Tag Archives: 1996

Capsules, It Came from the Reader-Suggested Queue, List Candidates

APOCRYPHA CANDIDATE: UNITED TRASH (1996)

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aka The Slit

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DIRECTED BY: Christoph Schlingensief

FEATURING: Udo Kier, Kitten Natividad, Joachim Tomaschewsky, Johnny Pfeifer, Jones Muguse, Thomas Chibwe

PLOT: The wife of a gay German UN commander stationed in Africa gives birth to a child who is declared the new messiah; when an accident causes the boy to be horribly injured and endangers the UN mission, an escalating battle for power arises between the power-hungry commander, a religious leader who has declared war on the Vatican, and a chieftain who is attempting to actualize his dream to ride a ramshackle rocket into the White House to kill the American president.

Still from United Trash [AKA The Slit] (1996)

WHY IT MIGHT MAKE THE APOCRYPHA: Movies can be weird, they can be strange, they can be bizarre, but it’s rare to come across a movie that is actually insane. Under the trappings of satire on a global scale, United Trash offers a critique of international affairs forged in the crucible of late 20th century daytime talk shows. There is not a single character in the film who isn’t as awful as they can be, nor a situation that is not plussed to become the most grotesque version of itself. So many fluids are spattered across the screen, everyone is subject to abject humiliation, and not a single institution fails to be undermined. Rarely has a film’s contempt for its subjects been so blatant and so complete, nor has a commitment to the most base appeals for a laugh been pursued so vigorously.

COMMENTS: In a career cut appallingly short by cancer, Christoph Schlingensief racked up a remarkable number of achievements, including staging a Wagner opera at the Bayreuth Festival, making plans to build a performing arts center in Burkina Faso, and curating a retrospective of his art that was staged posthumously at the Vienna Biennale. In cinema, he created a trilogy of films exploring the trauma caused by both the rise of Hitler and the process of German reunification. (The last of those, Terror 2000, also sits in our Reader Queue.) And in the middle of all this, he directed a film in which Udo Kier paints himself in blackface, dons a skirt made of bananas, and dances like a monkey in front of an audience of Africans while stroking the center banana aggressively. It’s an extraordinary career.

United Trash features one of the most game casts I have ever seen. There’s not an ounce of shame among the lot of them. They got the note that subtlety would be punishable by death, and they responded by going furiously over the top. Keir leads the way with his relentless prissiness, matched by a frequently naked Natividad raving maniacally about her lack of sexual satisfaction. They are surrounded by actors working just as hard to win the title of Least Restrained Performance, including a Hitler-mustachioed doctor/rocket scientist, an amoral, sexually ravenous, Vatican-hating priest, and Keir’s absurdly bewigged, unexpectedly jacked, child-molesting Continue reading APOCRYPHA CANDIDATE: UNITED TRASH (1996) →

Capsules, It Came from the Reader-Suggested Queue

IT CAME FROM THE READER-SUGGESTED QUEUE: TIERRA [EARTH] (1996)

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DIRECTED BY: Julio Medem

FEATURING: Carmelo Gómez, Emma Suárez, Silke, Karra Elejalde, Nancho Novo

PLOT: A man fresh out of a mental hospital takes a job fumigating a scourge of wood lice in the countryside in Spanish wine country, where he finds himself irresistibly drawn to both a comely young wife who is neglected by her farmer husband and a spirited wild child who is being kept as a mistress by that same husband.

Still from Tierra (1996)

COMMENTS: Ángel is cool as a cucumber. At least, Ángel as portrayed by Carmelo Gómez is cool as a cucumber. Looking like Judd Nelson at the moment when he might have been the sexiest member of the Brat Pack, he’s utterly unflappable, rolling into town in his exterminator truck and telling the residents how he will wipe out the wood lice that have been making their wine taste “earthy.” Is earthy bad? You wouldn’t think so to watch Ángel take a taste. On paper, he ought to be the most unsettled man in Spain: mental stability in question, with a trip to a sanitarium that everyone knows about, his life narrated by an alter ego that constantly reminds him of his mortality, reduced to killing bugs in a dusty nowheresville, and deeply attracted to two beautiful but distinctly opposite women, each of whom is being kept by a possessive and violent man. Ángel ought to be up to his ears in anxiety. But there he sits, laid back like the cool philosophy professor, taking things as they come, man. It’s fascinating.

Tierra is notably odd for being a character study about a character with very little character. Ángel keeps finding himself in extreme circumstances: encountering a lightning strike victim, arousing the ire of a full Roma encampment, accidentally (?) shooting a rival during a town-wide hunt for wild boars. In every case he is preternaturally calm, taking in the circumstances with the passive contentment of a saint—which the film suggests he may be, hinting more than once that he has had a life-changing experience. On the other hand, we’re also told that his stint in the mental ward was due to an “overactive imagination.” Whatever Ángel’s truth may be, Gómez plays it close to the vest.

It would be completely reasonable for Ángel to be torn between the two young women he meets in town. Ángela, the fetching young mom with a name that screams out how in sync the two must be, is played by Suárez with an aching need that she hopes the newcomer can fill. Meanwhile, Silke’s sexpot Mari always seems to be bending over a pool table with painted-on jeans and a come-hither stare, but she is just as desperate for the change in circumstances that Ángel could provide. But what exactly Ángel has to offer to either of them, beyond escape from the status quo, is not entirely clear. Medem manufactures some suspense over whether he will end up with the sweet mom or the hot chick, but neither the tension nor the choice is altogether convincing. 

In a review of another Medem film, a critic observed that “there’s the sense that he’s more interested in his ideas than in his people.” That suspicion permeates Tierra. The barrenness of the Spanish landscape captivates, creating an almost apocalyptic feel, and an outsider with a supernatural connection would absolutely fill a narrative void. But Medem’s affection for Ángel is such that his protagonist does nothing but win, which means that even the ideas aren’t all that compelling. Wherever Ángel and his new companion are headed, there is little reason to worry about them. No wonder he’s so cool all the time. He never has to feel the heat.

WHAT THE CRITICS SAY:

“Like Medem’s two most recent films, ‘Tierra’ (Spanish for ‘Earth’) is an intricately structured, densely allusive affair. Its central figure is an itinerant exterminator named Angel (Carmelo Gomez) — a nod in the direction of Luis Bunuel’s ‘The Exterminating Angel,’ you might think, but only in the sense that both films draw water from the same surrealist pond… Despite its affectations, however — thanks mainly to a stunning ocher cinematographic palette, rock-solid acting and a story that’s as robustly sensual as it is otherworldly — ‘Tierra’ keeps its two feet (two of everything, in fact) firmly grounded on this Earth.” – Michael O’Sullivan, Washington Post (repertory review)

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

Tierra

Tierra
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Capsules

CAPSULE: JACKER 2: DESCENT TO HELL (1996)

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DIRECTED BY: Barry Gaines

FEATURING: Phil Herman, Barry Gaines, Ben Stanski

PLOT: After being thrown off a cliff Mike, the carjacker-cum-serial killer from Jacker, becomes an invulnerable supernatural entity.

Still from Jacker 2: Descent Into Hell

COMMENTS: Where to start with Jacker 2? Well, maybe start with Jacker, the senseless story of a serial-killing carjacker who likes to put blood in his Wheaties and who easily outwits some of the stupidest cops in the world, who can’t figure out he killed his girlfriend because they never think to check the handwriting on her suicide note and can’t figure out he killed the investigating detective’s sister despite his basically threatening to do so in front of a group of police witnesses. It features dingy VHS camcorder videography often lit by streetlights, some less-than-thrilling taking-an-elevator-to-your-apartment scenes, lobotomized acting, sound that ranges from inconsistent to inaudible, and a reasonable amount of violence, but almost no gore or special effects. (To be fair, the script for Jacker was written in a reported four days.)

Jacker 2 picks up exactly where Jacker left off, and most of Jacker‘s characters—including the dead ones—show up again. This fact might give you some reason to watch Jacker, but the main reason to watch Jacker is because it makes Jacker 2 look so much better by comparison. Although the sequel’s story is even more nonsensical—a positive, since the whackadoodle plot is the only real reason to watch this—everything else is much improved. There are a greater variety of creative camera shots, more effective attempts at deliberate comedy, sleazier sex scenes, goofier supporting characters, better (though still not good) sound, occasional lighting for scenes, more non-sequiturs, a bigger ketchup budget, and a trip to Hell (which, as you might have suspected, is actually a basement in New Jersey)—complete with demonic costumes that might have looked silly except for the fact that you can barely make them out through the heavy yellow filter and solarization haze. The editing is actually impressive, given the low quality of the raw footage they had to work with. While Jacker 2 likely would have earned a “Beware” rating if I had seen it first, in contrast to Jacker, it’s a near masterpiece—the Citizen Kane of New Jersey-shot microbudget invulnerable supernatural carjacker flicks.

Of course, it’s a rough ride for the average viewer accustomed to movies with more polish, but Jacker 2 is—if not actually good—at least memorable. The 90s no-budget shot-on-video aesthetic is a real one (heck, Harmony Korine even deliberately aped it). In fact, with all of its technical deficiencies, the biggest complaint against the film is that, at 105 minutes, it’s way too long. Trim out a few of the carjackings that went nowhere, and it would almost be a strong little indie.

Falcon Video was (is?) a New Jersey-based team of zero-budget horror film makers who originally sold most of their movies through mail order. They take turns directing, writing and producing films, but Phil Herman (who stars as Mike the Jacker, wrote both films, and directed the first one) is the central figure. They’re a fascinating collective: a group of friends who break out the camcorder and make feature films in their spare time while holding down day jobs. We should all be so lucky. There are lots of references to Falcon Video and other FV films spread throughout Jacker and Jacker 2, including a running joke that whenever someone’s TV is on, there’s an FV production onscreen.

Semi-star alert: Marilyn Ghigliotti had a major role a few years earlier in cult classic Clerks (she played Dante’s girlfriend, Veronica), but accepts a much smaller role here; talk about climbing down the ladder! (Don’t worry, Marilyn rebounded and is doing just fine today, having accumulated 42 IMDb credits and counting.)

WHAT THE CRITICS SAY:

“…it doesn’t just repeat the earlier movie’s formula but adds horror and the supernatural to the mix in a way that comes across as properly creepy, and it’s clear to see the filmmakers made the most out of what little they had. And the result … may not be a masterpiece, objectively speaking, but if you’re into shot-on-video movies from the era, there’s a good chance you might like this one.”–Michael Haberfelner, (Re)search My Trash

Jacker / Jacker 2: Descent to Hell [Blu-ray]

Jacker / Jacker 2: Descent to Hell [Blu-ray]
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Capsules, It Came from the Reader-Suggested Queue

CAPSULE: TRAINSPOTTING (1996)

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DIRECTED BY:

FEATURING: , , , Jonny Lee Miller, , Kelly Macdonald

PLOT: Renton, a heroin addict struggling to get his life under control, is just one of a collection of misfit 20-somethings puttering around Edinburgh, Scotland, in this stark and blackly-comedic examination of the underworld.

Still from Trainspotting (1996)

COMMENTS: A commonly requested movie in our reader request queue, Trainspotting holds the ranks of cult classic, box office smash (relative to its budget), and critical hit. Not only is the movie itself enshrined by fans, but the soundtrack—one of the biggest reasons why this is a cult film to begin with—was a worldwide multi-platinum seller. To make sure that I don’t go off on anymore tangents about the soundtrack (because I adore it, natch), here’s my coverage over at my music blog gig so I can focus here on the movie; later, I’ll climb on my soapbox about drug legalization/awareness/safety. When it comes to this movie’s themes, I find myself almost distressingly overqualified to discuss it.

I trust that after almost three decades almost everybody interested has seen (or at least heard about) the film, so I’ll just fill in some light non-spoily details. Trainspotting has a Pulp-Fiction-like structure, with several intersecting lives on various trajectories, some headed up and some headed down, verily, to the gutter or the grave. At the center of this busy rat’s nest of urban squalor is antihero Renton (McGregor), heroin addict trying to get his life on track. His mates are Sick Boy (Miller), a blond pimp, co-junkie, and charming sociopath; Spud (Bremner), a luckless underdog with the personality (and IQ) of a Labrador puppy; Begbie (Carlyle), a brawling psychopath with a hair-trigger temper that even scares his closest friends; and Tommy (McKidd), a squeaky-clean and very self-righteous jock. Renton is trying his best to straighten out and fly right. But first he has to overcome his addiction, and then the gravitational pull of urban poverty. Renton stands at the threshold of a bleak and joyless existence, wondering if his own future is worth salvaging.

When it comes to weird-movie credentials, everyone seems to remember the toilet where Renton dives after his precious suppositories—a shot of it is in every trailer. Some recall the dead baby crawling on the ceiling, turning his head Exorcist-style before falling down on Renton, just one of many hallucinations the addict experiences during extreme withdrawal. But let’s not forget the overdose scene, where Renton nods off so hard that he physically sinks into the carpet about six feet deep… and we’re stuck in that POV all the way to the hospital, when a shot brings him bolting out of his drug coma (and return to wide-screen). His dealer, Mother Superior (“jumped the gun”), stuffs Renton’s limp body into a cab, and the cab driver in turn dumps him on the street in front of the emergency room like a Continue reading CAPSULE: TRAINSPOTTING (1996) →