CAPSULE: 2012 AFICIONADO DVD ZINE: ISSUE #0 (2012)

Beware

DIRECTED BY: None credited

FEATURING: N/A

PLOT: A two-plus hour “mixtape” of video clips, some rare, some shocking, a few weird, arranged with a minimum of editing.

Still from 2012 Aficionado DVD zine issue #0

WHY IT WON’T MAKE THE LIST: The “mixtape” concept is easy to  attempt, hard to master. This one contains little of interest and much that’s in terrible taste, with extremely irritating editing experiments as the rancid topping on an unappetizing pie. Few will be able to watch it to the end; many could not make it five minutes into this “movie” without giving up. For aficionados of 2012 only.

COMMENTS: Way back in the VHS era, tapes of rare video material—embarrassments taped off public access TV, censored news footage, forbidden clips from video nasties, strange home videos found in thrift shops—circulated among collectors who would often edit them into anthologies or “mixtapes.” In the age of the high-speed Internet, when everything has been uploaded and we are able to select our own clips with a mouse click, watching a video mixtape is like being trapped inside someone else’s YouTube playlist. Unless you invest your compilation with some sort of thematic coherence—like the ensemble, who elevated the genre to an actual artform with Doggiewogiez! Poochiewoochiez!—-there is no reason for anyone to watch it. Just stringing together stuff you think is cool is no longer sufficient.

“The 2012 Aficionado DVD Zine” falls into the “stuff the editor thinks is cool” school of mixtaping. If you don’t agree this stuff is cool—and most adults won’t think much of it is—then you’re not going to be interested in sticking with it through the bloated 2-hr. plus runtime. The “original” source material seems to be videotape, and the images are blurred and fuzzy, which adds more eyestrain than charm. Time stamps are frequently visible, particularly when some editing experiment is being done (in an attempt to add some artistic input of his own, the compiler is fond of looping the material so that the playback repeats and stutters, which becomes highly irritating—see below). There is only occasionally any kind of logical flow to the material—at one point, a George W. Bush speech segues into an anti-capitalist Afropop music video, which is about as close to a creative statement the assembler makes. Most of it is a random stream of fuzzy Bollywood dance scenes, evangelical propaganda videos, animated softcore porn, homemade amateur punk/rap/metal videos, a puppet singing about unrequited interracial love, John Kilduff’s public access exercise/painting program, exploding anime heads, Japanese softcore porn, a slo-mo version of “Soul Train,” a homemade sex tape of a furry making love to an inflatable dolphin, and so on.

It’s not as much fun as it sounds. First off, there is the horrible video quality and the fact that there is no flow to the clips. Second, there are several objectionable Faces of Death-type atrocity scenes added merely for their offensiveness and rarity. The clip of cat abuse (it is still debated how much of this scene was achieved through special effects) comes from the Hong Kong exploitation film Men Behind the Sun. Even more tasteless is the footage of combatants being eliminated by drone strikes, and a film purporting to show a man being burned alive without a trial by a vigilante mob. Since the mixtape provides no political context to these scenes—we aren’t even told what country the immolation occurs in—this is pure snuff entertainment. Finally, as if all that wasn’t enough to turn you against the project, there are the aforementioned irritating editing experiments, culminating in a one second clip of Pokemon characters yipping that is looped to run for—I kid you not—nine minutes. When I reached that point in the tape I had to turn it off and finish it the next night. You don’t have to go that far in; you never have to watch any of it at all.

I don’t understand how “the 2012 Aficionado DVD Zine” is, as it advertizes itself, “the first ever zine in DVD format.” A zine was an underground magazine composed of original material written or drawn by hobbyists. It did not consist simply of unauthorized reprints of other people’s work. Other than the ill-advised edits, nothing here was actually created by the person who assembled it. Still, it’s available here, along with five more episodes which are also each over 2 hours long. Some of you will doubtlessly be tempted to try this—but don’t say you weren’t warned.

(This movie was nominated for review by someone [almost certainly the original editor/uploader] whose comments have since been lost. Suggest a weird movie of your own here.)

WEIRD HORIZON FOR THE WEEK OF 1/23/2015

Our weekly 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 Duke of Burgundy (2014): Peter Strickland’s followup to his giallo-tribute Berberian Sound Studio is a strange erotic melodrama about sadomasochistic relationship between an aristocratic butterfly collector and her servant. We have no idea where it’s playing or even how to access the advertised VOD release (UPDATE: it’s been spotted on Comcast cable systems), so we’ll likely have to wait for a DVD. The Duke of Burgundy official site.

R100 (2013): A sadomasochistic sex comedy from about a businessman who joins a secret club that arranges for dominatrices to attack its members in public places. We’ve been waiting on this one since it’s North American debut at TIFF last year; Drafthouse makes sure it hits all the major metro areas. R100 official site.

SCREENINGS – (Cinefamily, Los Angeles, Friday January 23, 8:00 PST):

R100 (2013)/Symbol (2009): Speaking of R100 (see above), the Cinefamily is hosting a double feature to celebrate the film’s release, pairing it with Symbol, the auteur’s bizarro 2009 comedy about metaphysical emptiness and Mexican wrestling. R100 gaijin co-star Lindsay Kay Hayward will be there, and there will be a “sushi eating whipping” contest with prizes. Los Angelinos rush out there now, ’cause it starts at 8:00 PST. R100 (2013)/Symbol (2009) at Cinefamily.

FILM FESTIVALS – Sundance Film Festival (Park City, UT, Date):

The 2015 movie season officially kicks off with Sundance, where a hundred hopeful independent movies, including some off-the-wall ones, come to vie for a handful of distribution contracts. Last year brought us The Double, and the previous year’s Sundance sensation was Escape from Tomorrow, so there is almost always at least one weird winner to be found here. Here are the ones we’ll be keeping an eye on:

  • Beaver Trilogy Part IV – A documentary about the making of ‘ Beaver Trilogy, an odd movie about an oddball kid from Beaver, Oregon. Screens the 23rd, 27th and 31st.
  • The Forbidden Room – This might possibly be of interest: a new movie, with a cast of , and . Try to catch it on the 26th, 28th, 29th or 31st (but expect to be put on the wait list).
  • H. – The story of two women named Helen in Troy, NY who descend into madness, or the end of the world, or something. Screening 1/25, 27, 30 & 31.
  • The Tribe – A graphically violent and sexually explicit Ukrainian film, with no dialogue, about students at a school for the deaf who run a prostitution ring.  Screens the 24th, 26th & 27th.
  • White Dog – There’s been some buzz about this allegorical movie about dogs who go to war with the city of Budapest after it enacts a tax on mixed-breed canines. 1/23, 25 or 31 are your chances to check it out.

Sundance Film Festival official site.

NEW ON DVD:

La Belle Captive (1983): A man finds a beautiful woman lying bound in the road, takes her home, makes love to her, and sees visions of the paintings of René Magritte.  The belated interest in the sadomasochistically surreal films of continues, with Olive taking the torch passed by Redemption Video. Buy La Belle Captive.

Coherence (2013): Read our review. This “Twilight Zone”-y story about a comet that metaphysically disrupts a dinner party isn’t the weirdest out there, but it was one of last year’s very best ultra-low-budget sci-fi features. Buy Coherence.

Lucy (2014): Read our review. ‘s dopey sci-fantasy about using 100% of her brain was inexplicably popular; at least the visuals are trippy. Buy Lucy.

My Winnipeg (2007): ‘s fantastical, surreal documentary about his hometown of Winnipeg. Maddin and the Criterion Collection are a match made in movie heaven. Buy My Winnipeg.

Winter in the Blood (2013): An alcoholic Native American wakes up in a ditch, then returns to his home on a Montana reservation to discover his wife has left him, taking his beloved rifle with her. A modern vision quest with surreal elements. Buy Winter in the Blood.

Zero Theorem (2013): Read James Harben’s review. ‘s latest didn’t make mucho weird waves, but it’s always good to watch the master at work. Buy The Zero Theorem.

NEW ON BLU-RAY:

La Belle Captive (1983): See description in DVD above. Buy La Belle Captive [Blu-ray].

Lucy (2014): See description in DVD above. This is a DVD/Blu-ray combo pack. Buy Lucy [Blu-ray/DVD].

My Winnipeg (2007): See description in DVD above. Buy My Winnipeg [Blu-ray].

Zero Theorem (2013): See description in DVD above. Buy The Zero Theorem [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.

ATTACK OF THE MORONBOTS!

Dear readers, in the past week we have been under intermittent attack by an idiot botnet trying to brute-force admin passwords so it can insert spam links that would take us a few hours to clean up. There were over 15,000 login attempts over night!

The situation is as if I had a car with two separate keys (username and password), one for the door and one for the ignition. The botnet is like a car thief with a massive keyring of thousands of keys (password guesses). He tries out each key hoping it will magically work. If by some miracle he finds the right key (username) to open the door, then he would need to go through the whole thing again to get the car to drive (by guessing the password). Then, I would recover the car a few hours later with LoJack anyway.

Unfortunately, despite having no chance of success, this moronic behavior taxes our server resources. Therefore we’ve taken some extra security steps to try to keep the scripts from ever reaching the login page in the first place.

The TLDR point of all this is that if you find the site behaving oddly (especially in regards to logging in or commenting) due to the defensive maneuvers we’ve been forced to take, we’d appreciate it if you’d contact us and let us know.

Thanks brave readers!

 

TIM BURTON’S BIG EYES (2014)

Big Eyes (2015) is probably ‘s most satisfactory film since Ed Wood (1994). Alas, that is a minuscule compliment. Burton began as a refreshing original working within a tinseled industry, but formulaic demands soon rendered his later work imitative and an example of style over substance.

Burton was once the hip auteur for the perennial college and goth crowds. Now, he is the butt of their humor: a cautionary warning of a sell-out losing all originality and vitality.

He went the distance in proving the cynical naysayers correct, reaching his nadir with Alice in Wonderland (2010), which jettisoned authentic Carrollesque surrealism in favor of populist fluff and a cringe-inducing slice of Johnny Depp ham.

In vain, one hoped Burton had nowhere to go but up, but he only continued his slide, proving nostalgia is fleeting with an ill-advised and execrable update of Dark Shadows (2012). He followed this with a pointless, self-plagiarized feature, Frankenweenie (2012), which predictably worked better in its original version as a compact short.

Burton is certainly not immune to critical fallout. Of course, it has hardly affected his box office standing, but popularity with aesthetically illiterate masses is only salt to the wound.

With Big Eyes, Burton belatedly responds to critics by playing the narcissistic victim, projecting himself onto the figure of artist Margaret Keane. In doing so, he damn near kills the film, but, surprisingly, his opus (barely) survives him.

Still from Big Eyes (2014)Burton’s epic misstep is in subduedly addressing Keane’s art as kitsch. It is kitsch. There is nothing original about her mass-produced  art for the Walmart home spread. Her illustrations are a kind of synthetic parody of Modigliani.  Yet, Burton is a Keane fan, and fan is short for fanatic.  Naturally, he takes the fanboy approach in identifying with his object of adulation. Undoubtedly, Burton can find affinity in Keane’s strategical marketing to a bourgeoise public.

In pedestaling Margaret Keane’s gimmicky, one-note cartoons, Burton casts the art critics and gallery dealers as two-dimensional, jealous predators. It’s the equivalent of a cinematic exclamation point, or a big bang at the end of a pedestrian symphony. The homogenous Tim Burton/Margaret Keane hybrid becomes a much put-upon martyr. Cue big, puppy-eyed closeup.  It is the kind of manipulative choice that Spielberg used to be so goddamned guilty of.

Big Eyes would have been a far better film had Burton made a smarter choice by avoiding the topic altogether, or in taking either an objective or idiosyncratic approach (as he did in Ed Wood). In many ways, Big Eyes serves as little sister to Ed Wood, but in that earlier film, a younger, fresher director did not succumb to tomfoolery. Continue reading TIM BURTON’S BIG EYES (2014) →

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