Tag Archives: 2001

CAPSULE: JESUS CHRIST VAMPIRE HUNTER (2001)

DIRECTED BY: Lee Demarbre

FEATURING: Phil Caracas, Maria Moulton, Murielle Varhelyi

PLOT: The Son of God recruits retired Mexican wrestler “Santos” to help him defeat the

Still from Jesus Christ Vampire Hunter (2001)

vampires who are preying on Ottawa’s lesbian population.

WHY IT WON’T MAKE THE LIST:  It’s defiantly odd, but not consistently funny or entertaining enough to rank among the all-time greats.  If you saw any two-minute stretch of JCVH selected at random, you might be convinced that this was a work of camp genius; but string 45 such segments together, and the comedy value runs a little thin.  It’s a hard movie to peg: in its own way, given its low budget, its a sort of masterpiece, and at the same time it’s sort of a disaster.  I think that if it had offered us one less overlong kung fu battle, and one more song and dance number, it might have had a shot at exalted weirdness. Ultimately, though, just as the tone is more irreverent than blasphemous, the style is more zany than weird, and that should keep it off this particular List.

COMMENTSJesus Christ Vampire Hunter is a stew of pop-cinema leftovers, mixing kung fu with horror, Mexican wrestling and even scraps of blaxploitation, all seasoned with a hint of sacrilege.  Like all peasant cuisine, it will be comfort food for many, but offend some refined palates—it’s definitely an acquired taste.  The technical aspects effectively evoke the feel of late seventies/early eighties exploitation movies, with drab urban cinematography, sound obviously added in post-production, and even a cheesy “waka-waka” funk theme as the heroes cruise down the highway. The action scenes are a problem here: for one thing, there are too many, and they’re too long. They’re just competent enough to remind us that they’re not quite up to snuff; Phil Caracas’ Jesus shows reasonable high-kicking athleticism, but he’s no action hero, and it would have been funnier and more endearing if he’d been clumsier. At any rate, the movie can’t be accused of false advertising. The campy/sacrilegious title scares off the squares and the fundies (though it’s obvious the filmmakers are clearly fans of JC’s philosophy of love and tolerance, if not proponents of his divinity). More to the Continue reading CAPSULE: JESUS CHRIST VAMPIRE HUNTER (2001)

CAPSULE: ESCANABA IN DA MOONLIGHT (2001)

DIRECTED BY: Jeff Daniels

FEATURING: Jeff Daniels, Harve Presnell, Joey Albright, Wayne David Parker, Randall Godwin, Kimberly Guerrero

PLOT: 42-year old Rueben must bag a buck during this year’s deer season or he’ll become

Escanaba in da Moonlight (2001)

the oldest male in the history of the Soady family never to have done so; with the help of a potion supplied by his Native American wife, he encounters strange supernatural forces that help him in his quest.

WHY IT WON’T MAKE THE LISTEscanaba is unique, at least: it’s got an interesting subject (the deer hunting subculture in Upper Michigan), lots of local color, and evil spirits (or UFOs, or God) haunting the woods.  Jeff Daniels has a lot of ideas here, but most of them fail: the crude quirk and sporadic weirdness never gels into something either meaningful or mirthful.  It ends up as a regional indie curiosity.  Escanaba does have its share of dedicated fans (mostly Michiganders)—must be a Yooper thing, eh?

COMMENTS:   The name Escanaba in da Moonlight sounds pretty cool, but doesn’t really fit the film—almost none of the action takes place in the town of Escanaba, and what little that does happens in the glare of the sun.  There’s plenty of moonlight, but it all falls well outside the town’s borders.  That’s pretty much the story of the movie, which puts things in just because they seemed cool at the time, without paying attention to whether they fit or not.  The movie knows where its soul is—holed up in the woods of the Upper Peninsula in a shack stocked with of maple whiskey and Leinenkugels, pronouncing its “th”‘s as “d”‘s, worried whether this will be the year middle-aged Rueben Soady finally shoots a deer.  It’s a recipe for a low-key male bonding comedy, but Escanaba loses its way when it expands beyond deer camp and goes cosmic.  Rueben is determined to break his curse before he becomes the record holder for oldest buckless Soady male, so he drinks a potion brewed by his mystically-attuned Indian wife and things get a bit weird.  Rueben and his camp pals—crusty but supportive dad, superstitious brother, and a family friend named “da Jimmer” who’s had a speech defect ever since he was abducted by an alien—chug down the brew and endure a night that’s half vision quest, half mushroom trip, with a touch of demonic possession and religious ecstasy thrown in for good measure.  They endure the flashing lights of UFOs, denatured whiskey, impossible euchre hands, a DNR ranger who’s just seen God, anxiety dreams, possession, epic flatulence, and a “bearwalk,” an evil spirit from Algonquin folklore.  The Soadys and their guests aren’t nearly as freaked out by these events as folks from under da Bridge would be; no matter how unsettling the paranormal events should be, the tone remains consistently stuck on coarse quirk, with jokes revolving around the supposed magical properties of jars of porcupine urine and the humiliation of accidentally drinking a moose testicle.  The movie’s message seems to be that in order to self-actualize and shoot a deer, it’s necessary to believe in something—anything—and it doesn’t really matter whether it’s aliens, ancient spirits, God, or the power of love.  That’s why all the supernatural occurrences that afflict the cabin are so damnably arbitrary; the trials Rueben goes through in that long night of the soul aren’t tightly tied to his psychological journey, and anyway, helpful spirits will show up at the end to solve his problem in about two minutes.  The unique Upper Peninsula flavor, deer-hunting rituals and likable rustic characters give Escanaba a lift, but the weirdness doesn’t work for the film, the comedy is gutshot and the spiritual triumph is lame.

Jeff Daniels, who grew up in Lower Michigan, not only starred, but also directed and scripted Escanaba, from his own play.  In the public mind, Daniels’ Golden Globe for The Purple Rose of Cairo (1985) has long been overshadowed by the scene where he suffers sudden and severe colonic distress in Dumb and Dumber (1994).

WHAT THE CRITICS SAY:

“…suggests Evil Dead II as directed by a lobotomized Garrison Keillor…”–Nathan Rabin, The Onion A.V. Club

(This movie was nominated for review by reader “Wycuff,” who called it “defiantly weird” but hedged with “It probably wont make the list but it’s at least worth a review and an honorable mention.”   Suggest a weird movie of your own here.)

74. VISITOR Q [Bijitâ Q] (2001)

“Some things are truly strange.”–Father from Visitor Q, preparing to commit an unnatural act

DIRECTED BY: Takashi Miike

FEATURING: Shungiku Uchida, Ken’ichi Endô, Kazushi Watanabe, Jun Mutô,

PLOT: Father is a television reporter who was publicly humiliated when he was sodomized on camera by a gang of punks, Mother turns tricks to pay for her heroin habit, teenage Daughter is a runaway prostitute, and Son beats his mom with a riding crop when he’s not being bullied by his schoolmates. One day, a strange man conks Father on the head with a rock and moves in to stay with the family. Thanks to his influence Mother and Father gain confidence in themselves, and the family is drawn together, as corpses pile up in their home.

Still from Visitor Q (2001)
BACKGROUND:

  • Visitor Q was made as part of the “Love Cinema” project, where six independent Japanese filmmakers made direct-to-video movies to explore the possibilities of the ne digital video format.
  • According to Miike the film was shot for a mere seven million yen (about $70,000) and completed in one week.
  • There are several times in the film where boom mics are visible.
  • Miike’s  plot owes much to Pier Paolo Pasolini’s Teorema (1968), in which a mysterious, nameless visitor serially seduces members of a wealthy Italian family.
  • Besides acting, the multi-talented Shungicu Uchida (“Mother”) is also a manga artist, singer, and writer.
  • Visitor Q was one of two winners of the 2010 “reader’s choice” poll asking 366 Weird Movies’ readership to select one film that had been reviewed but passed over for inclusion on the List of the 366 Best Weird Movies ever made.

INDELIBLE IMAGE: In a movie full of shock after shock, it’s the very last image, a scene of perverse family unity, that turns out to be the most affecting and haunting.

WHAT MAKES IT WEIRD: Visitor Q is a baffling parable of perversity.  What starts out as a depraved but unhappy family ends up as a homicidal and unified clan, thanks to the intervention of a mysterious, omnipotent stranger who cracks the father on the skull with a rock and teaches the mother to lactate. Along the way, Miike films the family graphically indulging in every act of sexual deviance he can think of, and even makes up some new ones.


Short clip from Visitor Q

COMMENTSVisitor Q is a confounding, bewildering movie, and not just because of the Continue reading 74. VISITOR Q [Bijitâ Q] (2001)

BORDERLINE WEIRD: VISITOR Q [Bijitâ Q] (2001)

Due to popular demand, Visitor Q has been re-evaluated and certified weird, and the review has been updated to a full entry. This initial review is left here for archival purposes.

DIRECTED BY: Takashi Miike

FEATURING: Ken’ichi Endô, Shungiku Uchida, Kazushi Watanabe, Jun Mutô, Fujiko

PLOT: A bizarrely dysfunctional Japanese family—dad is a TV reporter on haitus after

Still from Visitor Q (2001)

being sodomized by interviewees on camera, mom is a heroin addict and part-time hooker, son is bullied at school and beats his mother at home—becomes even stranger and more antisocial after a mysterious stranger shows up in their home.

WHY IT’S ON THE BORDERLINE: It’s bizarre indeed, but Visitor Q is more interested in grossing out its viewers than it is in weirding them out.  It’s more a shock movie that’s incidentally weird than a weird movie that happens to be shocking.  The film doesn’t lack for surreality, or its own peculiar kind of quality within its type, but it seems to fit more comfortably into the shock genre than the weird genre.

COMMENTS:  Watching Visitor Q, I found myself wishing Miike had the courage to make the hardcore porn fetish movie that he really wanted to make, instead of pulling his punches by wrapping the psychological nudity in gauzily transparent strips of art and satire.  After all, the movie’s prime showpieces are father-daughter for-pay incest, sodomy by microphone, insanely copious lactation, rape, and necrophilia, all shown with as pornographic a level of explicitness as Miike could get away with (there is genital fogging, though unfortunately in a key scene there is no anal fogging).  In a virtually unshockable age, it would have been truly audacious for the bad-boy director to make an out-and-out porn film without artistic pretensions; as it is, by sprinkling his fetish video with a little redeeming surrealism, all Miike risked with the project was being hailed as the Japanese Passolini.

Visitor Q doesn’t lack either for weirdness or technical quality.  Starting with the latter, Continue reading BORDERLINE WEIRD: VISITOR Q [Bijitâ Q] (2001)