Category Archives: Free Online Weird Movies

CAPSULE: HARPYA (1979) / APOCRYPHA CANDIDATE: BOBBY YEAH (2011)

Weirdest!(both films)

“You can do anything in animation” is a truism, a promise of unlimited potential that is frequently untapped beyond a surface-level dive into the unusual. Enough people stumble at “the animals can talk?” issue to make it unfair to expect more. However, it is also true that those filmmakers who are willing to go deeper into the realm of the possible do so with gusto. And so we arrive at a pair of short films that readily embrace the horror that ensues from making the wrong choice.

Raoul Servais’ legend in animation circles is due in large part to 1979’s Harpya. (The film won the Palme d’Or for short films at that year’s Cannes Film Festival.) The tale of a man who saves the life of a horrible-beautiful creature, only for it to methodically destroy his life, is a very simple demonstration of cause and effect.

When he intervenes to stop what looks like a cold-blooded murder, the action seems noble and moral. His decency continues when comes home with the near-victim, a giant, feathered, bare-breasted creature, but his good intentions immediately backfire. The house guest eats everything, denying the man even a morsel, and when he attempts to leave, the monster eats his legs for good measure. Even when he manages to distract the beast and escape the house, she pursues him and takes his food once more, leading him to attempt to murder her himself. It’s like a horror version of One Froggy Evening.

Servais’ technique is what lifts the movie into the rare air of our consideration. Using a method of his own invention, he shot live-action footage and projected animated settings onto the film using clear sheets. The result is something like a daguerreotype given life.

There’s a troubling undercurrent of misogyny in the film, however. In fairness to Servais, this is not explicit, but inherent in the mythological character he is invoking. (For his own part, Servais has described Harpya as a parody of a vampire tale.) If anything, it presents the danger of reading too deeply into a story; the harpy functions quite sufficiently as a movie monster, but it’s all too easy to infer a manifesto. In my research, I found at least one review that unironically celebrated the film as an attack on the shrewishness of women, which is pretty awful but speaks to the power of the piece.

Robert Morgan’s Bobby Yeah is less likely to garner sociological blowback, but only because it’s so much more obviously grotesque. Where Servais’ harpy was a lone example of a disgusting supernatural, everything in Bobby Yeah is bloody or slimy or both. That includes our ostensible protagonist, a bunny-eared, troll-faced creature who makes trouble for himself by literally pushing other people’s buttons.

The little rabbit guy is a classic protagonist who keeps stumbling from one terrible situation into another. Of course, he’s hideous, but he earns a tiny amount of sympathy by being the least hideous thing in the film. At every turn, he confronts a new bruised and twisted creature, often displaying unmistakably phallic characteristics and ready to attack the bunny guy for his most recent misdeed. (The film is replete with symbolism, particularly sexual, but it has significant impact even before you start to delve.) It’s an unrelentingly anxious 23 minutes, replete with violence, body horror, and building dread.

The eyes are often the giveaway in CGI animation, the evidence of unreality that disrupts the sense of reality. In Morgan’s production, the eyes have the opposite effect: disturbingly realistic eyes that peer out of misshapen doll faces, wall ornaments that resemble pizzas, and koosh-ball-headed serpents that stare out with unnerving authenticity. While the production design may seem to earn the title of “grossest film of all time,” it should be noted that the physical revulsion is easily matched by the psychic discomfort that lingers. Bobby Yeah isn’t just gross; it’s gross in very powerful ways.

As noted, you can do anything in animation, but what’s interesting is when a filmmaker really wants to do anything. Servais and Morgan both tap into primal fears that by turns intrigue and appall. Harpya packs a lot of horror and surrealism into its eight minutes, but it’s ultimately too slight to earn a place in the Apocrypha. Bobby Yeah, however, has the advantages of being longer and more viscerally unsettling. It’s a genuinely transcendent and transgressive work, and it’s worthy of future consideration as a candidate. Both movies, though, have a lengthy half-life in the brain, showing how a burst of animation can easily take up residence in your scared, scarred soul.

WHAT THE CRITICS SAY:

“‘…a fantastic surreal film…” – Dr. Grob’s Animation Review on “Harpya”

“…the stuff of surreal nightmares. It just goes to show that there are fertile imaginations out there creating weird and wonderful worlds for us to explore.” – Jude Felton, The Lair of Filth on “Bobby Yeah”

(“Harpya” was nominated for review by Absanktie and “Bobby Yeah” was nominated by Russ. Suggest a weird movie of your own here.)

CAPSULE: KUNG FURY (2015)

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Recommended

DIRECTED BY: David Sandberg

FEATURING: David Sandberg, Jorma Taccone, Leopold Nilsson

PLOT: After his captain is murdered via telephone, policeman Kung Fury must travel back in time to kill the assassin, Kung Führer (AKA Adolf Hitler).

Still from Kung Fury (2015)

COMMENTS: Kung Fury is one of the most ridiculous things I have seen. It is also one of the funniest. Even more impressively, it is that rarest of silly comedy films: one that has the wherewithal and willpower not to overstay its welcome. Apart from its other (considerable) qualities, I’d tip my had to Sandberg for shutting up shop and spinning the closing credits well before he wore through the already well-worn tropes that are the bread and bullets of the genre. From the opening skateboard car-flip to the smugly defiant Hitler soaring amidst the high-rises of 1985 downtown Miami on his mechanized Nazi eagle, it never felt forced, fatigued, or unfunny.

Even before (or… after?) Hitler’s appearance in downtown Miami, the city’s not a pretty sight. Street toughs hassle cops with impunity, flipping their squad cars like skeet discs for target practice. Arcade machines flash a nasty “Fuck You!” to the unhappy gamers who kick it after their sky unicorn is shot down on-screen. And transformer death machines spring to life, smashing up passing motorists and menacing passing canines. These hassles are all in a day’s work for… Kung Fury: a super cop who does not play by the book. The chip on his shoulder is as real as his sardonic gruffness is fake: years back, he lost his partner and mentor at the hands of a Kung fu master; before young Fury could pull the trigger on the assailant, he was “…hit by lightning and bitten by a cobra.” The rest is history.

And there is quite a lot of history: ancient Vikings astride their dinosaur mounts, the mighty god Thor (who utters his immortal words, “Stop! Hammer Time”), and, of course, the requisite hundreds of Nazi goons ready to fall under the righteous bullet spray sof Hackerman, Triceracop, Barbarianna and Katana. Oh, and a second welcome appearance from Thor and his epic pecs. Added to all this inspired lunacy is Jorma Taccone’s performance as a martial arts fascist; the actor perfectly captures the bizarre speechifying articulations of the erstwhile Führer.

Kung Fury is first and foremost a lampoon of ’80s crime/martial arts television and film. The creative team is spot on with everything—gaudy New Wave score, “futuristic” Tron-style animations, and even a seamlessly included advertisement for a newfangled mobile telephone. It’s as resourceful as it is silly. Leaning heavily on the retrowave vibe, occasional “tracking” issues conveniently crop up to disturb the image just when the most expensive effects sequences might take place. The fight choreography is masterful, too; during the Nazi fight, it switches to a long uninterrupted side-scroller video game ballet. Absurd surrealism pops up as well, as when Fury’s boss is shot through a telephone. (A similar stunt from a classic ’70s film comes to mind.) Sandberg is informed, witty, and has an eye for action timing. Kung Fury is, admittedly, no “Must See”, but I would be hard-pressed to recommend it enough.

At the time of this writing, the producers have made Kung Fury available for free (see below).

WHAT THE CRITICS SAY:

“…an insane and ultra bizarre film…”–Martin Hafer, Influx Magazine

WEIRD HORIZON FOR THE WEEK OF 10/1/2021

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Our weekly look at what’s weird in theaters, on hot-off-the-presses DVDs and Blu-rays (and hot off the server VODs), and on more distant horizons…

Trailers of new release movies are generally available at the official site links.

FILM FESTIVALS – Nightstream (Online, Oct 7-13):

Nightstream came about in 2020 as an online collaboration between smaller film festivals that were canceled due to the pandemic; it proved enough of a success to have another go in 2021. This year, the participating festivals are Boston Underground, Brooklyn Horror, North Bend, and Overlook. All titles stream exclusively online and are geolocked to the U.S.

The streaming titles we’ve covered elsewhere are the nun dramedy Agnes, the Japanese time travel comedy Beyond the Infinite Two Minutes, the experimental documentary Code Name: Nagasaki, Brazil’s sentient auto horror King Car, stop-motion nightmare Mad God, the restrospective Satoshi Kon: The Illusionist, the existential comedy Stanleyville, and the horror-drama We’re All Going to the World’s Fair. Among those we have previously noted but have yet to catch are ‘s visually amazing After Blue (Dirty Paradise) and the title-says-it-all doc Woodlands Dark and Days Bewitched: A History of Folk Horror. There’s also one promising new-to-us debut: Bloody Oranges, a French feature involving multiple storylines about a dance contest, a crooked politician, and a pervert; programmers use the keyword “surreal.” Also with a revival of the amazingly bad and sleazy direct-to-video horror Boardinghouse (1982) and numerous shorts, podcasts and special panels.

Tickets start at $65 for five films.

Nightstream official homepage.

IN THEATERS (WIDE RELEASE):

Spirited Away (2001): Read the canonically weird entry! ‘s most popular (and arguably best) feature, a good candidate for the title “the ‘Alice in Wonderland’ of Japan,” gets a short-lived wide release courtesy of Fathom Events  for its 20th anniversary. More Miyaki revivals will come in the following weeks in what’s being dubbed “Ghibli Fest.” October 3, 4 and 6 only; look for a participating theater near you at Fathom’s Spirited Away page.

IN THEATERS (LIMITED RELEASE):

Arrebato (1979): Surprise! This Spanish horror film about a horror film director who receives a mysterious 8MM film that leads to a hallucinogenic nightmare is getting an unexpected re-release in select theaters. A cult item in its homeland, it has never been exhibited in the U.S., and is not on home video in North America (an oversight we expect to change soon). Opens this week in NYC at Anthology Film Archives. More dates can be found at the U.S. distributor’s Arrebato homepage.

Mayday (2021): A world where women are engaged in an endless war, luring men to their death like sirens; a woman not sure if she wants to be a killer. Early reviews are a bit ho-hum. Also available on VOD. Mayday official site.

Titane (2021): A woman who survived a childhood car crash makes her adult living modeling at car shows, and then things get strange. We were intrigued by the idea of s Raw followup, but we were unsure whether it would qualify as weird; after reading reports of its Palme D’or winning Cannes debut, we’re now convinced. Titane U.S. distributor site.

NEW STREAMING SERVICE: KINO CULT:

Kino Lorber has scoured their large catalog (and their sub-labels, including recently-acquired Artsploitation) for their cultiest titles and put them up for free on a new ad-supported streaming service, which advertises itself as “a deep dive into the unapologetically weird.” There are too many titles of interest, many covered here, to mention individually, so we’ll only list the canonically weird titles we noticed: Dogtooth [Kynodontas] (2009), Eden and After (1970), The Forbidden Room (2015), L’Immortelle (1963), and the restored versions of Nosferatu (1922) and Metropolis (1927). Also with a large selection of classic exploitation and most of ‘s catalog. This is truly a bonanza of online weirdness for your perusal. Now, if they’d just add watch party capabilities to the mix… check it out at Kinocult.com.

NEW ON HOME VIDEO:

Devil Story (1986): A French horror with a plot involving mummies, Nazi mutants, and ghost horses, rediscovered and released by Vinegar Syndrome. Early reports suggest it enters into territory. Currently listed as “out of stock” at Amazon (though you can check the link to see if that’s changed), but you can always order these limited editions directly from Vinegar Syndrome. Blu-ray only. Buy Devil Story.

“Melvin Van Peebles: Essential Films”: This Criterion Collection box set is, naturally, highlighted by Sweet Sweetback’s Baadasssss Song (1971). Melvin’s experimental debut The Story of a Three Day Pass may also be of interest, but the kicker is son Mario’s comedy biopic Baadasssss! (2003), about the making of Sweetback. On five Blu-rays. Buy “Melvin Van Peebles: Essential Films”.

Never Gonna Snow Again: A mysterious masseur appears in an upscale Polish neighborhood. Comparisons to Teorema naturally arise. DVD or Blu-ray. Buy Never Gonna Snow Again.

Tough Guys Don’t Dance (1987): A drug-addicted writer finds a severed head after a two-week blackout bender and tries to piece together what happened. The directorial debut of writer Norman Mailer is seriously intended (it debuted at Cannes) but odd, campy, and raunchy; an unusual pickup for trash label Vinegar Syndrome. Buy Tough Guys Don’t Dance.

CANONICALLY WEIRD (AND OTHER) REPERTORY SCREENINGS:

This section will no longer be updated regularly. Instead, we direct you to our new “Repertory Cinemas Near You” page. We do have to mention that NYC’s the Metrograph is back, baby, showing the new restored print of Possession (1981) all week, and tossing in some oddities like the Chesty Morgan bra-buster Double Agent 73 , She Dies Tomorrow, and a smattering Halloween faves like In The Mouth of Madness through October. Also, Seattle’s Central Cinema is back in the game, with Suspiria (1977) playing next week. And heck, we’ll throw in Louisville, Kentucky’s Speed Art Museum Cinema, with 8 1/2 (1963) playing this weekend. We will continue to mention exceptional events in this space from time to time.

WHAT’S IN THE PIPELINE: There’s still time to vote for our next Weird Watch Party (scheduled for the evening of October 9). If things hold up, we’ll be screening the serial killer flick Angst (1983) on Tubi.tv.

In reviews, Pete Trbovich will roll up the bizarre kiddie show standalone film Pufnstuff (1970); Giles Edwards is planning a trip to Siberia (2019) with and ; and braves the theater for ‘s Palme d’Or winning body-horror, Titane. Onward and weirdward!

What are you looking forward to? If you have any weird movie leads that we have overlooked, feel free to leave them in the COMMENTS section.

CAPSULE: DEEP BLOOD (1990)

DIRECTED BY: Raffaele Donato,

FEATURING:  Frank Baroni, Cort McCown, Keith Kelsch

PLOT:  A shark hunt progresses after a native blood pact drives a group of privileged boys to avenge the death of their friend.

Still from Deep Blood (1990)

COMMENTS:  Summer 2021 is fading away, and it’s wise to see as many shark movies as possible. Of those, the fuzzy and buzzing 80’s Italian shark film Deep Blood isn’t the worst selection—but it comes close.  Many claim it’s worse than Jaws 4, and judging from its warbled and faded approach to both narrative structure and aesthetics in general, that’s a reasonable assessment. The shark attack scenes lack excitement, women and minorities are marginalized, and the main characters appear bored. Thankfully, the bulk of the movie is made up of narcotizing scuba scenes where little happens besides the inadvertent conjuring of serene oceanic bliss, making it a minor hit for weirdos with an interest in the peculiar and ironic entertainment of dated oceanographic sequences.

Donato and D’Amato succeed in creating a shark drama complete with boats, copters, and underwater scenes, but it’s frazzled by incompetency in the form of loopy synth pads and awkward, boring camera angles. It also hits sour notes with the seeping indolence of the era’s culture—things get kind of racist and sexist.  The only native character (credited as “Indian”) is used as a MacGuffin, and the ladies’ only function is to cheerlead, so distaste and disinterest with Deep Blood grows fast while the boys mope around the cabana, attended to by servants. While the questionable culture of a bunch of yuppie shark hunters is detestable, the characters’ mission to avenge the death of a friend with whom they made a blood pact with gives the narrative some validity. This central concept is enough to propel Deep Blood forward, highlighted by the curious rewards of sleepy scuba scenes.

Stock deep sea footage cuts to polluted swarms of kelp faded in haze, with tranquil swimmers slowly flipping fins, and not much occurring other than a handful of chord changes. The calm Zen quality of these quiet underwater shots is the true charm of Deep Blood. With grey and blue aquatic smears, the undersea content has a distinct 80’s ocean feel that brings to mind better films like Dead Calm. But the nagging synths and wooden acting draw negative attention to Deep Blood‘s lack of charisma. Luckily, there’s a pair of shabby kill scenes to laugh at.

It’s tough to tell (or even care) who is getting killed by the shark during the attack scenes because all characters look and act the same. Protagonists Ben, Miki and Allan all appear to be overzealous wimps when using explosives to kill the shark instead of good old hooks and lines. After all, as Grody in Jaws, Roy Scheider only resorted to pyrotechnics after his bones were rattled by seeing his captain get eaten alive by a prehistoric killing machine. In Deep Blood, the crew has a full arsenal of support together with their mansions, servants, striped pastel shirts, and yachts armed with explosives. And even with the motivating power of some very flirty Italian ladies, they barely get the job done.

Deep Blood boasts cheeky and misguided shark content along with sucky characters. The kill scenes are as exciting as a mail room staff party. What redeems it is the peaceful feeling of floating underwater while a droning score highlights the glowing VHS ambience. Like the moody aesthetics of early PC educational software, Deep Blood offers nodding maritime pleasures with a total lack of self-awareness. You can always watch Jaws afterwards to cleanse your palate.

A flawed but festive watch, Deep Blood is currently available on Youtube for free, and also on DVD and Blu-Ray from Severin films.

WHAT THE CRITICS SAY:

“I feel pretty confident in assuming it’s the only movie where a Native American randomly binds together a group of friends for a blood oath that ends with them confronting a killer shark. Throw in the other stuff you expect from Italian horror—gonzo dialogue, baffling character interactions, low-rent effects work, ill-fitting music—and it all comes together to form a singularly strange experience.”–Brett Gallman, Oh, the Horror! (Blu-ray)

366 UNDERGROUND: SMALL TALK (2016)

DIRECTED BY: Terrisha Kearse

FEATURING: Farelle Walker, Jared Benjamin, Scott St. Patrick, Kiya Roberts, Jermaine Jercox, David Chattam, Gayla Johnson, Mia Sun

PLOT: Ahmed attends a dinner party with Corah, his fiancée, to meet his prospective in-laws. Did we mention that they live in Wonderland?

COMMENTS: “Down the rabbit-hole” is as apt a phrase to use with Small Talk—literally as well as figuratively—since the film is a very clever bounce off of Carroll’s “.” The original story has been adapted and interpreted as everything from social commentary to political allegory, but writer/actor Farelle Walker uses it as a pointed and even more surreal look at information overload, behavior defined by social media, and any “ism” (race, sex, class, etc.) that she can come up with—and that’s quite a lot.

It’s a chaotic package; quite a lot is thrown at the audience, and at “Alice,” in this instance represented by Ahmed Mogadam (Jared Benjamin) as the voice of reason. He (and we) are introduced to the Hamner Family, described in the opening statement as an “interesting family of strong opinions and disturbingly small-minded chatter.” There’s Corah (Farelle Walker), Ahmed’s fiancée, an African Goddess (we meet them as they’re listening to her podcast on her “Yanniverse”; she refers to Ahmed as a “Moor”) and a conspiracy believer (trying to avoid chemtrails as planes fly overhead). Her sister, Senna (Kiya Roberts) is “White” based, having ties to the “White Lives Matter” movement. Her husband, Edwardian ‘Eddie” Licenter (Scott St. Patrick) is a “White” rabbit (“Creole,” he insists). Brother Grant (Jermaine Jercox) is a sinister Army officer, describing himself as “the Black Man They can trust.” Poppa Hamner (David Chattam) is a pig who acts and talks as a stereotypical black patriarch, and matriarch Athyna Hamner (Gayla Johnson)—The Red Queen —is a pious Christian for White Jesus, who watches all via a portrait on the wall.

Amongst all of this is the Asian housekeeper, Soon Yook (Mia Sun), who gives condescension as good as she gets it; and the constantly streaming “Wonderland News” with the Mad Hatter, Dormouse and Rabbit as news anchors in the background. It’s a dense package that might seem, at first glance, a mad cluster… but it’s a film that one needs to pay close attention to, especially the wordplay. It’s a film for smart people. Some of the banter  may go over a lot of heads, especially as far as some specific cultural aspects are concerned, but for those willing to go on the ride down the hole, they’ll have a wild time.

I set out with the intention of creating a mirror image of what I saw happening in my Social Media feed, while simultaneously shining a light into the dark corners of assimilation. As each minority group gains wealth, independence, and power there is a collective cheer amongst us. There is also a collective responsibility, which requires us to understand just how intricately racism, xenophobia, misogyny, and hatred of ‘others’ was woven into the structure of society. If we take note of how these concepts are interlaced we will start to understand why these ‘isms’ have not only outlasted their creators, but also started to be reflected in numerous people of color and minority groups. Recognition of our responsibility to be better should not make us kowtow to those that would oppress us; you will not hear a rally from me to turn the other cheek. Whether we find ourselves in opposition with a different ethnicity, opposite sex, or even a different religion; we must utilize our hard fought gains towards a higher standard in our approach to dealing with those we oppose. For if we act, problem solve and sound like those who oppressed us, are we really any different? ” – Farelle Walker

You can watch the 45 minute feature for free at www.flyrenegadeproductions.com or embedded below.

Small Talk The Movie from Farelle Walker on Vimeo.