366 Weird Movies may earn commissions from purchases made through product links.
Tiny Cinema is currently available for VOD rental or purchase. The Blu-ray releases on Oct. 11, 2022 and is available for pre-order.
FEATURING: Paul Ford, Tyler Cornack
COMMENTS: Oh, anthology horror: what are we to do with you? There’s something of a process for writing about long-form narrative films. (There’s also a process for dealing with short films, albeit a semi-tragic one: largely ignore them because of the limited market.) But for me, anthologies present a quandary. The broad, brush-stroke of “Here are some themes and things that happened” clashes with the impulse to write about each of the titles. Tyler Cornack’s assembly of short films (developed, if I read correctly, from some of his even shorter films) rarely bores the viewer—a benefit of flitting from one story the next with due haste—and never quite draws the viewer into the world—a disadvantage of that very same process.
Brief poking around the internet suggests that the closing short, “Daddy’s Home,” was one of every other critics’ least favorite segments. However, this oddity best captured my attention and is clearly the weirdest of this oddball crop of macabre. Sam is on a blind date, and it is going well. So well that the young woman he’s ended up with busts out what he thinks is some casual cocaine. Having snuffed the bump, she informs him that, no, that is not blow, the ashes of her father. This triggers the most unusual curse I’ve ever witnessed. Troubled by this reveal, Sam endures the evening’s remains, and leaves the lady with no promise of ever seeing her again. The next day, the dad jokes begin. “Excuse me, do you have a bookmark?,” “I do have a book, but my name’s not ‘Mark’!,” is but one of the awful-awkward rejoinders he finds himself spouting. As he begins to age rapidly and lose his hair, he decides to visit the home of his blind-date for a showdown whose finale reminded me of a classicsketch involving seduced milkmen.
Other offerings include the smirk-inducing exploration of who the infamous “she” of “that’s what she said” might be; a Nekromantik 2/Re-Animator hybrid which has the welcome touch of showing personal growth in the main character; a liquor store robbery/sexual role-playing ensemble buddy comedy; a time-loop apocalypse tale which has the courage to ask the question, Would you have sex with your future self to save the planet?, and… so on in that vein. To praise this movie with faint damnation, each of the segments would have done better as a short before a film festival feature. Instead, these scattershot ideas are minimally held together by the dead-pan charisma of Paul Ford, whose welcome presence prevented me from tossing this into the Try Again bin.
WHAT THE CRITICS SAY:
“Cornack has found the perfect balance of narrative variety and tonal consistency. For while these stories flirt variously with sci-fi, or horror, or the tropes of mobster or heist flicks, what unifies them – beyond their shared location and the Host’s occasional interventions – is that they are all weird, witty and utterly wrong.”–Anton Bitel, Projected Figures (contemporaneous)