WHAT’S IN THE PIPELINE

Reminder: you have one more week to vote in the Weirdcademy Awards poll!  Currently, Enter the Void sports a healthy lead over Black Swan for weirdest picture; Zachary Oberzan leads Heath Ledger for weirdest actor; Delphine Chaneac and Natalie Portman are neck and neck for weirdest actress (a surprisingly close race); and Enter the Void‘s orgy sequence leads Black Swan‘s transformation scene for weirdest scene of the year.  There’s still time to influence the results!

Next week brings you another full slate of reviews, beginning with Jan Svankmajer‘s second feature film, a predictably weird adaptation of Faust (1994); from the reader suggested review queue, we’ll take a look at the Japanese rock n’ roll zombie movie Wild Zero (2000); we’ll check out Sam Fuller’s insanely over-ambitious melodrama Shock Corridor (1963); and Alfred will continue his survey of Terence Fisher‘s Hammer work by examining the Brit’s version of The Mummy (1959).

Our survey of weird search terms used to locate the site this week brought us a person who apparently believes Luis Buñuel was a pornographer: how else to explain the search for “longest ejaculation shot in bunuel avant garde film”?  We were too confused by “miss swan augmentation mamaire” to nominate it for the weirdest search term of the week, and “bizzare section bringis you bizare action and free wei…,” was too obvious (though we like the fact that the searcher bothered to type out the trailing “…”).  For our official Weirdest Search Term of the week, we’ll go with “download classic black and white movies free woman on the run suddenly a guest i the house please murder me,” because of the fact that the searcher apparently went insane between the time when he started typing the search term and the point where he finished it.

Here’s that ridiculously long reader-suggested review queue (more after the break): Possession; Wild Zero (next week!); Nothing (2003); The Peanut Butter Solution; Perfume: The Story of a Murderer; Faust; Sublime;  Pink Floyd: The Wall; Toto the Hero [Toto le Héros]; Paprika; The Holy Mountain; Brazil; The Casserole Masters; Dark Crystal; Throw Away Your Continue reading WHAT’S IN THE PIPELINE →

SATURDAY SHORT: MY FAVORITE THINGS THAT I LOVE (2010)

Remember those awful Lisa Frank animations that appeared on binders, stickers, pencils, and any other supplies a typical 90’s girl would carry around during grade school? (If not, you can always look up their equally terrible commercial on YouTube.) “My Favorite Things That I Love” could be described as an an enjoyable version of that phenomenon. Soaring unicorns, dancing woodland critters, poodles with make up, and even more kitsch awaits you in the video below.

WEIRD HORIZON FOR THE WEEK OF 2/18/2011

A look at what’s weird in theaters, on hot-off-the-presses DVDs, and on more distant horizons…

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

IN THEATERS (LIMITED RELEASE):

Vanishing on 7th Street: Darkness takes over the streets of Detroit, literally leaving death in its wake, in this “apocalyptic thriller.”  We take note of it because it’s from director Brad Anderson (The Machinist, Session 9).  Simultaneously available on some on-demand cable systems.  Vanishing on 7th Street official site.

IN DEVELOPMENT:

Hellacious Acres: The Case of John Glass (2011):  A minimalist post-apocalyptic comedy about a man who wakes from a cryogenic slumber to discover the world has been devastated by nuclear war followed by an alien invasion.  From the demented mind of Pat Tremblay, who gave us the still-unreleased Heads of Control: The Gorul Baheu Brain Expedition, so the scenario is likely to be even weirder than described.  This is now apparently completed, although it has not yet debuted.

NEW ON DVD:

Repo Chick (2010): Alex Cox’s long awaited (by us, at least) “spiritual sequel” to the groundbreaking Repo Man is a “kooky” comedy casting what appears to be a modernized “Valley Girl” as the Repo Chick drawn into a kidnapping plot in Los Angeles.  Looks deliberately cheap and campy, shot entirely in green screen, and the trailer’s frankly uninspiring.  Where has Alex been since turning down the chance to direct Fear and Loathing in Las Vegas? Buy Repo Chick.

William S. Burroughs: A Man Within (2010): Documentary on Naked Lunch author and beat icon Burroughs.  Not weird but “of interest,” and it contains tributes from weirdmen David Cronenberg and John Waters, among others. Buy William S. Burroughs: A Man Within.

NEW ON BLU-RAY:

Network (1976):  In the reality-TV era, Paddy Chayefsky’s satire about a network that revives sagging ratings by cynically exploiting the on-air mental breakdown of a news anchor no longer seems that weird.  Still, up until this week we were mad as hell that this classic black comedy had never been released on Blu-ray before. Buy Network [Blu-ray].

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

THE HORROR OF DRACULA (1958) AND DRACULA HAS RISEN FROM THE GRAVE (1968)

This post is part of an ongoing series on Hammer horror director Terence Fisher.

Christopher Lee, as Dracula, greets John Van Eyssan’s Jonathan Harker and basically says, “Welcome, glad to have you as my librarian. That picture of your fiancee is lovely.  I have to leave now, good bye.” After that, Dracula never speaks another word in the Horror of Dracula (1958). End to end, his footage probably runs less than fifteen minutes.

Terence Fisher and writer Jimmy Sangster present Bram Stoker’s vampire as a feeding predator. To his victims, he is attractive and desirable. Throughout his Hammer films, Terence Fisher clearly presents evil as erotic temptation. Seen in this light, Dracula’s silent, predatory portrayal in the first “true” sequel—Dracula, Prince of Darkness (1966)—makes perfect sense. This is what sets Fisher apart from his predecessors who told the same story, and the successors who imitated (and exaggerated) his style in increasingly inferior sequels.

In F.W. Murnau’s Nosferatu (1922), the vampire is loathsome and repulsive. In Tod Browning’s Dracula (1931) the vampire has far more static dialogue, and more charisma, albeit in a silent film stylized theatricality.  With Fisher’s take on the subject, the erotic quality of the antagonist is pronounced, fleshy, and unmistakable.  Yet, Fisher and Sangster also expertly balanced that sensuality with the narrative, never allowing the eroticism to become a caricature the way successors did (thus robbing the series of its freshness).

Compare Fisher’s direction of Dracula’s seduction scene to Freddie Francis’ in Dracula Has Risen From The Grave (1968).   In the former, Dracula seduces Mina (Melissa Stribling).  The scene is shot in a series of extreme close-ups.  Mina expresses dread (with a quivering lip) and breathy anticipation.   Dracula enters her room and descends upon her bed-ridden form.  As he draws towards her, his lips part.  The next sight of Mina is unconsciously collapsed on her bed, violated, blood lightly splattered on her throat and gown.  It is the blood of her husband (in a transfusion) that saves her life.

Still from Dracula Has Risen from the Grave (1968)In Dracula Has Risen From the Grave, the vampire approaches Zena (Barbara Ewing) in the forest.  Zena nearly spills out of her top and the vampire removes one extra snap for increased spillage.  The attention is so drawn to the stripping that the narrative is second thought.  Later, when Veronica Carlson is seduced by Dracula, her Victorian doll falls from her bed, awkwardly symbolizing the loss of innocence.

As superb as Christopher Lee is in his role as the Count, Peter Cushing is the quintessential Continue reading THE HORROR OF DRACULA (1958) AND DRACULA HAS RISEN FROM THE GRAVE (1968) →

79. DOGTOOTH [KYNODONTAS] (2009)

“SOCRATES: Behold! human beings living in a underground den, which has a mouth open towards the light and reaching all along the den; here they have been from their childhood, and have their legs and necks chained so that they cannot move, and can only see before them, being prevented by the chains from turning round their heads. Above and behind them a fire is blazing at a distance, and between the fire and the prisoners there is a raised way; and you will see, if you look, a low wall built along the way, like the screen which marionette players have in front of them, over which they show the puppets… men [pass] along the wall carrying all sorts of vessels, and statues and figures of animals made of wood and stone and various materials, which appear over the wall? Some of them are talking, others silent.

GLAUCON: You have shown me a strange image, and they are strange prisoners.

SOCRATES: Like ourselves…”–Plato, The Republic, Book VII

Recommended

DIRECTED BY: Giorgos Lanthimos

FEATURING: Christos Stergioglou, , Hristos Passalis, Mary Tsoni, Michele Valley, Anna Kalaitzidou

PLOT: A Father and Mother raise their three children—two girls and a boy, aged somewhere between their late teens to twenties—in an isolated country estate with no knowledge of the outside world.  The children spend their days playing odd games, engaging in strange family rituals, or learning new words with incorrect definitions; they are taught that “sea” means an armchair, a “motorway” is a strong wind, and so on.  The one outsider they know of is Christina, who Father brings in weekly to satisfy Son’s sexual urges; inevitably, she discloses facts about the outside world that disrupt the family’s artificial harmony.

Still from Dogtooth (2009)

BACKGROUND:

  • Winner of the “Un Certain Regard” prize (which recognizes works that are either “innovative or different”) at Cannes in 2009.
  • Nominated for a Best Foreign Language Film Oscar in 2011 (only the fifth Greek film so honored).
  • According to writer/director Lanthimos, the three actors who played the children got into character by inventing games (like the “endurance” game the kids in the film play) to pass the time.
  • Mary Tsoni, who plays the younger daughter, was not an actress prior to this role; she was a singer in a band.

INDELIBLE IMAGE: Dogtooth is a movie made more from concepts than from imagery.  Most likely, the scene that makes the biggest impression is the one that best encapsulates the family’s strange rituals.  To celebrate their parent’s wedding anniversary, the two girls perform an awkward, shuffling dance, as invented by two children who have no knowledge of choreography, while their brother accompanies them on guitar.  After the younger girl bows out, the rebellious older one begins throwing her body around with bizarre, manic abandon, until her parents object to this display of individuality.

WHAT MAKES IT WEIRD: Beginning with the conceit that the meanings of ordinary words have been changed, Dogtooth presents us with an unsettling vision of an “ordinary” family where the basic rules of social behavior have all been unpredictably altered, for reasons that can only be guessed at.


Original trailer for Dogtooth [Kynodontas]

COMMENTS: “Dogs are like clay, and our job here is to mold them,” the dog trainer explains to Continue reading 79. DOGTOOTH [KYNODONTAS] (2009) →

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