Two teen boys get jobs at a pizza boys delivery service to raise some extra cash, but all is not as it seems in… the Realm Beyond Reason!
Happy Halloween!
Two teen boys get jobs at a pizza boys delivery service to raise some extra cash, but all is not as it seems in… the Realm Beyond Reason!
Happy Halloween!
366 Weird Movies may earn commissions from purchases made through product links.
Discussed in this episode:
Giles Edwards’ Soul to Squeeze review
#Shakespeare’s Shitstorm (2020): Read Gregory J. Smalley’s review. A very delayed debut for Troma‘s crude “The Tempest” parody, on 4K UHD only, for some reason. Buy #Shakespeare’s Shitstorm.
Altered States (1980): Read the Canonically Weird review! Ken Russell‘s insane drug trip movie is a welcome new addition to the Criterion Collection. Buy Altered States.
Bugonia (2025): After months (and even years) of waiting, Yorgos Lanthimos‘ Save the Green Planet! remake (starring Emma Stone and Jesse Plemons) is finally here! In limited theaters now, expanding soon. Bugonia official site.
Evangelion: 1.11 You Are (Not) Alone (2007): Read Gregory J. Smalley’s review. The first installment of the Evangelion reboot arrives on Blu-ray for (surprisingly) the first time. Buy Evangelion: 1.11 You Are (Not) Alone.
Evangelion: 2.22 You Can (Not) Advance (2009): Read Gregory J. Smalley’s review. The saga continues. Buy Evangelion: 2.22 You Can (Not) Advance.
The Shrouds (2024): Inspired by the death of his wife, David Cronenberg made this movie about a funeral home director who creates graves where the bereaved can watch their loved ones’ bodies decompose via a smartphone app. From the Criterion Collection’s new sub-label Criterion Premiers. Read Gregory J. Smalley’s Apocrypha Candidate review. Buy The Shrouds.
Three (2002)/Three… Extremes (2004): Three… Extremes is an Asian horror anthology featuring entries from Fruit Chan (who expanded his story into a feature), the legendary Chan-wook Park, and, most importantly, Takashi Miike (who delivers by far the weirdest entry). Arrow pairs it with the similar but lesser-known trio Three for a Blu-ray six film double feature. Buy Three/Three… Extremes.
WHAT’S IN THE PIPELINE:
No guest scheduled for next week, but Giles and Greg will be back to discuss the week’s weird movies in a pod that drops on Halloween. In written content, Shane Wilson finishes up his reader-suggested Halloween coverage with two Golems (1920 and 1979 versions); El Rob Hubbard provides an exhaustive seasonal folk-horror review of the 24-film “All the Haunts by Ours, Vol. 2” box set; Enar Clarke reports on how Crispin Glover handles his role as the titular Mr. K (2025); and Gregory J. Smalley bugs out to the theater hoping to bug out over Bugonia (see above). Onward and weirdward!
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DIRECTED BY: Athina Rachel Tsangari
FEATURING: Caleb Landry Jones, Harry Melling, Arinzé Kene, Frank Dillane, Rosy McEwen, Thalissa Teixeira, Neil Leiper
PLOT: Life in a Scottish farming village changes dramatically with the arrival of a new lord.

COMMENTS: In a nameless village in an uncertain time—sometime after the arrival of tobacco, but before the Industrial Revolution has reached rural Scotland—Walter (Caleb Landry Jones) eats bark and sticks his tongue into a knothole on an oak tree. You can’t get much more at one with the land than that.
The village Walter lives in has no name. That changes when a chart-maker comes to map out the area. The natives see cartography as a threat; naming things is the first step to owning them, and the village operates (although somewhat hypocritically) on the principle of communal ownership of the land. Not that these people are noble savages, exactly; they’re as cruel, superstitious, and racist as they are poor. Walter wasn’t born there, but married a native and is now a widower; he is a close confidant of the beneficent landowner Master Kent, also not native born. He is a semi-outsider, caught between worlds, not fully accepted by the villagers but lacking another place to call home. His liminal status turns him into an observer. He befriends the cartographer, but also scolds him for “flattening” the land by mapping it. Walter is also spineless, sensing danger but as unable to stop progress from marching into the literal one-horse town as is the weak-willed Mater Kent. A fire in the Master’s stable foretells evil to come. Then, three outsiders are pilloried—for the crime of being outsiders. Walter is the only one who sympathizes with the trio, but he is unable to muster the strength or courage to challenge any decision of the powers that be.
Harvest is beautifully shot (sometimes reminiscent of the “harvest” subgenre of European painting) and impressively scored (one peasant threshing song is synced to the rhythm of swinging scythes). But the storytelling is confusing, the dialogue can be stiff, and the feckless protagonists supply little dramatic momentum as the story limps to its inevitable conclusion. The “hallucinatory” element suggested in Harvest‘s promotional materials is vastly oversold; in truth, the strangeness (mostly coming from the slightly alien behavior of the village’s peasants) never rises beyond the occasionally odd. Nor is the movie, as a few have claimed, folk horror (there’s plenty of folk, including some authentic-sounding bagpipe tunes, but no real horror). With this project, director/co-scripter Tsangari distances herself from her association with the “Greek Weird Wave,” delivering an on-the-nose exploration of the ruthlessness with which capitalism replaced agrarian societies. Weirdophiles may safely skip this one; arthouse fans with a taste for historical, class-conscious narratives might find it worthwhile.
WHAT THE CRITICS SAY:
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DIRECTED BY: Frank Henenlotter
FEATURING: James Lorinz, Patty Mullen, Joseph Gonzalez, Shirley Stoler, Louise Lasser
PLOT: When sweet Elizabeth dies in a terrible lawnmower accident, her grieving fiancé—power plant technician and amateur scientist Jeffrey Franken—sets out to restore her to life by assembling a new body made from the parts of prostitutes he kills with a new explosive strain of crack cocaine.
WHY IT MIGHT MAKE THE APOCRYPHA: If ever there were a film that could make our list just by wishing for it really hard, Frankenhooker is that film. Starting with the decent-enough premise to set Mary Shelley’s classic tale in the waning days of Times Square grunginess, it piles on characters who soar well past cartoonishness, ladles on strange behaviors and absurd reactions, and tops it off with enough coarse sexuality and Guignol-lite gore to make the whole confection gleefully repellent. It knows what it is, and it revels in it.

COMMENTS: Frankenhooker makes me regret that we’ve never created a tag called “On-the-nose Titles.” We’ve talked before about movies where the title does the heavy lifting, and this is one such film. A Frankenstein’s monster made from hookers. Why even bother with a synopsis?
If you were to subject Frankenhooker’s screenplay to intense analysis, you’d find very little at its core. It’s not a one-joke movie, but probably no more than five: the Frankenstein myth set in New Jersey, the mad doctor is an overachieving electrician, his creation is built out of random hooker parts, the Bride is a murderous sex-starved brute, and New York City prostitutes react to crack like desperate parents at a Walmart on Black Friday. Fortunately, those jokes are merely the foundation for what Frankenhooker is really about: silly stereotypes and outrageous gore. These are things that Frank Henenlotter knows how to deliver, and he doesn’t hold back.
The film has to overcome a significant demerit in the form of our hero himself. Lorinz is a black hole: even when he’s drilling a hole in his own head for a little light trepanning, he has the bland, conventional good looks of Andrew McCarthy and the placid demeanor of a low-energy standup comic. (His voice suggests Steve Buscemi teaching a yoga class.) He teases a bolder character than we get, which is surprising considering he’s a mad scientist from New Jersey. His refusal to go as over-the-top as the plot that surrounds him may be the strangest thing about Frankenhooker.
Former Penthouse Pet Mullen has a better handle on the material as the unfortunate Elizabeth. Following a brief pre-accident scene in which she dials up the tropes of the bland-but-adoring fiancée, she gets to go full monster, staggering about town with her jaw awkwardly jutting to the side and demanding “Want a date?” in a shrill Jersey accent. (I tried for ages to figure out who Mullen’s demented lady of the night reminded me of until I realized it was Rapunzel from this magnificent “Sesame Street” sketch.) If anything, she inspires the rest of the ensemble to go hard, from the gum-smacking ruffian ladies of the night to thinks-with-his-fists pimp Zorro to recognizable “That Guy” David Lipman’s cameo as Monster-Elizabeth’s overenthusiastic john. In a cast where everyone but the lead is playing to the cheap seats, Mullen is a stand-out.
Not every scene is this extreme, and in fact Henenlotter almost seems to be making a bid to become the genteel Lloyd Kaufman. Long scenes of Lorinz monologuing his plans drag things out, and often the movie opts to run headlong into insanity instead of giving it a minute or two to build. However, Frankenhooker absolutely nails the landing with two separate showcases of wildly inventive craziness in the final 15 minutes: first with a grotesque revenge on behalf of the murdered hookers who have inadvertently been reassembled into hilariously awful human meatballs, and then the ultimate comeuppance for the mad doctor as a repaired Elizabeth saves the day in a most amusing manner. As much as Frankenhooker is out to deliver exactly the eyes-covered, laughing-in-shock amusement you’re expecting, the movie genuinely surpasses itself in the finale. The title may be on the nose, but the tale it tells is a refreshing punch in the groin.
WHAT THE CRITICS SAY:
(This movie was nominated for review by Brian Fahrion. Suggest a weird movie of your own here.)
A buck learns about Schopenhauer after an unfortunate accident during mating season.
CONTENT WARNING: Adult language, deer sex, Schopenhauer quotations