Tag Archives: 1989

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CAPSULE: LUTHER THE GEEK (1989)

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DIRECTED BY: Carlton J. Albright

FEATURING: Edward Terry, Joan Roth, Stacy Haiduk

PLOT: Imprisoned as a juvenile for a murder spree, Luther is released on parole and terrorizes a family in a remote Illinois farmhouse.

Still from Luther the Geek (1989)

 

COMMENTS: What is the goal of imprisonment? Some argue deterrence. Others rehabilitation. A few would make the case for vengeance. Or perhaps it’s some combination of these. Carlton J. Albright and his team put these socio-philosophical concerns aside in their chronicle of Luther the Geek: a madman who began as a mad lad, murdering three people after a formative encounter with a circus performer who ripped open the necks of chickens for the amusement of the crowds (and to earn his much-needed liquor).

Amongst that crowd, Young Luther is thrown to the floor in a scuffle—smashing out his front teeth in the process. Fast-forward twenty years (all of them in prison), and his parole is reviewed by five prison officials, among them a “bleeding-heart” female who notes Luther’s commendable behavior prison, his lack of speech notwithstanding. Luther, you see, merely clucks. By a vote of three-to-two, he’s set loose, and the inevitable ensues.

Albright lucked out finding a performer like Edward Terry, since to whatever degree it may be argued that Luther the Geek works, it could not work without Terry’s all-in performance. His Luther is not fit for society, and quickly murders again. An hour or so of this eighty-minute movie takes place in an out of the way farm, during which—through a series of commendably paced, shot, and edited chase, scuffle & violence set-pieces—various victims are bloodily dispatched by the titular geek.

Why are we here, though? The pay-offs will interest slasher fans. Titillation seekers get their thrills from the buxom daughter. The rest of us may find Luther the Geek an oddity (if not a weird-ity) worth checking out. Through much of the dialogue-free performance from Terry, I was reminded of 183’s Angst. Luther the Geek sort of plays out like that German film’s American hick cousin. Indeed, one weakness I found in Angst is not present in Luther: there is no inner monologue. We have no real idea why this nut is doing what he’s doing; and Luther is all the more terrible and, perhaps, sympathetic for this lack of elucidation. As a violence picture that goes for the throat, there’s a strange undercurrent of pathos—and a remarkable finale that doesn’t chicken out.

WHAT THE CRITICS SAY:

“What happens when a horror film refuses to dampen its premise with humor, even when the premise itself borders on the absurd? LUTHER THE GEEK answers that question by committing, sometimes uncomfortably, to a nightmare that never pauses to reassure the audience it’s in on the joke. This is not a standard slasher, nor a self-aware cult oddity; it’s a blunt, regional exploitation film that believes in its monster completely, for better and for worse.” — Chris Jones, Overly Honest Reviews

Luther The Geek (Tromatic Special Edition)

Luther The Geek (Tromatic Special Edition)

  • A young country boy is plunged into the depths of homicidal madness after witnessing the strange exploits of a carnival “geek.”

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Capsules

CAPSULE: CREATING REM LEZAR (1989)

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DIRECTED BY: Scott Zakarin

FEATURING: Jack Mulcahy, Courtney Kernaghan, Jonathan Goch

PLOT: Ashlee and Zack mysteriously share an imaginary friend, a being whom they must aid in a search for his medallion before the sun sets and the evil Vorock triumphs.

Still from Creating Rem Lazar (1989)

COMMENTS: This pint-lengthed movie hits above its weight in the realm of cringeful oddness. Filmed in the late 1980s, it has the hair extremes and the soft-n-smooth musical flair of a stone polished into a glassy spheroid. As a children’s movie, it features the inevitable amateurity found when young actors are thrust to the fore. Multi-cultural feel-good-ism gets an extended nod during a the protagonists’ Central Park encounter with a gang of flamboyant a-cappella greasers, who then move on to a hip-hop black fellow, with then a pair of fiddlers. And the aesthetics behind the titular hero’s ensemble might raise questions, were the viewer not struck dumb by the intense blue motif—blue lycra body suit, blue cape, and Rem Lezar’s mullet dyed blue to match. Creating Rem Lezar is a trial by Aghh, waltzing from one schmaltz piece to the next at a speed which leaves no room for the viewer to collect their wits. That said, presuming you can endure the vehicle, the various messages in this experiment are worthwhile.

Tykes Ashlee and Zach are day-dreamers, often in trouble at school and home for ignoring their surroundings in favor of spending time with a mutually manifested entity who comforts their fears and doubts. Rem Lezar’s creation—through sheer force of belief and cooperation by the youngsters—leads to many teachable moments. And despite his absurd appearance, Lezar has much wisdom to offer—to children in particular, and to people in general.

The pair of kids differ vociferously about how to overcome the challenge from the villain (an ’80s-FX malevolent head), prompting Lezar to calmly explain, “Differences of opinion are fine, and you have to stand behind what you believe. But you have to work together, and giving in a little doesn’t mean giving up.” Later, Zach complains about not fitting in, asking his hero why others have a hard time understanding him. Quite Socratically, Lezar asks the boy, “Why do you think others have a hard time understanding you?” This kicks off a moment of reflection on how comprehension needs to go both ways.

That, and many similar moments, left me with overall positive feelings about this little film. Every piece of advice on offer is sensible, thoughtfully phrased and communicated, and largely dispels the immediately preceding (and surrounding) obtuseness. There’s a lot of hate for this movie among reviewers, with much condemnation of the film’s alleged “creepiness.” This could hardly be further from the truth. Creating Rem Lezar often approaches insufferable, but I was relieved at how harmless the titular character proved to be, and delighted at how well-anchored the film is in regards to how we should treat one another. I only wish these sentiments hadn’t been buried under this mountain of expired cheese.

WHAT THE CRITICS SAY:

“Rem, I suppose, could be a reference to REM, or rapid eye movement, the phase of sleep where we have our most vivid dreams. Given the film’s bizarre, dreamlike nature, this seems to make some sense. On the other hand, the only explanation I can come up with for the word “lezar” is that it is the Creole word for ‘lizard,’ which makes a great deal less sense, unless Creating Rem Lezar is less a bizarre, misguided attempt at an empowering children’s film and more a story of a Lovecraftian, shape-shifting, nightmare-reptile which invades the dreams of impressionable youths, masquerading as an amiable–if somewhat inappropriately friendly–superhero, in a wicked plan to sow delusion and madness in the minds of poor, unsuspecting children through mind-numbingly awful sing-songs.” — Derek Miller, BadMovieRealm.Com

(This movie was nominated for review by Emil Hyde, who called it “quite possibly the worst/best/weirdest ‘children’s’ film ever made” and went on to add, “It’s not quality like most of the films on the list, but it is baffling on every level”. Suggest a weird movie of your own here.)

Creating Rem Lezar 35th Anniversary Edition Blu-ray

Creating Rem Lezar 35th Anniversary Edition Blu-ray
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Video Review

WEIRD VIEW CREW: CANNIBAL WOMEN IN THE AVOCADO JUNGLE OF DEATH (1989)

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Is the almost-90s feminist satire Cannibal Women in the Avocado Jungle of Death (starring Bill Maher, Adrienne Barbeau and Shannon Tweed) weird? Cannibal Women inspires Pete Trbovich to offer four rules to tell whether the movie you’re watching is weird or not. (Hint: if it offers a “time of the month” joke, it’s probably not weird.)

(This movie was nominated for review by Brad. Suggest a weird movie of your own here.)

Cannibal Women In The Avocado Jungle Of Death

Cannibal Women In The Avocado Jungle Of Death
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List Candidates

APOCRYPHA CANDIDATE: ZEROGRAD (1989)

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Gorod Zero, AKA Zero Town; City Zero

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DIRECTED BY: Karen Shakhnazarov

FEATURING: Leonid Filatov, Vladimir Menshov, Aleksey Zharkov

PLOT: An engineer travels from Moscow to a tiny industrial town where he finds all the residents utterly bizarre, but is ordered to remain when he witnesses a suicide.

Still from ZEROGRAD (1989)

WHY IT MIGHT JOIN THE APOCRYPHA: In this ambiguous satire from the final days of the Soviet Union, engineer Varakin finds himself trapped in the purgatorial Zerograd, a not-so-wonderful Wonderland of nude secretaries, suicidal chefs, and rock n’ roll dance enthusiasts. Zerograd can be enjoyed as a weird crawl through an enclave of eccentrics, but it’s also a major historical artifact documenting the dour mood as the Soviet system tottered on the brink of collapse. The Russian identity crisis explored here continues to trouble the world to this day.

COMMENTS: Varasky enters the nowheresville of Zerograd hoping to lodge a simple request to resize panels in air conditioners manufactured in this backwater town. This routine assignment turns out to be a never-ending low-key ordeal when he becomes witness to a suicide (or is it a murder?), which the officials view as a matter of great importance to the State. Varasky’s first hint that something’s not quite right in town comes when he finds the factory’s receptionist typing and watering plants in the nude, a fact her preoccupied boss doesn’t even notice. That’s odd, and having hopefully sorted out the air-conditioner issue in a day, Varasky’s eager to leave town. But, at dinner that night, the cook insists on serving him a desert that he has repeatedly refused to order. It’s a lovingly-crafted cake—perfectly made in the shape of Varasky’s own head. When Varasky refuses to try even a bite, the chef shoots himself. And then Varasky’s troubles begin…

Zerograd funnels Varasky through a series of absurd situations, all of which the engineer accepts with a formal protest followed by a deadpan look of resignation as he realizes it’s pointless to try to swim against the tide of the town’s insanity. Among the adventures the hapless visitor endures are a trip to the town’s subterranean history museum, where elaborate dioramas of uncannily lifelike wax figurines demonstrate moments from history that absolutely did not happen: artifacts from Trojans, Romans and Huns all improbably found in Zerograd. On the wall, a poster proclaims “The Source of Our Strength Lies in Historic Truths.” The malleability of truth to fit the State’s official position becomes one of Zerograd‘s big themes: Varasky’s personal history even seems to be rewritten to connect him to the town. He finds himself unable to leave: trains go into Zerograd, but they don’t go out. And besides, the town’s authorities have more questions for him to answer. He seems doomed to take up a permanent exile in Zerograd.

Zerograd emanates from the Soviet Union’s brief Glasnost period of 1986-1991, when filmmakers and other artists had an unprecedented (if not complete) freedom to follow their muses without fear of reprisal. That promise of freedom notwithstanding, Zerograd is still loathe to criticize the Soviet system directly: instead of savaging its conformity, bureaucracy  and rewriting of history, it attacks its targets obliquely, cloaking criticisms in obscure, absurdist jokes. Simultaneously, Zerograd expresses anxiety about encroaching Westernization, symbolized by the ridiculous rock ‘n roll dancing fever sweeping the town’s citizenry, which may be as crazy as the enforced propriety of the old order. A crucial speech by a Communist official at the film’s midpoint describes the difference between the Russian spirit and Western capitalism: the “irrational” willingness of Soviet citizens to subsume their personal interests for something greater than themselves, versus what he views as Europe’s “pragmatic” every-man-for-himself ethos. Despite Varasky’s travails at the hands of the bureaucracy, the official’s plea has some appeal, and the analysis of the Soviet dilemma emerges as ambiguous. Zerograd is a portrait of a society at a crossroads: ready to abandon the past, but unsure of what the future might bring. The film ends with Varakin in an oarless rowboat, floating away in no particular direction; his chance of escaping this limbo and returning to the humble-but-familiar comforts of the Moscow he left behind are laughably remote.

Zerograd had not previously been available on home video in the U.S. Deaf Crocodile comes to the rescue with a Blu-ray release from a restored print from Mosfilm, containing a new interview with director/co-writer Karen Shakhnazarov and a commentary track from film historian Samm Deighan. The disc is available directly from partner Vinegar Syndrome starting today (October 25); it lands with other retailers on November 29.

WHAT THE CRITICS SAY:

“Nothing makes sense for Varakin here — or, unfortunately, for us. We’re baffled but not interested. Possibly, this is because the director’s sense of the surreal is so obvious and commonplace.”–Hal Hinson, The Washington Post (contemporaneous)

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

Capsules

CAPSULE: SLIPSTREAM (1989)

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DIRECTED BY: Steven M. Lisberger

FEATURING: , Bob Peck, , Kitty Aldridge, Eleanor David

PLOT: In a future devastated by a geophysical catastrophe, a two-bit hood steals a bounty hunter’s prey in hopes of a big score.

Still from Slipstream (1989)

COMMENTS: There is an alternate universe wherein three of the biggest names in the cult of science fiction—Star Wars producer Gary Kurtz, TRON writer-director Steve Lisberger, and the legendary Mark Hamill himself—all found a renewed life in the cinema thanks to an out-of-nowhere box office smash about a future world where a steady round-the-world wind has upended human existence.

Yeah. Back in our universe, that movie was a flop that barely saw the light of day. Kurtz was bankrupted, Lisberger would never direct another feature, and Hamill would retreat into the world of voice work, rebuilding his reputation over the next three decades. The film itself (reportedly) slipped into the public domain, which does at least make it easier for us all to summon up a screening and see if we can figure out where all this potential went so wrong.

The story seems like a good place to start. The post-apocalypse summoned up by Tony Kayden’s screenplay doesn’t make a whole lot of sense. Whatever disaster the shifting winds wreaked upon the planet left some people huddled in dusty hovels, to be sure. But why would planes thrive while cars (and even carts) have vanished? How are there diners? Compact discs? Keypad locks? Why is Bob Peck on the run in a suit that makes him look like a London stockbroker? Is it really a career option in the detritus of a wind-related apocalypse to dream of hanging up a shingle for your own hot air balloon agency? And that’s long before our heroes take an odd turn into a bunker/library/country club that just… is.

The casting doesn’t help, either. Mark Hamill—God love him—just isn’t made to play grizzled and hard-bitten, and his tough-guy dialogue sits uncomfortably in his mouth. Bill Paxton, sporting a Robert Plant hairdo, tries to portray a desperate mercenary while still exuding his signature goofy affability. (In fact, a whole lot of people in this movie are trying to do their best Han Solo impersonations and coming up short.) And then there are the cameos. Slipstream manages to land two of the decade’s Best Actor Academy Award winners—Ben Kingsley and F. Murray Abraham—and then fails to do anything with them in their allotted 3 minutes of screen time.

What’s most frustrating about Slipstream is that there is so much talent in service of a story that literally goes nowhere. (Lisberger is quoted as saying the film is essentially a road movie with planes, but the only destination is indeterminate and quickly jettisoned, so we’re just really wandering from cave to cave.) The film’s English and Turkish locations are suitably alien and intriguing, and they are captured with some lovely aerial cinematography. There’s Hamill’s genuinely cool-looking plane. And every now and then, the story stumbles across an idea—some people now worship the wind as a deity—or an image—a man strapped into a kite buffeted by terrifying gusts—that hints at something grander. But it never gets there. Instead, the few stakes there are feel listless and empty. And you can tell the filmmakers know it, because they’ve made the great Elmer Bernstein work overtime to provide some juice in the score that can’t be found on the screen. (When not trying to generate suspense, it pieces together elements borrowed from other Bernstein scores, from The Magnificent Seven to Heavy Metal to Ghostbusters.)

Time and again, we get a tantalizing glimpse of the inventive movie they thought they had. It’s like being invited on a treasure hunt, and your host shows you the cool map he found and the shiny doubloon that proves the treasure is real, and so you search and search, only to come up empty. That’s Slipstream. No treasure. Only hot air.

WHAT THE CRITICS SAY:

“It never quite gels into a complete whole, but also never lacks for ambition…  There’s a lot of weird aerial imagery that’s much appreciated if too oft repeated… There’s a cheesy core to this film that shoots for awe and wonder more than action and doom.”–Ed Travis, Cinapse (DVD)