Tag Archives: 2003

Capsules

CAPSULE: THE CAT IN THE HAT (2003)

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“I’m not so good with the rhyming.”  – The Cat (Mike Myers)

DIRECTED BY: Bo Welch

FEATURING: Mike Myers, , Spencer Breslin, ,

PLOT: Two children left alone at home encounter a human-sized talking cat who leads them on a series of wacky and destructive misadventures.

Still from Cat in the Hat (2003)

COMMENTS:

Shall I spin you a tale of a movie gone wrong?
Of 82 minutes that feel three days long?
Then I’ll tell unto you, just right there where you’ve sat
Of the travesty known as The Cat in the Hat.

‘Twas a gray day in Hollywood, no dreams to dream,
When one junior executive cooked up a scheme:
“What we need’s some IP we can plunder for cash.
It can be mediocre, can even be trash!
All we need is the title; who cares if it’s rank?
They’ll fill up the theaters, and we’ll all make bank.”

“You’re so right,” said his colleagues, “it’s easy as pie.
For familiar content, we won’t even try.”
So those vultures considered what might be of use
And decided to dig up our dear Dr. Seuss.

“We’ve done it before,” they all cried. “It’s a cinch.
We grossed two-sixty mill on that trash heap, The Grinch.
Which proves that we needn’t pretend like we care. No,
That garbage still vacuumed up mucho dinero.”

The honchos began to assemble the parts
That would demonstrate all of their filmmaking smarts.
A novice director? Sure, that’ll be fine.
“We’ll pick some guy known for production design.”

“And a script?” a small voice piped up. “I took a look
And it might be a challenge to translate a book
That’s so short. We’ll get ripped by the Dr. Seuss nerds;
It’s one thousand six hundred and twenty-six words.”

“Damn the length!” came the riposte. “Damn logic and plot.
For those minor objections,” they said, “we care not.
Once we get a big star, we’ll have no cause for worry.
His comedy chops will fix things in a hurry.”
So they looked at the feline displayed on the front
And decided to try an uproarious stunt.
Tall and thin, long of limb, with a wide, gleeful eye…
“Mike Myers!” they cried. “There’s no doubt he’s our guy!”

And perhaps that is how we arrived at this place,
At a movie so lacking in wit and in grace.

Continue reading CAPSULE: THE CAT IN THE HAT (2003) →

List Candidates

APOCRYPHA CANDIDATE: THE GLAMOROUS LIFE OF SACHIKO HANAI (2003)

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Hatsujô kateikyôshi: Sensei no aijiru

DIRECTED BY: Mitsuru Meike

FEATURING: Emi Kuroda

PLOT: A call girl survives a shot in the head and acquires the cloned finger of George Bush.

Still from the glamorous life of sachiko hanai (2003)

WHY IT MIGHT JOIN THE APOCRYPHA: Add George W. Bush saying “G-spot” in a Japanese accent to the list of things you never expected to see (or hear) in a movie. The Glamorous Life of Sachiko Hanai might not be the most polished or profound flick out there, but left-field surprises like that are the reason we watch weird movies.

COMMENTS: Sex films sometimes give low budget directors the chance to innovate and experiment. So long as you deliver the anticipated dose of T&A every ten minutes, the thinking goes, you can fill up the interstices with whatever nonsense or profundity you like. Some frustrated auteurs have taken this opportunity to mix ambitious absurdism with sex: started in hardcore, decided to make an entire oddball career in , and mixed pornography with honest-to-God surrealism. The Glamorous Life of Sachiko Hanai stands firmly in this tradition, but with a typically Japanese panache.

The opening scene is a 6-minute soft sex scene with call girl Sachiko seducing a client while posing as his tutor. The clip is made for straight wanking, betraying no hint of the avant-garde pretensions to come. Afterwards, during a confrontation at a cafe between two secret agents, Sachiko is shot but inexplicably survives a bullet to the head, while her lipstick is accidentally switched with a container holding the finger of a clone of President George W. Bush. The accident leaves her with super-intelligence and psychic powers, and she soon seduces a famous professor who like to discuss Noam Chomsky while boning. He hires her as a tutor to his underachieving adult son who’s only interested in military history. Meanwhile, a North Korean spy is searching for Sakicho. Eventually, in the film’s strangest scene, the finger reveals its true nature, as a man in a paper George Bush mask delivers a deranged villain speech from a TV monitor (occasionally interrupted by footage of Iraqis pulling down Saddam Hussein’s statue) while Sachiko, penetrated by the detached digit, writhes on the ground in involuntary ecstasy. That plot is bizarre enough, but there are plenty of surreal embellishments along the way: a crude cartoon, psychedelic green screen compositions, peeks into the activity inside the hole in Sakicho’s head, and one brief scene acted out by G.I. Joe action figures.

Unfortunately, even if you’re up for the softcore interlude every ten minutes, all of this intriguing absurdity comes with a big downside: rape. Most reviews imply that there is one rape scene—and the one they are focusing on is icky and especially gratuitous—but there are technically more that that. There’s one where Sachicko is nearly comatose and unable to give consent, one that begins as an assault when a girl tries to break up with her paramour (but appears consensual thereafter), and of course the infamous “finger” scene (which, to be fair, is so absurdly conceived that it’s hardly disturbing). Even if you don’t find these bits nauseating, they’re completely at odds with the lighthearted, comic tone of the rest of the film. Lead Emi Kuroda is so and bodacious and spunky that, properly directed, Sachiko could have been a sex-positive goddess. The movie misses a great opportunity to be a vehicle promoting positive erotic energy as an antidote to the militaristic Thanatos drive, which would have been an absolutely winning formula. As it is, no one is going to fault you if you can’t get over the movie’s implicit and explicit misogyny; it’s a glaring flaw, and quite possibly a fatal one. On the other hand, even though the attempted political satire isn’t particularly trenchant, consisting as it does of a not-so-bold anti-nuclear annihilation stance, there’s something wholesome about plopping a prominent world leader into the middle of a smutty picture.

As a pink film, Sakicho Hanai originally ran just over an hour and was titled Horny Home Tutor: Teacher’s Love Juice (!) Director Mitsuru Meike expanded it by about 25 minutes and sold it to film festivals as a cult movie. The Japanese trailer shows Meike pitching the film to a politician, hoping to get a quote for the poster. He tells the functionary who answers the phone that he’s only been able to make soft porn movies so far and that Sachiko Hanai “may be the last chance for me.” The DVD includes that trailer, the US release trailer, the Horny Home Teacher cut of the film, and a short film sequel (“The Adventure of Sakicho Hanai”) that is, if anything, more offensive than the feature, with no nudity but featuring puppet rape and Sakicho wrestling a woman in blackface.

WHAT THE CRITICS SAY:

“…seems to exist in an uneasy limbo between avant-garde brilliance and completely inane abrasiveness… at times suggests Eraserhead reborn as a softcore Japanese porno flick…”–Rob Humanik, Slant

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

List Candidates

LIST CANDIDATE: NAILS (2003)

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Gvodzi

DIRECTED BY:

FEATURING: Alexander Shevchenko, Irina Nikinitina, Andrey iskanov, Svyatoslav Iliyasov

PLOT: In order to cope with increasingly painful migraines, a young hitman explores the boundaries of self-trepanation… with nails.

Still from Nails (2003)

WHY IT SHOULD MAKE THE LIST: Even putting aside its bizarre subject matter, Nails‘ visual and audio design makes this a weird little movie. At times feeling like Metropolis with its hazy building shots and at other times feeling like a Flash animation upgrade of Begotten, Iskanov’s debut feature alternates between unsettling visual grandeur and disorienting close-up uncertainty.

COMMENTS: With under two-dozen slots to go, any sell for Certification is going to be a hard one. An hour-long head-trip (full of nails), Andrey Iskanov’s freshman entry strikes all the right notes for straight-up weird, and, on all counts for consideration, nails it. It’s disorienting to watch, alternating between art-house gore and art-house poetry. It’s strange to listen to, the soundtrack veering between Tetsuo: the Iron Man dissonance and New Age resonance. And it’s jam-packed with novice special effects that run the gamut between inspired and bizarre. There’s even some political commentary for those looking for a meaning deeper than its simple plot suggests.

Along with Dillinger is Dead, Nails falls into the “man puttering around his apartment” narrative family. An unnamed hitman suffers from crippling migraines that prescription medication and hard drinking can’t seem to fix. During a particularly nasty attack, our protagonist passes out on a magazine article about a healthy-seeming man whose autopsy revealed “over 500 grams of rusty metal” in his brain. Seizing an opportunity for deliverance, the hitman runs with the idea and delicately hammers a long nail into his skull. He has a nice long nap and upon awakening finds himself alive, free of pain, and acutely aware of reality in a way he had not been beforehand.

Nails begins with a brutal black and white palette and, like The Wizard of Oz, bursts into over-exposed color the moment the nail’s tip makes contact with brain. His apartment strangely brightens and everything inside gains a vivacious and sometimes sinister sharpness. Sitting to eat his first “enlightened” meal, he finds that his tins of food all contain different kinds of jellied-awful: fingers-in-green in one, creepy-shellfish-in-purple in another, and so on. Still, he revels in his new perception, poring over a book of Magic Eye-style patterns as he soaks in his saturated ambiance. But, as is their wont, things start to go badly. Another migraine attack requires further, more intensive treatment. Now with a head full of nails, his life goes literally out of focus; with the arrival of his girlfriend, the soundtrack ticks it up a notch and a climactic build-up further discombobulates with an alarming Spirograph-vision interlude.

The oddest flourish I found, however, was what seemed an indictment of contemporary Russian bourgeois society. The hitman’s apartment is stuffed to the gills with middle-class trappings: twee wallpaper, a hi-fi system, a grandfather wall clock, and so on. Only by damaging his established perceptions does the hitman come to see its shallowness and pointlessness. More tellingly, the movie opens with dialogue from one of his victims, who quips that the only thing that frightens him would be the death of the president—followed by a burst of chuckles before being shot. Putin had been president for three years by the time this movie was made, and already Iskanov could see that the wool was being pulled over the eyes of the Russian citizenry: trading self agency for cheap comfort. A vibrant, violent, trippy, industrial trepanation movie with socio-political overtones? Sounds… weird.

WHAT THE CRITICS SAY:

“It’s a fairly vague and amorphous little movie, but Iskanov deserves commendation for his comment to, well, weirdness.”–Scott Weiberg, DVD Talk (DVD)

Canonically Weird (The List)

316. SAVE THE GREEN PLANET! (2003)

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Jigureul jikyeora! 

“I sometimes feel as if movies from all over the world have melted inside me.”–Joon-Hwan Jang

Recommended

DIRECTED BY: Joon-Hwan Jang

FEATURING: Ha-kyun Shin, Yun-shik Baek, Jae-yong Lee, Jeong-min Hwang

PLOT: Aided by Sooni, a lovelorn acrobat, Byung-goo abducts Kang, a pharmaceutical company executive, believing him to be a high-ranking agent of a group of aliens from Andromeda bent on eradicating the earth. As a pair of detectives close in on Byung-goo, the delusional man tortures the businessman in the basement of his remote cabin, hoping to force him to use his “royal DNA” to contact the prince of the Andromeda galaxy. Kang escapes but is recaptured and hobbled, and begins to play a psychological game with his tormentor, pretending to cooperate to avoid further injury.

BACKGROUND:

  • Jang says the scenario for Save the Green Planet! was inspired by an Internet post suggesting was an alien in combination with his fondness for (and dissatisfaction with) Stephen King’s Misery.
  • This was Joon-Hwan Jang’s debut feature. He has made two movies since, a crime feature and a historical drama, neither of have shown significant weirdness or drawn many eyeballs outside of South Korea.

INDELIBLE IMAGE: Byung-goo’s homemade alien hazmat suit: a trash bag poncho with a modified miner’s helmet rigged with blinking gizmos (including a rear view mirror that bobbles up and down) of uncertain purpose and utility. The first time you see him outfitted in this garb, you know exactly who you’re dealing with.

THREE WEIRD THINGS: One bullet, one bee; ghost mom with meth; aliens did kill the dinosaurs

WHAT MAKES IT WEIRD: The first two thirds are a demented genre mashup of sci-fi, comedy, horror, thriller, and action elements whose rambunctiousness is aimed squarely at midnight movie audiences. But it’s the final act, which shifts to an even madder perspective and goes so far as to outright steal scenes from 2001: A Space Odyssey (1968)—while still managing to feel original—that puts it over the top.


English-language trailer for Save the Green Planet!

COMMENTS: Despite a sometimes (and sometimes not) predictable Continue reading 316. SAVE THE GREEN PLANET! (2003) →