Category Archives: 366 Underground

366 Underground

366 UNDERGROUND: NIGHT AND A SWITCHBLADE

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 DIRECTED BY: Ben Finer

FEATURING: Lloyd Todd Eddings, Katya Quinn-Judge, Jason Bragg Stanley, Alexandra Miniard, Nikita Vishnevskiy, William Pike, Casey Robinson, Matthew A. Leabo, Anthony Napoletano, Johnathan Meola, Saori Tsukada, Aleksander Garin

PLOT:  The new kid in town, Sandie Po, is already a Rebel Without a Cause. He’s butted heads with the local gang of toughs, some of whom wear animal masks. He’s made a friend, gone to the local sock hop and met a girl, and stabbed a cop. On the lam, he heads for the woods, wherein very strange, cryptic, sexual events bewitch everyone who enters.

vlcsnap-2015-05-06-21h33m59s683COMMENTS:  Night and a Switchblade‘s log line describes it as “a bizarro-noir, teen rebel movie about deviant youth and the lurid mysteries haunting a nocturnal American landscape.” Add “highly influenced by ” to that, and it pretty much pegs the film.  Unfortunately, in this case imitation is not the sincerest form of flattery.

The film attempts to go for a 1950’s patina to depict small-town American life, mixed with dark contemporary elements (see Blue Velvet, “Twin Peaks”), but the characterizations aren’t up to the task. It doesn’t help that the dialog is pretty much variations of the f-word thrown in at random. It f—-n’ may have f—-n’ seemed a f—-n’ good f—-n’ idea at the f—-n’ time, but f–k; that f—–n’ s–t just gets f—-n’ tiresome when it’s f—-n’ used all the f—-n’ time, YOU GET IT YOU F–K??!! F–K!!

Unless you’re f—–n’ . Otherwise, just f—-n’ leave that f—-n’ s–t the f–k alone.

vlcsnap-2015-05-06-21h35m25s666Also, when the surreal weirdness starts to kick in, it seems to be just empty weirdness for weirdness’ sake, so insular and obtuse, it remains a mystery. I know this accusation has been thrown towards Lynch’s work; however, I’d argue that Lynch’s symbolism, bizarre as it can get, at least has some sort of meaning behind it. That’s why he can make your flesh crawl with Frank Booth’s gas huffing and Bob’s appearing anywhere. There’s always something recognizable in Lynch. Admittedly, most of the stuff in Switchblade is pretty cool looking, and you can appreciate the effort and craft that’s been put in it, but it didn’t move me. My first viewing of the film, I bailed out after an hour, and that was more than generous. I did go back to finish out the film, but I was still completely unmoved.

The movie is substantially better when everyone keeps their mouth shut and doesn’t say a word. There is some talent on display here. Technically, it’s a very accomplished film: Blake Williams’ cinematography, Scott Rad Brown’s art direction, the costume design by Bevan Dunbar and Karen Boyer, and the shoegaze music from Color War (who appear in the film as the sock hop band Violet and the Vettes).

For me, the Lynch-inspiration/imitation just killed what could have been a great film on its own terms – visually, it’s wonderful, but I found it lacking anything substantial behind its weirdness, and it probably should have been cut into several short films instead of a feature. If you’re still intrigued enough to look for it—and it is currently up for free at the official site, remember: enter at your own risk!

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366 Underground

366 UNDERGROUND: ALEISTER CROWLEY’S THE RITE OF MARS: A ROCK OPERA (2014)

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Eleusyve Productions

FEATURING: Jon Sewell, Sunnie Larsen, Kristin Holsather, Richard Cardone, Leith McCombs

 PLOT: Part of a larger series of works, this installation features an ensemble of leather clad, deadpan, sexually androgynous and glittering cast members who act out Aleister Crowley’s “Rite of Mars” on a darkened sound stage as a rock opera.

Aleister Crowley's Rites of Mars
COMMENTS: Theater can be a difficult medium in which to stage ambitious concepts, especially when the form has been grossly over-saturated with trite, treacly fare targeting audiences looking for some token of tourist prestige when sightseeing on Broadway. This type of creative environment could engender creative stagnation, but due to a lack of lavish budgets, theatrical performances often rely on their own intuition and invention to flesh out their imaginative designs.

Initially, what caught my attention about this filmed performance was the sheer nuttiness of its concept: Aleister Crowley’s “Rite of Mars” re-imagined as a rock opera a la Roger Water’s The Wall or Queensrÿche’s “Operation MindCrime” (which, by the operatic vocal stylings and shredding 80’s progressive metal guitar riffs, seems to be where Rites‘ sonic influences lie). The jams can sound kind of goofy, but your reaction depends on whether you find the musical design endearingly nostalgic or insufferable (I found it amusing, yet impressive in its technical prowess).

Before I begin my critique of the recording of the performance, allow us to review the thesis of this production. The following statement of intent appears on the producers’ website:

Our goal at Eleusyve Productions is the presentation of the seven plays comprising Aleister Crowley’s Rites of Eleusis as musical theater pieces in a manner that will render them more fully accessible to a broad and discriminating audience, using music, light, dance and drama to enhance the poetry and symmetry of the original works. It is further our goal to make these completed productions available in as many formats and to as many markets as possible, in order to more widely circulate our artistic interpretations of this material.

The Rites of Eleusis (a series of invocations, penned by the most wicked man dead, Aleister Crowley) are elaborately designed to instill religious ecstasy into the audience. By its very nature, it is intended to be a metaphysical provocation to the sensibilities of the bourgeoisie, calling upon occult theology and decadent subversion to titillate and bring about a spiritual awakening in the viewer—in Crowelian terms at least.

Although the story is not conveyed directly to the audience through a conventional form, it could be described as a piece of inspired storytelling told through bombastic imagery, gestures, kick-ass guitar riffs, and Wagnerian tableaux. Militaristic motifs recur, often spliced with inspirational cues from S&M fashion design (God, do I love me some artfully-crafted sleaze).

All of this makes it all sound rather dreary and humorless, but here’s where this particular passion project delivers: it’s pretty goddamn funny.

Straddling a median between camp and deadpan, the acting ensemble should be commended for displaying a quiet sense of humility about their performance. The gender-bending make-up design was also very attractive and always delightful. The set design, bare and minimal, uses the blackened negative space to eliminate the excess layers of artifice between the audience and the performance—Bertolt Brecht’s “alienation effect,” similar to the gutted, chalk-etched set designs of ’s Dogville. A dystopian science-fiction influence is also present, and the  juxtaposition of military uniforms and violent acts with archival war footage—images of bloodshed, conquest, and advancement—have a hypnotizing effect upon the viewer.

The music ranges from interesting to very good, even kickin’ at times. For those who prefer their rock & roll with a little flair, flamboyancy and delicious kitsch flavoring those tasty tunes, you might find yourself doing air guitar while you’re alone and no one else is watching.

The performers are obviously indebted to the Crowleian experiments of , the seminal American avant-garde pariah and homoerotic poet of independent cinema (and basically the inventor of the modern music video medium); especially to the mind-meltingly trippy works Invocation of My Demon Brother and Lucifer Rising.  Both Anger and Eleusyve Productions strive to inspire a controllable chaos in their audiences and attempt to render vast esoteric mythologies and personal obsessions in a digestible form. The liberated sexuality, free-form slipstream of imagery, experimental impulses, and dalliances with rock-and-roll culture as a medium to present occult theology is also akin to Anger’s early works.

I wouldn’t say that there is anything here that is conceptually radical or deliberately offensive to Juedo-Christian sensibilities, but if you don’t mind some decent 80’s inspired jams, want to grab a beer after a long day, smoke some grass, and relax, then why not watch a low-budget rock opera? It sure beats having to watch “Cats” or some other sanitized dreck.

Follow this link for clips from Rite of Mars, and other performances in this cycle.

366 Underground, Capsules

366 UNDERGROUND: A KILLER CONVERSATION (2014)

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Beware

DIRECTED BY: David V.G. Davies

FEATURING: Ryan Hunter, Melanie Denholme, Rudy Barrow

PLOT: When Karl inadvertently invites a burglar inside his home, he has to rely on his ex, Pauline, to help him worm his way out from his rapidly escalating and increasingly dangerous predicament.

Still from A Killer Conversation (2014)
COMMENTS: So, here’s the thing: I thought this film (80 minutes overall in duration) was complete garbage by the time the stereotypical hoodlum barges into Karl’s house and begins a tedious exercise in post- crisis-scenario filmmaking. Or maybe the movie is a specially designed weapon manufactured to induce an existential crisis in the audience?

I found the casual racism explicit in not only the characterization of the burglar, but in the sheer lameness in how the film rehashes the hostage trope and depicts the hapless bourgeoisie family—which I found not only extremely offensive, but just plain uninspired and contrived. I might have been able to appreciate the dialogue and the professional lighting and idiosyncratic camera angling if the main ingredients didn’t taste so poor.

Maybe I would of been less repelled by the clever-for-clever’s-sake approach to depicting the burglar if the satire didn’t feel so disingenuous. Or maybe I would of been less aggravated by the situational dynamic if Karl wasn’t just another white domestic victim, minding his own business.

Perhaps there might be a cultural misinterpretation in the way I am viewing this. But, as an American, I’ve seen what media depictions of racial hysteria can do to fuel tension this past year. And seriously, the last thing we need right now is someone who thinks they’re being edgy and cool when handling sensitive, potentially incendiary material.

Here’s a full-breakdown of the paper-thin plot (a whitewashed retread of the home invasion trope with obnoxious post-Tarantino stylization):

A man of ebony hue bursts in the door and casually lays out the plan for Karl. This being a Tarantino clone, strained attempts at edgy banter ensue. Karl whines in a obnoxious tone. Since this is a British Tarantino clone, we are treated to pointless quips trying to underline the absurdity of the mundane elements of a domestic invasion scenario. Har-har. So we get some stupid jokes about the length of rope, and other pitiful exchanges so we, the audience, are constantly reminded just how clever and absent of responsibility the creators are for any of the content displayed. The film goes on like this for the rest of the film and just never lets up. Talking and empty threats ad nauseum ahead.

I would go so far to not only deem this film racist and misogynistic, but dangerously boring and stupid. If it was edited down to maybe 5-10 minutes, I would of been like, “eh.” But at its current length, it is unbearable to watch, and possibly a public mental health risk. If there is any stylistic contemporary to this film that I can think of, it is yet another film that I absolutely loathe: The Boondock Saints. Without further elucidating my particular distaste for that film, it made me realize something: Tarantino is dead. The sooner the independent movie scene throws off his shadow, the better. So if the filmmakers intended to offend me, then congratulations. I would just state that in light of what has actually been achieved by this short film, that it is a hollow and meaningless victory.

WHAT THE CRITICS SAY: 

“…[an] absurd dark comedy, where the burglar and Karl philosophize about life, love, and proper manners around Karl’s kitchen table.”–Levi Anderson, Rogue Cinema

366 Underground

366 UNDERGROUND: HEART ATTACK! THE EARLY PULSE POUNDING CINEMA OF KELLY HUGHES (2012)

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DIRECTED BY: Kelly Hughes

FEATURING: Betty Marshall, Ernest Rhoades, James Peterson, Sarah Katherine Lewis

PLOT: We are introduced to the work of Kelly Hughes, the creative guru behind the assaultive public access series “Heart Attack Theatre,” through the words, experiences, and memories of the cast and crew who worked with him.

Still from Heart Attack! The Early Pulse-Pounding Cinema of Kelly Hughes

COMMENTS: Kelly Hughes is an underground director who hails from Seattle. He established his prominence through “Heart Attack Theatre,” a series broadcast on public access airwaves from 1991-1993 that most bourgeois viewers would dismiss as trashy, reprehensible, or simply “shock for shock sake.”

I resent that last tautology the most. When pinned on an artist’s work, the cliche is frequently used to imply that the artist’s work is disingenuous, exploitative, and that the labor and the blood and sweat that they invested in it wasn’t meaningful as anything other than a cheap novelty to amuse a select few.

As the first interviewee, Ernest Rhoades, says as he recollects his experience working for Hughes’ “Lucky Charms Productions,” some artists simply create ugly and nasty things from pure love and passion. Some artists are just destined to be dismissed as ugly misfits. Despite being penniless, starving, and painstakingly filming under what most professionals would deem as intolerable conditions, they still work because they truly believe in what they are creating. I strongly emphasize with that warrior-like commitment.

And I’m sorry, Kelly Hughes, that you never were able to create the explosive-laden, cacophonous action film that you secretly always wanted to create.

But I do appreciate that you made something.

Heart Attack! gives us glimpses of the lo-fi, brazenly transgressive style of Kelly Hughes’ brief filmography. Obviously, the initial comparison that emerges is to the early films of  (though to be honest, I think that comparison is just inescapable for a lot of low-budget filmmakers like Hughes, as pointless a criticism as when people carelessly fling around the descriptor ian when reviewing weird films). Anyone familiar with the filmography of   will definitely notice the strange effect that Hughes gets from lo-fi VHS recording tape technology, the grainy texture and subtly abstract, impressionistic colors that making the visual aesthetic as tenuous and degenerative in form as the perversely grotesque content on display.

Though if we’re going to spend this much time pretentiously discussing art, I say let us recall the words of transgressive art’s intellectual forebearer, Antonin Artaud: “No one has ever written, painted, sculpted, modeled, built, or invented except literally to get out of hell.”

Here is a brief listing of some of the films featured within Heart Attack!‘s breezy hour-long survey of Hughes’ lo-fi inventions in the public-access television medium:

• “Shot In Hughes’ kitchen”: A woman and a man stare in horror at the open kitchen cabinet. The man crawls inside it. It inexplicably consumes him. The woman screams.
• La Cage Aux Zombies: An “upscale Grapes of Wrath lady” (played by a very handsome man) stares out of a rusting, dilapidated door window. S(he) has a cartoonishly shrill groan and an amputated arm, and salutes Hitler fashionably. More happens, but it is challenging to say where the other clips fit into the larger narrative. Looks cool, though.
• “Say My Name Before I Die”: A nude man and woman stand in front of a bathroom mirror. They are discussing monetary concerns. They begin to copulate lovingly.
• “An Inconvenient Whore”: A nude man stretches over the edge of a bed, moaning. A woman leans over his face and informs the strapping young prostitute that there is another client waiting. Moaning resumes.
• “Gut Reaction”: A grizzly man in the middle of the woods wields a chainsaw. His potential victim screams in terror. Hilarious Benny Hill-esque antics ensue. The woman escapes and is picked up by a good Samaritan driving a dingy pick-up truck. The grizzly man appears and straddles the truck, blocking the view of the front windshield. She admits that she previously had an affair with her gynecologist. We discover that the man chasing her was her former lover. And then there is dismemberment. Afterwards, she spontaneously gives birth to a gigantic lime-green toy serpent. Then her snake baby chases them off.

From what I saw of Kelly Hughes’ films, I genuinely liked them. The ensemble didn’t act poorly, either, for being mostly unrecognized and technically amateur by conventional standards.

But I won’t say anything definitively on Hughes’ cinema until I actually watch his films. In their entirety.

Because as a fellow misfit, and as a young reviewer, I believe he deserves my respect when I approach his films.

So until that day I see his films, I consider any opinion on the early cinema of Kelly Hughes as merely tentative.

Heart Attack! The Early Pulse-Pounding Cinema of Kelly Hughes is exclusively available online at vhx.com. Watch Heart Attack! The Early Pulse-Pounding Cinema of Kelly Hughes ($3.99).

366 Underground

366 UNDERGROUND: BATTLE AT BEAVER CREEK (2014)

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DIRECTED BY: Bryan Taylor

FEATURING: Matt Brown, Sheldon Graham, Corky McMechan

PLOT: In the near future, a volunteer travels to the Yukon border to fight with a militia against unknown invaders.

Still from Battle at Beaver Creek (2014)

WHY IT WON’T MAKE THE LIST: It’s really just a very elaborate home movie, and not a particularly weird one at that.

COMMENTS: Every single person who appeared in Battle at Beaver Creek—every soldier extra glimpsed from a distance for a half-second, every motionless corpse—gets a video credit at the end of the movie, with a closeup  and their name in big letters. It’s both amusing and endearing, and reveals the kind of production this was—a bunch of guys out in a field together, making a movie! And, to their credit, they did make a movie—a coherent one, with a beginning, middle and end, a few nice ideas, and creative effects given the budget. Unfortunately, while that achievement is impressive, that doesn’t mean that you, as a member of the general viewing public, are going to be interested in seeing the result.

This is one of those movies where nothing much really happens, and you still can’t figure out exactly what’s going on. Introductory text explains that we’re 100 years in a pseudo-post-apocalyptic future, and the American government has developed mind control technology known as WEFI. We then see Chinese office workers turn into suicidal zombies for reasons that are never explained. TV tells us that an unknown force, possibly Chechens (?!) are gathering on the Yukon-Alaskan border to invade Canada, and a local militia is forming to oppose them. Our protagonist, who seems to be some sort of retired intelligence officer or something (his backstory is never explained) goes to join them at Beaver Creek, where he encounters mind control warfare.

The movie has a vision of the future that’s fairly plausible, and a few interesting moments (when an omniscient being appears in the sky, delivering lines like “I am your Lord God. You are an American projection”). But the downsides are formidable.  Essentially, as is so often the case for movies funded by credit card, the project’s ambition outstrips its resources. There are no professional actors in the cast; they can’t even find anyone to convincingly play an emotionless zombie. The use of stock footage can be distractingly bad (apparently, one hundred years from now, the U.N. Secretary General will be a dead ringer for former Iranian President Mahmoud Ahmadinejad). Although the futuristic setting which mixes high cybertechnology with a fossil fuel shortage is rich, the script is still confusing, and it’s difficult to tell what exactly is at stake and at times even who’s who. The dozens of available extras are not enough to create a believable battle scene.

Most of all, there is simply not enough material here to create a feature film. The solution is to pad the film with endless walking scenes. Our hero begins walking to Beaver Creek at the 18-minute mark and does not reach the first plot point until the 27-minute mark. The fact that the Yukon scenery is beautiful and the cameraman experiments with different digital grains and arty dissolves does not change the fact that nothing is happening except a guy walking. And, after he finally does meet another character and they exchange a few minutes of additional exposition, it’s time to start marching again. The eighty-minute runtime seems interminable. Well-intentioned but, unfortunately, flat-out boring, Battle at Beaver Creek cannot be recommended to anyone but other low-budget filmmakers looking to copy the few good ideas here, and avoid the many pitfalls.

WHAT THE CRITICS SAY:

“…one of those weird, cultish independent films that you may not think you’ll like, but eventually will.”–Amy R. Handler, Film Threat (contemporaneous)