purchased VOD (it’s a true bargain at $2.99 to own—not just to rent for the usual 48 hours). Here’s hoping it also receives the physical media release it deserves.

WHAT THE CRITICS SAY:

“Adult Swim’s first fright flick is in the vein of schlocky ‘80s midnighters, where chaos trumps coherency. Maybe burn this hallucinogenic strain after you already have the munchies?”–Matt Donato, IGN (contemporaneous)

List Candidates

APOCRYPHA CANDIDATE: BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS (2022)

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Bardo, Falsa Crónica de unas Cuantas Verdades

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DIRECTED BY:

FEATURING: Daniel Giménez Cacho, Griselda Siciliani, Íker Sánchez Solano, Ximena Lamadrid, Francisco Rubio

PLOT: A Mexican national film director receives an award in Los Angeles, causing him to reflect on his own artistic life and the Mexican immigrant/expatriate experience.

Still from Bard , a false chronicle of a handful of truths (2022)

WHY IT MIGHT JOIN THE APOCRYPHA: No director can adopt 8 1/2‘s self-reflective template without risking charges of narcissism, pretentiousness, and plagiarism. Iñárritu changes ahead anyway, and proves that there are still unexplored territories in the subgenre—and that you can keep a slice of the audience’s attention, as long as you keep it weird.

COMMENTS: If Bardo, False Chronicle of a Handful of Truth‘s daunting title doesn’t scare you off, maybe the 200 minute (scaled back from the 222-minute version that met with a mix of indifference and mild hostility at its Venice premiere) runtime will. Whenever a director decides to pursue a semi-autobiographical project in a surreal style, and amasses an epic budget to realize his dream, red flags start going up: get ready to gaze at a navel not of your own choosing. For these reasons, I approached the prospect of previewing Bardo with trepidation. But I’m happy to report that the movie, while it lags at times and never finds a way out of its own desert, delivers the necessary audacious panache to justify its aspirations.

Bardo begins with a shadowy man flying (well, jumping so high that he might as well be flying) over an endless desert scrub brush, reminding us of Guido’s opening dream of artistic escape. Later, a passerby addresses Silverio, our director protagonist, as “maestro.” Backstage at a popular Mexican TV show, he must weave through a throng of strongmen, dwarf matadors, a white pony, and primping showgirls in pink fur, a scene as chaotic as any Fellini circus. A character critiques the director’s latest movie (or the one we’re watching?) as “pretentious and pointlessly oeneiric,” surfacing Silverio’s own internal doubts.  Silverio sneaks out of an obligation to face the press just like . Silverio’s friends and family show up in a dreamscape in the end as a brass band belts a march that could have been written by Nino Rota in a mariachi mood. There are probably more 8 1/2 references stuck in Bardo, and of course the entire structure of the film—the leaps backward and forward in time, the confusion between reality and fantasy, the reappearance of vanished past memories in the present—comes straight from the maestro’s playbook. Iñárritu  could not have ignored Fellini’s influence without appearing like a thief, so he wisely honors the spirit of his filmic ancestor with these respectful tributes.

Where Iñárritu departs from Fellini is in his explicit Mexicanness, and his explicit politics. Fellini’s films were always completely personal; if they helped define the world’s view of what an Italian  man was, that was simply because Fellini could not exist in a world without pasta and palazzi. He had little interest in the partisan issues of the day, however. Iñárritu is far more didactic in his approach: a completely realistic breakfast conversation between the director and his teenage son exposes the tension between Mexican Americans who primarily identify with their homeland and preserving its heritage, and those who prefer to assimilate and embrace the opportunities of their new home. At other times, the symbolism is broad and powerful: in a centerpiece of the story, Silverio climbs a mountain of corpses in downtown Los Angeles, only to find Hernán Cortés sitting on top: the conquistador bums a cigarette, and they discuss colonialism.

Bardo is about 50% personal and 50% political, and while not all of it works—which is almost inevitable in a work of this scope—almost every scene has a weird dream twist to it to catch your interest. Sometimes, Silverio speaks without moving his lips, to the annoyance of his family. When the director meets his father in a men’s room, his own body digitally shrinks to the size of an eight-year-old. And there’s a great—shall we say “spare”—rendition of ‘s “Let’s Dance” on a crowded dance floor. By casting some element magically off-center in every scene—and occasionally throwing a curve ball to surprise us with sequences that are completely realistic—Iñárritu builds a dreamlike portrait of a man, of a diaspora, and of the tension between the two.

Bardo, False Chronicle of a Handful of Truths streams exclusively on Netflix starting December 17.

WHAT THE CRITICS SAY:

“The whole thing is supposed to run on a dream logic reminiscent of Jean Cocteau or Ingmar Bergman, but rather than immersive or contemplative it’s just confusing and weird.”–Jennifer Heaton, Alternative Lens (festival review)