WHAT’S IN THE PIPELINE

January 24, 2010 admin Leave a comment

Some low-budget, under-the-radar reviews are coming next week: look for pre-release coverage of James Felix McKenney‘s Christian scare film parody, Satan Hates You (2009), and John Hand’s micro-budget artsploitation horror Frankenstein’s Bloody Nightmare (2006). For something more mainstream, we’ll throw in a review of the bizarre, reader-suggested black comedy The Dark Backward (1991). (How many sites can claim a movie about a stand-up comic growing a third arm out of his back is the most mainstream film they’ll be reviewing that week?)

The weirdest search term used to locate the site this week was an easy choice: “Disney movie that a tiny boy jumps into a pile of dog poop.” We think someone may have gotten their memories of Toy Story and Pink Flamingos mixed up, but if such a movie does exist, we’d like to know about it.

The reader-suggested review queue continues to grow at an alarming pace. Here it is: Survive Style 5+ (looking for a copy), The Dark Backward (next week), The Short Films of David Lynch, Santa Sangre, Dead Man, Inland Empire, Monday (assuming I can find an English language version), The Abominable Dr. Phibes, Barton Fink, What? (Diary of Forbidden Dreams), Meatball Machine, Xtro, Basket Case, Suicide Club, O Lucky Man!, Trash Humpers (when/if released), Gozu, Tales of Ordinary Madness, The Wayward Cloud, Kwaidan, Six-String Samurai, Andy Warhol’s Trash, Altered States, Memento, Nightmare Before Christmas/Vincent/Frankenweenie, The Science of Sleep, Eternal Sunshine of the Spotless Mind, Gothic, 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], Necromania (1971, Ed Wood), 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, and Battle Royale.

Saturday Short, Shorts

SHORT: RABBIT (2005)

January 23, 2010 Gregory J. Smalley (366weirdmovies) 1 Comment

Must See

DIRECTED BY: Run Wrake

PLOT: A young girl finds a magical dancing idol when she cuts open a rabbit.

COMMENTS: Run Wrake’s Rabbit is a beautifully frightening, and award-winning, parable about greed that taps into the ancient, grim fairy tale tradition of placing children in harm’s way to illustrate a cautionary point. Rabbit, however, turns that motif on it’s head by making the children the villains. With it’s storybook graphics and text labels hovering over background objects as if it were an animated reading primer, Rabbit creates an eight-minute universe we’ve never seen before, one which is so unflinchingly original it can never be recreated. Like a talking fish out of Grimm’s fairy tales, the golden idol is one of those mysterious folklore creatures with it’s own weird rules and a slow-boiling intolerance for human folly that inevitably leads to tragedy for those unwise enough to abuse its patience. The irony of using innocent looking but thoroughly rapacious children in this sordid scenario isn’t done for shock value alone—although it is shocking, delightfully so—but rather speaks to our deepest suspicions about human nature: that we’re corrupt from birth, and must unlearn our instinctive childish badness.

Although it’s no Saw VI, Rabbit contains some quick and absurd violence and gore. If you find any depiction of darling little boys and girls with ponytails and ruddy cheeks slaughtering innocent woodland creatures for personal gain disturbing, no matter how tastefully done,then you’ll probably want to stay away from this one!

WHAT THE CRITICS SAY:

“…an animated version of a Dick & Jane primer that takes a scarily surreal turn.”–Noel Murray, Onion A.V. Club (compilation DVD)

Miscellanea

WEIRD HORIZON FOR THE WEEK OF 1/22/10

January 22, 2010 admin Leave a comment

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):

The Paranoids [Los Paranoicos]: Argentinian dramedy about a paranoid screenwriter who takes offense when a childhood friend adapts his life into a television show. Looks quirky/oddball, not necessarily weird. Not only that, but reviews have been generally negative. The Paranoids official site.

SCREENINGS (NEW YORK CITY, THE FILM FORUM, THROUGH FEBRUARY 2)

A Room and a Half (2009): This documentary portrait of exiled Jewish Russian poet Josephy Brodsky, who became America’s Poet Laureate and won a Nobel Prize for Literature, is a collage of real-life interviews, dramatic recreations, animation, and stylized staged footage recreating the Soviet constructivist style. 70-year old animator/director Andrey Khrzhanovsky made some surreal shorts in the USSR (i.e. The Glass Harmonica, 1968) that ran into censorship problems. Reviews are glowing and universally positive; hopefully that will be enough to get this intriguing movie a distribution deal of some sort. A Room and a Half at the Film Forum.

NEW ON DVD:

Chantal Akerman in the Seventies: A compilation of the title director’s early experimental works from the Criterion Collection’s “Eclipse” series. I’m unfamiliar with this director, but Criterion claims she came out of the New York experimental film scene and is recommended for “adventurous” viewers. Her most famous work, featured here, is her feature debut Je, Tu, Il, Elle (1976), which included explicit (for the time, at least) scenes of lesbian lovemaking. 3 discs. Buy Chantal Akerman in the Seventies.

The Invention of Lying (2009): High-concept romantic comedy set in an alternate reality where no one can tell a lie, until one man spontaneously evolves this ability. From the creator and star of the Britcom “The Office.” Unlikely to cross over the weird border, but definitely different, well-reviewed, and worthy of a gamble. Buy The Invention of Lying.

NEW ON BLU-RAY:

The Invention of Lying: See description in DVD above. Buy The Invention of Lying [Blu-ray].

Magnolia (1999): Paul Thomas Anderson’s third feature was a masterful ensemble drama, containing perhaps Tom Cruise’s only truly good performance, with an unexpectedly weird ending that threw audiences for a loop. A near masterpiece, definitely worth watching at least once and probably deserving multiple viewings. Buy Magnolia.

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.

Alfred Eaker's Fringe Cinema, Capsules

CAPSULE: AUTOMATONS (2006)

January 21, 2010 Alfred Eaker 2 Comments

DIRECTED BY: James Felix McKenny

FEATURING: Christine Spencer, Angus Scrimm

PLOT: The lone survivor of a devastated nation lives in an underground bunker; her only companions are the voice recordings of a long-dead scientist and the robots she sends out to do battle with the enemy on the planet’s poisoned surface.

Still from Automatons (2006)

WHY IT WON’T MAKE THE LIST: Much of the underground hype regarding this 2006 indie from James Felix McKenny and Glass Eye Pix likens Automatons to a cross between Eraserhead and Ed Wood, with Guy Maddin‘s name bandied about for good measure. There is nothing remotely arthouse or surreal about Atomatons, however, and the only identifying aesthetic McKenney might share with Maddin is an obsessive love of a genre. Maddin’s love of baroque silent film expressiveness hardly compares to McKenney’s hard-on for 1950’s sci-fi kitsch. That’s the problem with hype; it usually tends to be a disservice, and is so here.

COMMENTS: Automatons is not weird or surreal. That is not to say it does not have merit or is a film without interest. Is it a thought-provoking, intelligent film, worth comparing to some of the better, more compact Outer Limits episodes? No. The post-apocalyptic scenario of a lone survivor is a really, really old one that has been around since Robot Monster (1953) and is repeated in Omega Man, Mad Max and countless James Cameron movies.

The robots themselves look like they just stepped out of an old George Reeves “Superman” TV episode, but without the awkwardly quirky personality of those 50s tintypes. Angus Scrimm (Phantasm) is the professor who instructs heroine Christine Spencer through a series of pre-recorded videos. The biggest problem here lies in Spencer’s flat acting, which fails to project the necessary charisma needed in this type of project.

Where Automatons takes an admirable independent risk is in its lethargic pacing, which, despite the plot and acting, creates a hypnotic milieu. Long, static takes, along with the much repeated Scrimm transmissions, are, at first, odd, then oddly compelling. This is the one surprising, indeed endearing quality about Automatons. It refuses to cater to commercial pacing. Some mistake that for an arthouse quality or made predictable, banal comparisons, such as that to Eraserhead. Automatons does not possess that organic, wistful Lynch quality. It is grounded in the love of its genre. The later battle scenes and the gruesome deaths have a certain grainy style derived from its 8 mm source, but this is an often utilized stylistic ploy in genre indies, and is not what gives Automatons its original flavor.

WHAT THE CRITICS SAY:

“Automatons is what happens when Eraserhead and Tetsuo the Iron Man bong themselves into oblivion and collaborate on a minimalist avant-garde sci-fi cheapie shot in a toolshed… Robot radness acheived!”–Nathan Lee, The Village Voice (contemporaneous)

Capsules

CAPSULE: BUG (2006)

January 20, 2010 Gregory J. Smalley (366weirdmovies) 1 Comment

DIRECTED BY: William Friedkin

FEATURING: Ashley Judd, Michael Shannon, Harry Connick Jr.

PLOT: A lonely and none-too-bright waitress with a tragic past and an abusive ex-con ex-husband takes up with a mysterious man who is convinced that their ramshackle motel room is infested by bugs.

Still from Bug (2006)

WHY IT WON’T MAKE THE LIST: Bug is a well-acted, claustrophobic and dramatic exploration of paranoia that’s worth catching, but the mildly insane third act isn’t quite mad enough to get the movie involuntarily committed as one of the weirdest of all time.

COMMENTS: If you’re into paranoid delusion as entertainment, Bug is a must-see; if you’re not, it’s still worth a watch for its oft-clever script, excellent performances (especially Ashley Judd’s tragic white-trash turn), and uneven but whacked-out finale. Bug‘s origins as a stage play are always apparent—it plays out almost completely inside a dingy weekly-rate motel room that represents the protagonists sealed-off psyches—so don’t expect to get much fresh air or wide-open vistas. It’s slow-building, but always intense and claustrophobic, and the unrelieved tension may weary you after a while.

One things for sure: it’s an actor’s movie. Ashley Judd and Michael Shannon get the lion’s share of the lines, while the supporting characters—led by a buff, slick and abusive Harry Connick, Jr. as an abusive ex—present a layer of seediness in the external world that suggest fantastical escapism, however skewed, might be preferable to harsh reality. Shannon, who enters the scene as a mysterious stranger, conveys the fact that something is “off” about his character from the get-go merely through his disconcerting calmness and odd cadences (which lead to increasingly odd monologues). Shannon’s Peter is too alien for us to identify with, though, so all our empathy naturally flows to Judd’s Agnes, who may not be the brightest bulb in the marquee but who surely doesn’t deserve the misfortunes that fate has visited on her. Judd does a bang-up job, redeeming herself after a number of forgettable performances; she succeeds by projecting a hollow loneliness that sells her character’s improbable descent into madness as the only sane option open to her. Her line “I’d rather talk to you about bugs than nobody about nothin'” tells you all you most of what you need to know about her character; her often repeated “I don’t understand” tells you the rest.

Judd and Shannon begin an unlikely and desperate romance that’s hampered by an apparent infestation of tiny bugs in their mattress. Bug strips and microscopes start to multiply in the tiny hovel as Peter’s obsession grows, but things don’t get truly weird until the odd couple line the walls with tinfoil to garble the CIA’s incoming (or outgoing) radio transmissions. By the time an unnaturally smug psychiatrist suddenly arrives looking for Peter, pausing in his attempt to convince Agnes to turn over the escapee to take a bong hit, we’re can no longer be certain whether we’re seeing events through a camera’s objective lens, or whether we’re watching Agnes’ version of reality, which as is distorted as the light cast by the blue-bug zappers bouncing off the foil-crinkled walls of the motel room. The finale is intense, verging on overwrought, and inevitably a downer. Tonally out-of-place blood and scenes of gruesome home dentistry seem inserted to fulfill a contractual gore quota set by distributor Lionsgate so they could market Bug as a horror film. It’s not, unless you’re horrified by the mind’s ability to skew reality to salvage some kind of emotional sense out of an impossibly cruel world.

Tracy Letts adapted the screenplay from his own off-Broadway play. Shannon originated the role of Peter onstage.