In a highly unusual development (for us), we actually have reviews prepared before the deadline, so we can tell you with absolute certainty that you what reviews are coming up next week:
- First up is the Tor Johnson opus The Beast of Yucca Flats (1961), the only atomic monster movie narrated by a Dadaist. A blurry vision of things that never were nor could be from the incomparable, uncomprehending mind of the late great Coleman Francis.
- The short film omnibus Paris Je T’Aime (2006), 18 shorts films on love in the City of Light, which contains one weird outing about Chinese hairdressers and some semi-weird attempts involving vampires and Steve Buscemi making eye contact on the Metro among its dramatic stories. Featuring offerings from the Coen Brothers, Vincenzo (Cube) Natali, and Wes Craven, among others.
- From the reader suggested review queue we’ll tackle Tales of Ordinary Madness, Marco Ferreri‘s boozy take on the Charles Bukowski myth. Don’t worry, the “ordinary” in the title is meant ironically.
Not forgetting the weirdest search term used to locate the site this week: in most weeks, a search for info on the “bizarre growing penis cult” would win, hands down. But this week, the extremely disturbing “boys motels that is but naked that show there pinus on a videos” wins, hands down. Is this what happens when the Alabama penal system grants illiterate pedophiles Internet access, or is it just someone’s idea of a joke?
Here’s the reader-suggested review queue: Tales of Ordinary Madness (this week!); Trash Humpers (DVD release is imminent, but this will probably be pushed back while we wait for it); The Wayward Cloud; Kwaidan; Six-String Samurai; Andy Warhol’s Trash; Altered States; Memento; Nightmare Before Christmas/Vincent/Frankenweenie; The Science of Sleep; The Attic Expeditions; After Last Season; Getting Any?; Performance; Being John Malkovich; The Apple; Southland Tales; Arizona Dream; Spider (2002); Songs From The Second Floor; Singapore Sling; Alice [Neco z Alenky]; Necromentia; Hour of the Wolf; MirrorMask; Possession; Suspiria; Mary and Max; Wild Zero; 4; Nothing (2003); The Peanut Butter Solution; Ninja Scroll; Perfume: The Story of a Murderer; Danger: Diabolik; Faust; Sublime; Battle Royale; Pink Floyd: The Wall; Escanaba In Da Moonlight; Jesus Christ, Vampire Hunter; Zardoz; The Films of Suzan Pitt; Toto the Hero [Toto le Héros]; Paprika; The Holy Mountain; Brazil; The Casserole Masters; Dark Crystal; Throw Away Your Books, Rally in the Streets; The Nines; 964 Pinocchio; The Pillow Book; Final Flesh; Lunacy [Sílení]; Inmortel; Tetsuo; Dead Ringers; Kairo [AKA Pulse]; The Guatemalan Handshake; Dead Leaves; The Seventh Seal; Primer; Maniac (1934); Hausu; A Boy and His Dog; 200 Motels; Walkabout; Private Parts (1972); Possession; Saddest Music in the World; Mulholland Drive; The American Astronaut; Blood Tea and Red Strings; Malice in Wonderland; The Films of Kenneth Anger, Vol. II (for Lucifer Rising, among others); Willie Wonka and the Chocolate Factory ; The Bride of Frank; La Grande Bouffe; Uzumaki [Spiral]; Hedwig and the Angry Inch; Even Dwarves Started Small; Bunny & the Bull; “I Killed My Lesbian Wife, Hung Her on a Meat Hook, and Now I Have a Three-Picture Deal at Disney” (assuming I can find it); Cinema 16: European Short Films; Freaked; Session 9; Schizopolis; Strings; Dellamorte Dellamore [AKA Cemetery Man]; The Hour-glass Sanatorium [Saanatorium pod klepsidra]; The Addiction; Liquid Sky; The Quiet; Shock Treatment; Tuvalu; “Zombie Jesus” (if we can locate it); 3 Dev Adam; Fantastic Planet; “Twin Peaks” (TV series); Society; May; The Adventures of Buckaroo Banzai Across the 8th Dimension; Little Otik; Final Programme; Careful; Sweet Movie; The Triplets of Belleville; “Foutaises” (short); Johnny Suede; “Jam” (TV, UK, 2000), The Tale of the Floating World, Un Chien Andalou, Bloodsucking Freaks; Fellini Satyricon; Three Crowns of the Sailor; 8 1/2; Death Race 2000; Dororo; Lost Highway; Valerie and Her Week of Wonders; Dogville; and Julien Donkey-boy.
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Browning was consistently drawn to and connected with the social outcast, while Griffith espoused his racial superiority and reprehensibly tidied that up in his protruding “aesthetics” chest. That Griffith was (and still is) celebrated, smacks of American and Hollywood hypocrisy and superficiality at its most blatant.