Miscellanea

WEIRD HORIZON FOR THE WEEK OF 1/20/2012

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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):

Fullmetal Alchemist: The Sacred Star of Milos (2011):  The heroes of the long running anime series find themselves embroiled in a rebellion.  This is being released in the original Japanese with English subtitles to please purists.  It’s playing all over the U.S. and Canada, but for one day only in some locales, so schedule accordingly if you want to catch it.  Fullmetal Alchemist: The Sacred Star of Milos official Facebook page.

FILM FESTIVALS – SUNDANCE (Park City, Utah, Jan 19-29):

It’s that time again: time for Sundance, the make-or-break festival for American indies.  If last year’s slate is a predictor, about a third of the movies listed here will fail to find a distributor and virtually disappear, another third will struggle hard to earn only a limited release, and of the remainder one or two will become minor hits.  Nonetheless, it’s still our earliest indicator for what we’ll be anointing as “weird” in 2012.  Sundance festival home page.

  • Beasts of the Southern Wild – A six-year old girl named Hushpuppy contracts a fever, which seems to usher in the apocalypse and a plague of prehistoric creatures called aurochs. Screening Jan 20-24, 26.
  • Bobby Yeah – We don’t usual spotlight shorts, but this 23-minute film by the talented and macabre is an exception.  Watch the trailer to see why. Jan 20, 21, 24 & 27.

  • Don’t Hug Me I’m Scared –  We’re breaking our rule of not mentioning short films for a second time, but this time it’s because we scooped Sundance by featuring this creepy kids song about creativity gone too far way back in August.  If  you must see it on the big screen, then you can catch it screening before the indie drama Kid-Thing Jan 23-24 or 26-28.
  • Elena – Modern Russian class-struggle drama about an aging woman maneuvering to secure her husband’s inheritance.  Yawn, Sundance, we already reviewed this one.  Give us something new.  Jan 21-22, 24, 27-28.
  • Excision – Horror film about a spooky, morbid teen girl who decides to lose her virginity and then, per the synopsis, “the weirdness really begins.”  Not much is known about this one except that it’s playing in the “Midnight” category and it features both Traci Lords and the man who gave disgraced Traci her “big” break— John Waters.  Jan 21, 25, 27-28.
  • Grabbers – Irish monster movie where potential victims discover they can dissuade alien invaders from snacking on them by raising their blood alcohol levels. A “Midnight” feature.  Jan 23, 25-27.
  • It’s Such a Beautiful Day – Once again, we don’t focus on festival shorts, but we’ll make a third exception for ‘s latest, since it’s the third installment of the stick-figure psychodrama Everything Will Be OK, which we first embedded way back in May.  See it Jan. 21, 23, or 27-28, screened in the animated shorts program.
  • John Dies in the End – Cult director adapts a popular webseries about two losers saving the world from a psychedelic drug being used by aliens to take over the planet.  In the “Midnight” category, natch.  Jan 23, 25-26, 28.

  • L – A man lives in his car and delivers honey to a narcoleptic for a living in this “willfully bizarre,” bear-obsessed Greek feature.  Co-written by the co-writer of Dogtooth, so it starts with weird Hellenic cred.  Jan 23-25, 27-28.
  • Oversimplification of Her Beauty – An impressionistic, experimental, partially animated portrait of a young artist and his desire for a beautiful woman.  Part of the “New Frontier” series.  Jan 21, 23-24, 28.
  • Room 237 – Documentary about a phenomenon I didn’t realize existed, but am not at all surprised by: people who believe that ‘s The Shining contains hidden messages revealing vast international conspiracies.  One loony theorizes that the entire movie is Kubrick’s coded confession that he helped fake the footage of Americans landing on the moon.  Jan 23-24, 26, 28.
  • This Must Be the Place – Here’s a truly odd premise for a comedy: a retired goth-rock star hunts the Nazi who persecuted his father at Auschwitz.  Starring Sean Penn, of all people, as the laconic, androgynous angel of vengeance. Jan. 21-22, 25, 28.
  • Tim and Eric’s Billion Dollar Movie – The Cartoon Network cult comics get their own billion dollar extravaganza, but blow the entire budget on celebrity cameos by Jeff Goldblum, , and Will Ferrell, among others.  The plot has something to do with shrim [sic]. Jan 20-21, 24, 27-28.
  • V/H/S – A horror anthology wherein burglars are hired to break in to a home to steal a rare VHS tape, but find that every cassette they watch is stranger and more disturbing than the last one.  Playing at Midnight.  Jan 22-24, 28.
  • whiteonwhite:algorithmicnoir – Here’s something you’ll probably never see on home video.  If I’ve understood the synopsis correctly, this black and white dystopian noir selects, semi-randomly and in real time, a combination of film clips, voiceover dialogue, and background music to create an experience that’s different with every showing.  Catch it Jan. 22, 24-25.
  • Wrong – A man looking for his lost dog encounters bizarre characters and risks losing his sanity.  This is director Quentin Dupieux ‘s followup to his weird hit Rubber, and per the synopsis this one is “equally bizarre.”  Jan 21-22, 24, 26-27.

NEW ON DVD:

Belle de Jour (1967): Catherine Deneuve is a housewife by day, hooker by night in this masochistic, surrealistic erotic fantasy from Luis Buñuel.  At one point she’s tied up and splattered with shovelfuls of mud while workers insult her; strong stuff for a 1967 art film.  The Criterion disc comes with 30 minutes of supplemental material.  Buy Belle de Jour (Criterion Collection).

Bombay Beach (2011):  Footage of three residents of the decaying Salton Sea region—a bipolar boy, a high school athlete fleeing gang violence, and a retired oil-rig worker—is mixed with musical montages from Beirut and Bob Dylan to create what the makers describe as a “slightly surreal documentary experience.” Buy Bombay Beach.

Caterpillar (2010):  The Japanese emperor declares a deaf-mute quadruple amputee a Sino-Japanese war hero and orders his wife to take care of him—including sexually.  Not so surreal, but certainly unusual, and the scenario recalls the weird anti-war classic Johnny Got His Gun. Buy Caterpillar.

Cold Sweat (2010):  An elderly couple abduct women, strip them to their underwear, and douse them in liquid nitroglycerin to force their obedience in this odd low-budget Argentinian horror-thriller.  The consensus seems to be its utterly ludicrous but shamelessly fun. Buy Cold Sweat.

The Overcoat [Il Cappotto] (1952): A lowly bureaucrat buys, then loses, a fancy overcoat, then returns from the dead to look for it.  No idea how strange this seldom-seen Italian adaptation of Nicolai Gogol’s short story is, but the original tale was odd enough that Vladmir Nabokov gave a famous lecture on it in which he concluded “great literature skirts the irrational.” Buy The Overcoat [Il Cappotto].

The Platinum Pussycat (1968)/The Sexploiters (1965):  We mention this Retro-Seduction Cinema double-feature release for Pussycat [AKA The Losers]; it’s a gangster sexploitation/action feature, and simultaneously a silent film with tinted footage.  It may not be good, but at least it’s sure to be bad in a different way.  Less is known about The Sexploiters. Buy Platinum Pussycat/The Sexploiters.

Redline (2009): An anime about a futuristic race, and a rebel who tries to win it while foregoing the customary arsenal of weaponry.  It sounds like an animated Japanese version of Death Race 2000, from a director who worked as an animator on Ninja Scroll and Funky Forest.  Buy Redline.

Simon (1980): A psychology professor is brainwashed into thinking he’s a space alien, and winds up living with a hippie cult who worship TV Guide.  Starring Alan Arkin and Madelaine Kahn, we had to mention this long-forgotten satire based on the plot synopsis.  On DVD-R from Warner Archive.  Buy Simon.

NEW ON BLU-RAY:

Belle de Jour (1967):  See description in DVD above. Buy Belle de Jour (Criterion Collection) [Blu-ray].

Redline (2009): See description in DVD above. Buy Redline [Blu-ray].

NEW ON VIDEO ON DEMAND:

The Oregonian (2011):  Read our capsule review.  Many readers have asked about the availability of this movie (which debuted at Sundance last year). Here’s your chance to see what the fuss is about.  We’ll keep an eye out for a DVD release. Rent The Oregonian on Video on Demand.

FREE (LEGITIMATE RELEASE) MOVIES ON YOUTUBE:

Flatliners (1990):  Medical students experiment with inducing near-death experiences by deliberately stopping their own hearts; they have postmortem hallucinations.  The cast features then up-and-comers Julia Roberts, Kiefer Sutherland, and Kevin Bacon; it’s somewhat mainstream, but hey, it’s free.  Watch Flatliners free on YouTube.

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

LA CASA DEL TERROR (1960) AND FACE OF THE SCREAMING WEREWOLF (1964)

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The posthumous classification of Bud Abbott and Lou Costello erroneously places them on a level with  or The Marx Brothers.  However, few, if any, of the Abbott and Costello films withstand the test of time.  Their initial rendezvous with a trio of Universal monsters retains some dated charm, but little of it comes from the comedy team.  Abbot and Costello Meet Frankenstein (1948) is essentially a vehicle for ‘s Dracula parody and Lenore Aubert’s vamp.  The Monster (Glenn Strange) has little to do, and  seems mightily uncomfortable with the surrounding juvenile antics.  Even worse is Bud Westmore’s unimaginative assembly line makeup, which reduces Lugosi’s Count to baby powder and black lipstick and Lon Chaney Jr’s Larry Talbot to a rubbery lycanthrope.

La casa del terror (1960) is a south of the border imitation of Abbott and Costello Meet Frankenstein, along with about a half dozen other films, including King Kong (1933).  German Valdes (aka Tin Tan) is Casimiro and, just like in A & C Meet Frankie, he is doing some work in a house of wax horrors, which currently has a real mummy display.  Below the exhibit, the Professor (Yerye Beirut) is deep in mad scientist experiments (just like  in his Columbia movies or Lugosi at Monogram).  None too surprising, the Professor has an assistant who helps his boss steal bodies and blood.  When bodies are not to be found, the two extract fluids from Casimiro, which renders our hero lethargic (at least Lou Costello kept his energy level up).  Narratively, having your protagonist sleep through half of the film does not seem like a sound idea.  Casimiro’s gal Paquita (Yolanda Varela) doesn’t think so either.  After all, she is working a full time job and beau here is one lazy sot!  Perhaps the all too repeated shots of Casimiro counting sheep are not necessarily a bad device after all because when he does wake up, he breaks into comedic patter which actually makes Lou Costello look funny again.  Valdes elicits more groans than laughs and he even engages in a song and dance number with Valera.  YES, IT’S A MUSICAL TOO!  Valera does not have to work hard at making Valdes’ musical talents look pedestrian.

Still from La Casa del Terror (1960)Director Gilberto Martinez Solares cast Lon Chaney Jr, clearly past his prime, as a dual mummy/wolfman which, of course, were the two characters that Chaney played most often in the 40’s  cycle.  Chaney is only briefly glimpsed as a mummy, and a rather well fed one at that.  The make-up job is something akin to a glob of silly putty.  The Professor, tired of Casimiro’s rotten blood, decides to steal the mummy for experimentation. The Doc and his assistant put the ancient Egyptian into a big Son Of Frankenstein (1939) contraption.  Briefly, a Continue reading LA CASA DEL TERROR (1960) AND FACE OF THE SCREAMING WEREWOLF (1964) →

Capsules

CAPSULE: SESSION 9 (2001)

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DIRECTED BY:  Brad Anderson

FEATURING: Peter Mullan, David Caruso, , Stephen Gevedon,

PLOT: A hazmat crew removing asbestos from an abandoned asylum uncover secrets about the long-dead but deeply disturbed residents—and, arguably, more chilling secrets about each other.

Still from Session 9 (2001)

WHY IT WON’T MAKE THE LIST:  The weirdometer registers only trace amounts of bizarrity in this eerie, complex psychological horror.  It’s worth a viewing for fright fans, but not thanks to its strangeness.

COMMENTS: Before Session 9, director Brad Anderson was best known (if he was known at all) for his romantic comedies.  Anderson co-fashioned Session 9‘s complicated, haunted script to take advantage of the availability of an abandoned mental institution, a dream location to shoot a horror movie, and wound up finding a more successful niche as a specialist in psychological suspense.  Disdaining shock violence and other teen horror tropes, Session 9 hoes a tougher row by creating its suspense through characterization, hidden secrets, and (for the most part) by encouraging the audience to imagine unspeakable carnage rather than to get off on seeing it laid out in splattery crimson glory.  The idea here is to throw five average Joes into a pressure cooker situation (finishing a three-week asbestos removal job in one week) inside a suggestively creepy locale, and let the tension build organically as they begin to crack under the stress.  Gordon is the most preoccupied of the bunch: he may lose his struggling business if he doesn’t complete this contract on time, and he’s got a newborn baby back home to feed.  Phil, his right hand man, has his own tense dynamic with the obnoxious Hank: they share an uncomfortable history with a common woman.  Mullet-headed young Jeff is the neophyte kid who gets picked on by the others, and Mike is the thoughtful guy who’s too good for this job (for unknown reasons, he’s dropped out of law school to schlep around in a hazmat suit).  The characterizations aren’t deep, but they’re efficient; we know these guys, we get their conflicting agendas.  Mike’s discovery of old tape recordings of hypnotherapy with a schizophrenic woman—reels labeled sessions 1 to 9—provides a parallel dramatic line, as we periodically hear a tranquil doctor probe the mind of a psychopathic woman with buried issues that may continue to haunt the hosptal’s halls to this day.  Like the Overlook Hotel in Session 9‘s closest ancestor, The Shining, the empty spaces of the asylum are virtually a separate character (there are plenty of tracking shots down abandoned corridors to remind us of ‘s horror).  The grounds are full of memories of the departed: Satanist graffiti scrawled on the walls by the teens who broke in to party there on weekends, old mementos and clippings pasted onto the walls of the patients rooms, and broken bric-a-brac left there by the long-gone staff and by homeless squatters.  Everything is linked by dark, dank underground tunnels connecting the various buildings.  It would be almost impossible to shoot a film in this setting that didn’t raise at least a couple of hairs on the back of your neck, and Anderson’s restrained direction and the ensembles’ paranoiac acting ably amplify the institution’s inherent creepiness.  The ending is too obvious to qualify as a twist, and I wish Anderson had shown Kubrick’s courage to go shamelessly over-the-top every now and then, but Session 9 satisfies as a mature, eerie, and mostly quiet horror—a type of film that’s all too rare nowadays.  What could be scarier than an isolated, crumbling building that may be full of ghosts?  The answer: an isolated, crumbling building that may be full of schizophrenic ghosts.

The asylum in the movie, Danvers State Hospital, was a real abandoned mental institution in Massachusetts. It holds the dubious honor of being known as the birthplace of the prefrontal lobotomy (a fact referenced in the movie), and later became infamous for overcrowding and inhumane treatment of its inmates.  Most of the buildings on the sprawling campus were torn down in 2006 to construct an apartment complex.  The units burned down in 2007 in a mysterious fire, though they were soon rebuilt.  A 12-minute featurette on the DVD documents the cruel history of the institution.

WHAT THE CRITICS SAY:

“Save for the disappointing finale, Session 9 proves to be a remarkably spare journey into the confines of the mind and a unique evocation of just how terrifying it is to loose one’s mind.”–Ed Gonzalez, Slant (contemporaneous)

(This movie was nominated for review by “Jack Mort.” Suggest a weird movie of your own here.)

Capsules

CAPSULE: PULSE (2001)

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AKA Kairo

DIRECTED BY:

FEATURING: Haruhiko Katô, , Koyuki

PLOT: A computer expert’s suicide is the first in a series of mysterious events and disappearances that leave Tokyo, and the world, depopulated; is a website that dials up people on its own and asks if they want to meet a ghost responsible?

WHY IT WON’T MAKE THE LIST:  It’s creepy and weirder than the average scare flick, but Pulse is tuned to the standard turn of the millennium J-horror wavelength.  It’s a good watch for fear fans, and a seminal one for Asian New Wave horror followers, but it doesn’t go that extra weird mile.  Kurosawa’s ambiguous horror/detective procedural Cure (1997) makes for a better bizarre candidate.

COMMENTS: Pulse slips so quietly from reality to strangeness that you hardly recognize the transition; one minute, you’re watching its characters going about their daily lives, dealing with unexpected suicides and alarming computer viruses, and the next minute the world is almost deserted and ruled by ghosts.  The theme of this horror movie is not really fear but loneliness, and how technology fosters isolation more than cures it.  The film is not too subtle in delivering that message.  A plague of ghosts seems to spread via a computer website; one character immediately diagnoses a low-tech character’s sudden interest in the Internet as a desire to connect with his fellow man; a spirit tells the protagonist “death was eternal loneliness” from inside a foil-lined room.  Even scenes occurring before people start disappearing en masse are shot in disconcertingly deserted urban settings, on empty streets and buses and in lonely apartments.  Characters discuss the difficulty humans have making deep and lasting connections, while simultaneously hungering, struggling, and failing to form those bonds with each other.  Those who encounter one of the malevolent spirits in Pulse go through a syndrome (ghost traumatic stress disorder?) that involves locking themselves inside a room alone and sealing the door with red tape.  What the movie intends to say on the metaphorical level is very clear; what’s a little more confused is what’s supposed to be happening on the literal level.  We get half-baked exposition regarding the mechanics of the ghost world, but the spirits’ malevolent motives aren’t ever clearly explained, and it’s not at all certain how all the pieces are supposed to fit together.  If, as one sage tells us, the dead are now leaking into our world because theirs has exceeded its capacity, how do they benefit from convincing the living to kill themselves?  Wouldn’t that just worsen their overpopulation problem?  If the spirits of the dead have no place to go, shouldn’t the world be overrun with ghostly presences, rather than empty?  What purpose in setting up the spectral website that dials up users on its own—other than to scare a technophobic audience?  The movie glosses over answers to these questions, which does make it feel like a weirder endeavor; in this case, however, it seems the material might benefit from a fairer stab at clarity.  But Kiyoshi (no relation to Akira) Kuroswa is all about atmosphere, and he’s an expert at conjuring it.  The long lonely narrative spaces are broken up by several memorable moments, including glitchy technostrangeness involving a metaphysically malfunctioning webcam with a distorting lens, bizarre broadcast television interference from the Beyond, people who melt into black smudges on the wall, and a genuinely frightening trip inside “The Forbidden Room” to discuss matters of mortality with the death’s head who dwells therein.  Mood, not logic or even philosophy, is the glue that holds the movie together, and while it isn’t the horror masterpiece it might have been if that atmosphere was yoked to a better story, it works well on the shiver-inducing level.

The dumbed-down 2006 Hollywood remake with Kirsten Bell, part of a trend of bastardized American remakes of J-horror classics, was widely despised by critics and audiences alike.

WHAT THE CRITICS SAY:

“…dolorous, shivery, and surreal.”–Wesley Morris, Boston Globe (contemporaneous)

List Candidates

LIST CANDIDATE: THE AMERICAN ASTRONAUT (2001)

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NOTE: By popular demand, The American Astronaut has been promoted onto the List of the 366 Best Weird Movies ever made! Please read the official Certified Weird entry. This initial review is left here for archival purposes.

DIRECTED BY:

FEATURING: Cory McAbee, Rocco Sisto, Gregory Russell Cook, Annie Golden, Tom Aldredge

PLOT:  A space pilot trades a cat for a “real live girl” whom he can exchange for the “Boy Who

Still from The American Astronaut (2001)

Actually Saw a Woman’s Breast,” whom he intends to swap in turn for the remains of a dead Venusian stud in order to collect a reward.

WHY IT MIGHT MAKE THE LIST:  Genrewise, The American Astronaut could be described as many things—space western, garage band musical, nonsense comedy—but the one thing it indisputably is is a cult movie.  That is to say, it’s a specialized and peculiar little flick that has a devoted group of followers, and a larger contingent of outsiders who are nonplussed by its popularity.  I have to admit that in this case I lean slightly towards the second group.  American Astronaut is very weird (it has a character named “the Boy Who Actually Saw a Woman’s Breast,” for goodness sake), but some of it is tedious, like ninety minutes spent watching a clan of hipsters swapping in-jokes you aren’t let in on.  I can sense the magic other people get from the pic without being able to directly experience it myself.  This is a movie on the cusp of being certified as one of the Best Weird Movies Ever Made, but it will require some reader acclaim to sway my opinion towards adding it to the List.  So get to promoting the movie in the comments, Astronaut fans.

COMMENTS:  How many movies can boast a line like “Gentlemen, the Boy Who Saw a Woman’s Breast has left our planet” or a musical number like “The Girl with a Vagina Made of Glass”?  How about a villain who is incapable of killing unless he has no possible grudge against his victim and a “real live girl” who (in this early stage of her development) is just a suitcase that plays a rock tune when you lift a slat on the casing?  The American Astronaut creates a unique, absurd, but consistent universe through a dry, deadpan DIY approach.  It’s set in a boy’s cosmos, where women are strange creatures who live on one planet while the men live on another.  The movie’s nonsense proclivities are a narrative film incarnation of the free-associative lyrics of writer/director Cory McAbee’s mildly punkish band, the Billy Nayer Show.  One song Continue reading LIST CANDIDATE: THE AMERICAN ASTRONAUT (2001) →

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