All posts by Eric Young

I have long hair. I smell pleasant for a male. I ache for the opportunity to watch a movie. Especially if it's weird.

CAPSULE: NIGHT OF THE LIVING DEAD: REANIMATED (2010)

DIRECTED BY: Mike Schneider

FEATURING: Karl Hardman, Duane Jones, Judith O’Dea

PLOT: An animated recreation of the classic zombie film, Night of the Living Dead: Reanimated features a number of talented animators filtering Romero’s original vision through their own artistic viewpoints, expressing the universal messages therein in their own mediums.Still from Night of the Living Dead: Reanimated (2010)
WHY IT WON’T MAKE THE LIST:  While aesthetically intriguing and at times very eerie, there never was much that jumped out as being incredibly weird about Romero’s zombie movie.  Although it was the first of its kind in what is now a celebrated genre, Night of the Living Dead was always more of a message film than a meditation on the dead rising from their graves.  This animated version does indeed add some visual quirks, but there is no real strangeness here.

COMMENTS:  For fans of the zombie film, it doesn’t get much more better than the simple-yet-satisfying claustrophobia of the grandpappy of them all, Night of the Living Dead.  More than a horror flick, this grainy 1968 indie is a meaningful, smart work of art that pushes the boundaries of what the genre is capable of and what it can stand for.  So above any horror I can think of, this one definitely deserves an animated homage that explores it from a stylistic point of view.  And Night of the Living Dead: Reanimated doesn’t disappoint in that department.

Using a cadre of young, experimental artists, this exercise explores the original movie nearly shot-for-shot with different styles of animation.  The styles are incredibly varied: parts are simply still images, sometimes it’s a comic book-style series of cels, while at other times it takes on an anime quality. One artist takes the real footage from the film and animates over it to generate an eerie reality that blurs the line between realism and otherworldliness. The different mediums at work boggle the mind; whether it’s claymation, pencil sketches, Flash cartoons, or sock puppets, this project has something to evoke just about anyone’s personal aesthetic. It’s amazing what the creators do here to make you think of the movie in a whole new way.  The different animators break from the stark reality of the original to steep the entire world in a haunting, eerie mood that was not there before.  My favorite style, personally, is when they use the real life baby dolls to simulate some of the action scenes!  It doesn’t fit well with the other styles to create that perfect sense of dread and the unknown, but it’s just too funny to leave out!

Night of the Living Dead: Reanimated is definitely a success in my book.  The unsettling black-and-white animation combined with the oddly displaced archive voices of the original actors creates a mesmerizing experimental film that goes beyond the norm and pulls off something that few people have.  The various styles of animation work fluidly together to pay homage as well as to press the boundaries of the original zombie survival template.  My only complaint would be that the ending is the most clinical part of the film, when I thought it should be a bit more erratic in style.  In those desperate moments before daybreak, Reanimated doesn’t hit any crescendo notes that the original did not already sound, making the last few scenes almost redundant if you’ve already seen NOTLD.  That caveat, compounded with this film’s lack of utter weirdness, knocks Reanimated out of contention for a spot on the List, although it must be considered one of the more impressive movies released in2010.

If you’re a fan of the original, or just a lover of experimental animation, Night of the Living Dead: Reanimated has something for you.  It’s a very strong feature that builds upon Romero’s work with a love and a care that is both heartfelt and reverent.  Despite its lack of general weirdness, it is still one of the better films in a year devoid of cinematic life, and a must-have for any fans of the zombie sub-genre.

WHAT THE CRITICS SAY:

“…an ideal midnight movie for film geeks who don’t mind the animators occasionally taking some liberties or tweaking the material.”–Rob Gonslaves, efilmcritic.com (contemporaneous)

BORDERLINE WEIRD: SUICIDE CLUB (2002)

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DIRECTED BY:

FEATURING: , , Saya Hagiwara

PLOT: A shocking mass suicide in a train station attracts the attention of the police and a curious hacker who may have found a link to the seemingly random act.

Still from Suicide Club (2002)


WHY IT MIGHT NAKE THE LIST: This exercise in the Japanese new school of shock horror does not have enough substance to be considered extremely weird.  There are moments that light up the screen with an inspired energy that recalls the best horror-thrillers.  Yet, like a Noh theater performance, Suicide Club chooses to keep actual events close to the chest, relying on long pauses and slow takes to create the mood. Noh theater has dancing and music to fill up the entire performance, though; Suicide Club languishes with scenes that are filled with empty silence and shots that mean nothing.

COMMENTSSuicide Club is the odd story of one country’s affinity for self-termination, represented by a strange and tragic mass suicide in a train station.  Why this happens is never explained in a way that leaves one satisfied, but such is the state of the high suicide rate in Japan, and, to be fair, to ask why is almost besides the point. The point seems to be the journey into the strange underbelly of Tokyo and the detectives who must investigate the suicides by journeying into that hoary netherworld.

Well, the detectives and their sole lead, the idiosyncratic hacker Miyoko– I’m sorry, “The Bat”– who has a strong fascination with the tragedy.  This fascination drags her from the safety of her malicious computer activities to a world where secret messages are written in human skin and dropped off at hospitals and where J-Pop groups wield a heady authority over an unassuming generation.  As she becomes wound up in this mystery that seems to go deeper than anyone could have imagined, a youth named Mitsuko also becomes involved when her boyfriend commits suicide.  She too falls into the web of what is appearing more and more to be a sort of suicide club (how titular!) whose members might even be unaware of their membership. And the deeper she falls, the closer she comes to realizing that she might even be in this unfortunately named club…

But this is all told through the visual narrative, because dialogue is in extremely short supply in this mannered horror exercise. As is character development. Or much of anything, really. Suicide Club is a very visual film, told through a Morse code string of images that reads normal-normal-normal-weird! And when the images are strange or grotesque, the audience becomes intrigued and downright enthused. But during the slow mood-building scenes, the movie falters in the wake of the sterile, lifeless Tokyo Sono sets up. It surrounds and eclipses most moments of tension, replacing the anxiety with a vague sense of ennui that does not behoove a horror-thriller.

There are moments of inspired lunacy in Suicide Club that set it apart from the rest of the Japanese formalists, and if you can make it to the middle of the film where we meet the conspicuous character named Genesis, then your patience has truly paid its due diligence, because the film rolls along by then with images too weird and too delightful to spoil for you. And Suicide Club feels meticulously fabricated in its down time, where the details brim forth from a lack of any real action; seemingly trivial things like the posters hanging up in Mitsumo’s boyfriend’s room are very well designed and hold little clues to the secret waiting at the end. When it wants to be, Suicide Club has the potential to be a very good weird movie.

So give it a shot. Suicide Club is worth trying, even if you find it to be a failure. It’s a labyrinthine horror-thriller with a touch of mystery that will have you guessing, even if the mystery has no real bearing on what actually happens at the end. Sono delivers what might be one of the only minimalist conspiracy movies, and on that note alone, it’s worth a gander. Suicide Club is a valiant effort and a weird movie, just not often enough to make it something special.

WHAT THE CRITICS SAY:

“Sono has been making weird, formalist indie films for more than a decade, but [Suicide Club] represents a shift into weird, free-form exploitation. None of it makes any real sense, but it sure does keep you watching.”–Time Out Film Guide

CAPSULE: REPO! THE GENETIC OPERA (2008)

DIRECTED BY: Darren Lynn Bousman

FEATURING: Anthony Head, Paul Sorvino, Alexa Vega, Sarah Brightman, , Paris Hilton

PLOT: A worldwide epidemic leaves humanity on the brink, but a biotechnology

Still from Repo! The Genetic Opera (2008)

company saves everyone…for a price.  Anyone unwilling or unable to pay becomes the prey of a killing machine known as the Repo Man, who repossesses organs after he kills deadbeats!

WHY IT WON’T MAKE THE LIST: Musicals, by their very nature, are weird, pseudo-realities that insist that in some situations, you just HAVE to sing.  And dance. And harmonize with other people who also sing.  And dance.  And while it is difficult to say how that is not weird, Repo! The Genetic Opera manages to be oh-so pedestrian.  Despite a plot that is a very distinct hybrid of Parts: The Clonus Horror, any random season of “Buffy the Vampire Slayer”, and Tommy, there is no real imagination here, no sense of true creative force or even the vaguest idea how to be artistically subversive.  It’s just throwaway horror movie culture pap that would have been forgotten already if it weren’t so damn awful.

COMMENTS:  Every now and then a movie comes along that is so strikingly different and weird, people just have to stand up and take notice.  Such a movie can become a cult film overnight, igniting passionate statements online like “[Repo!] is such an amazing and very cool artistically rich and collaboratively ingenious of characters with rich metal Gothic and opera soul.”  But then again, sometimes a movie can seem original at first glance yet really be quite plain when one takes a closer look.  Such is the case with Repo! The Genetic Opera.  It is a collection of ideas from the bowels of the Joss Whedon fan-club message boards that is not so much weird as it is totally silly.  To the casual observer, this might look like something that hasn’t been done before, but all it is at closer inspection is a series of things that have been done before, Continue reading CAPSULE: REPO! THE GENETIC OPERA (2008)

BORDERLINE WEIRD: FROWNLAND (2007)

Recommended

DIRECTED BY: Ronald Bronstein

FEATURING: Dore Mann, David Sandholm, Paul Grimstad

PLOT: A pathetic loser named Keith lives a putrid existence in his sigh-inducing apartment. He is horribly flawed in every way: vacuous, temperamental, and repulsively stupid. He lives with a roommate he wants to rid himself of, he tries to romance women to no avail, and his attempts to better himself in any way only exacerbate his terminal lameness.

Still from Frownland (2007)

WHY IT’S ON THE BORDERLINE:  The titanic sadness at the center of Frownland is certainly profound enough to be considered weird.  It calls to a part of us that we all carry within: that anti-social, misfit side who feels that, truly, in our heart of hearts, we are ugly and alone.  Only, in Keith, we find that part magnified, personified to a hideous degree.  There is something quietly disturbing about a man struggling with so many problems adapting to society, trying to overcome the shame he feels in himself and his deplorable condition.  But to say that it is weird based on that facet alone is to ignore the unflinching blandness surrounding Keith and the lack of any character whatsoever in the world Frownland creates.

COMMENTS: Cited by many media outlets as a comedy, Frownland is a crushing personal statement of loneliness and isolation in a city of millions.  If this is a comedy, then it is a comedy of the absurdity to which modern life is betrothed.

From the very first moment, Ronald Bronstein fashions an air of shame and anxiety around the central character, Keith, that is hard to shake.  Keith is a dreg of humanity, a product of a lack of any esteem or dignity, and while it doesn’t excuse his behavior at times, it is worth noting that he isn’t exactly like the hideous beast he watches on a televised horror movie in an early scene.  But everything about him is unappealing, from his appearance to his treatment of his semi-friends to the way he lies just to try to relate to other human beings.  He is not even an anti-hero: he’s an anti-anything, a character that admittedly took a lot of guts to commit to film, and one that will live in infamy in the indie circuit for years to come.

Bronstein has a very dark, organic vision that threatens to swallow the viewer in a miasma of dilapidated retro culture.  It has the heart of an angst-ridden 70s independent feature, the set pieces of an 80s European film, the youth-centric mindset of a low-budget 90s film, but for all we know it is set in 2007.  Nothing is given as far as details, and we can only guess while the unsettling score drifts in and out of the background.  It is an effort that many will compare to John Cassavetes, with its heavy mood and deeply troubled characters, but in the rhythms and pacing of the hypnotic dialog Bronstein traces out, I think there is a real visionary here who stands out from his peers.

Frownland is a work of art that tests us on a very cerebral level, and I for one am glad to have seen it.  I think it’s fair to keep this on the borderline for now, but with enough support behind it, it may very well earn its own spot on the List.  For a comedy in which I never laughed once, this might just be the best comedy I’ve seen all year.

WHAT THE CRITICS SAY:

“…either a primal scream issued from a potentially dangerous mind, a wildly original work of outsider art, a doctoral thesis on how not to make friends and influence people, or all (or none) of the above. Only this much is certain: It’s been a while since something this gonzo turned up at a theater near you.”–Scott Foundas, The Village Voice (contemporaneous)

This movie was suggested for review by reader “Rob”. Suggest a weird movie of your own here.

CAPSULE: HARDWARE (1990)

DIRECTED BY: Richard Stanley

FEATURING: , Stacey Travis, Lemmy, voice of Iggy Pop

PLOT: A desert wanderer in a post-apocalyptic wasteland discovers a relic.  It’s the dismembered skeleton of a cyborg used by the government in the war that destroyed civilization, and when a man conveniently buys the creepy-looking thing for his metal sculptress girlfriend (!!!), she pieces it back together and unleashes a mechanical nightmare upon both of them.

Still from Hardware (1990)

WHY IT WON’T MAKE THE LIST: Hardware suffers from a terrible bout of conventionalism.  It’s essentially a post-apocalyptic version of Alien set in the confines of a ratty apartment complex.  There’s nothing truly weird about it, other than the cast, which is lousy with hard rock stars.

COMMENTS: Well, it must be said outright that this movie wasn’t bad.  It was breezy, very streamlined.  This is a cyberpunk horror movie about a robot run amok, simple as that.  Usually, a post-apocalyptic sci-fi likes to wax poetic and lament on our ever-dwindling lack of human compassion and kindness toward our Mother Earth.  And I don’t have a problem with that, but when your movie is actually about a killer robot and not about the fate of man’s heart as we hurtle deeper into the future, perhaps being an armchair philosopher is not par for the course.  The plot is based on a story in the British comic staple “2000 A.D”. called “SHOK! Walter’s Robo-Tale”, and it certainly takes the cyberpunk vibe from that series and really goes with it despite a $1.5 million budget.

Well, it’s the 21’st century (THE FUTURE!!!!), and America is devastated by an undisclosed nuclear disaster.  People have to make a living any way they can, and many times that includes scavenging the technology of the past.  One disturbing fellow, called a Zone Tripper, finds the menacing remains of a robot (it is called a cyborg, but since there there are no organic mechanisms implemented into the device, let’s just assume they wanted it to sound cooler than just a plain ol’ robot) in the distant, post-apocalyptic desert.  This intimidating fellow comes to sell his scrap at the typical oddball junk broker Continue reading CAPSULE: HARDWARE (1990)