Tag Archives: 2010

CAPSULE: INSIDIOUS (2010)

366 Weird Movies may earn commissions from purchases made through product links.

DIRECTED BY: James Wan

FEATURING: , Rose Byrne, Ty Simpkins, Lin Shaye

PLOT: A young boy falls ill when he moves into a new house; mom is convinced the home is haunted, but when they relocate again, the kid doesn’t get better, and the apparitions get worse.

Still from InsIidious (2010)

COMMENTS:  Having launched the smash hit Saw franchise in 2004, director James Wan was still a somewhat hot name in horror in 2010, despite the fact that his intervening work had not been particularly successful. Producing independently, he once again teamed with scriptwriting partner Leigh Whannell for the haunted house flick Insidious, whose surprising box office receipts were hefty enough to launch a new four-film franchise1 and reignite his career.

Watching the film for the first time a decade after release, it’s difficult to see what the appeal was. It’s not that there’s anything really wrong with Insidious; it’s just not clear why it should succeed where so many interchangeable horrors lie forgotten. The premise is not particularly unique, there’s no breakout villain like Saw‘s Jigsaw, no special effects to speak of, no psychological subtext, nothing to tap into 2010’s zeitgeist, no killer nightmare scene that sticks in the memory. It is, in every aspect, an absolutely middle-of-the-road Hollywood-style spook show.

To its credit, Insidious leaves Saw’s torture and gore formula behind in favor of actual horror. Doors open on their own, there’s mysterious murmuring on the baby monitor, the burglar alarm goes off with no one around, and the frazzled mom sees shadow people lurking outside the window. But each decent directorial decision (a haunting use of “Tiptoe Through the Tulips”) is counterbalanced by a poor one (no explanation for how the family affords a four-bedroom country estate and round-the-clock medical care on a high school teacher’s salary). The lighting drapes the spooky figures in just the right amount of obscuring shadow, and the other technical elements are professional. But the casting is ho-hum: Patrick Wilson is blah; Rose Byrne is fine, but doesn’t look much like a mom of three; is indisputably in the movie; Lin Shaye makes for an OK psychic exorcist, but her character inevitably invites unfavorable comparisons to Poltergeist‘s Zelda Rubinstein (an obvious inspiration.) On the other hand, her two nerdy, squabbling comic-relief assistants worked well (and could have supported their own spin-off comedy film).

As far as weirdness goes, the case for Insidious is slim at best. It’s no stranger than any other ghost movie you’ve seen, and comes complete with the usual deflating supernatural explanations for everything that happens. The trip through the looking glass into the spirit realm (here called “the Further”) is well done and eerie, with damned souls endlessly re-enacting ancient tragedies, deaf and blind to the living walking among them. The big bad boss demon (also the film’s Tiny Tim fan) could have been majorly scary, if not for the fact that his design reminded everyone who saw him of a certain character from The Phantom Menace (thankfully, not Jar-Jar, although that would have been a bold choice). Insidious ends with a twist that surprised absolutely no one (and may have ruined the film for some people who were willing to give it a pass up to that point). None of this, good or bad, rises to the level of weird, in our judgement. It’s ultimately a film to take or leave, to enjoy well enough and forget about as soon as it’s over. At least it’s not torture porn.

WHAT THE CRITICS SAY:

“By the time the absurdly deflating finale rolls around, Wan has managed to not only botch his own film, but sully the one cool element of Star Wars Episode One: The Phantom Menace as well.”–Nick Schaeger, Lessons of Darkness (contemporaneous)

(This movie was nominated for review by Rick Yeoman, who asked, “Is Insidious included? Should be. At first the movie’s great, but when it reached the climax, I found it weird. I hate the twists. Not scary anymore. Ended up funny.” Suggest a weird movie of your own here.)

CAPSULE: RARE EXPORTS: A CHRISTMAS TALE (2010)

366 Weird Movies may earn commissions from purchases made through product links.

Recommended

DIRECTED BY: Jalmari Helander

FEATURING: Onni Tommila, Jorma Tommila, Jonathan Hutchings

PLOT: On the Finnish/Russian border, an excavation crew disturbs an evil that has been buried for centuries—the real Santa Claus!

Still from Rare Exports (2010)

COMMENTS: Set in a chilly Lapland that’s eerily devoid of women (the fairer sex are, apparently, even rarer than Santa Claus), Rare Exports is a slow-burn horror marketed as a black comedy. It wears its coat of absurdity lightly, taking its  outré premise about a monstrous Christmas spirit with, if not utmost seriousness, at least the same amount of gravitas that you’d expect from a B-movie about summoning a standard-issue Hollywood demon. It always helps an enterprise like this when you can get a good performance from a child actor. Young Pietari, whose father requires him to close his eyes when he enters the slaughterhouse so he won’t be traumatized by reindeer corpses, starts off still believing in a benevolent gift-giving Santa. The boy grows into (naturally) the only one who recognizes the danger posed by Santa, and eventually into the savior of his small village. Dressed for much of the movie in improvised armor—a hockey helmet and shoulderpads—young Onni Tommila, alternately quizzical and confident, outshines the older actors, who all play rustic stoics.

Despite a surprising amount of geriatric nudity, Rare Exports is not really a weird movie—but it was an original one when it was released in 2010. Aside from the similarly-themed but little-seen Santa’s Slay (2005), previous Christmas horrors had been almost exclusively slasher flicks about madmen obsessed with Santa Claus who dressed up like the jolly old elf for their killing sprees. Rare Exports instead identified Santa himself as evil—recalling his legendary Finnish origins as Joulupukki, the “Yule Goat.” This movie inspired other horror filmmakers to research the darker side of Yuletide legends, leading to the rediscovery of Krampus and a series of competing films about the Christmas devil. In other words, Rare Exports launched a sub-genre (the demonic Christmas spirit) inside a sub-genre (the holiday-themed horror).

Rare Exports: A Christmas Tale derives from two short films from the same director, and serves as a sort of prequel. The shorts are presented as instructional videos, and are more obviously in the black comedy rather than the horror vein. Not to get too deep into spoiler territory, but the shorts suggest “Father Christmases” are a separate, feral species, without acknowledging the single demigod known as “Santa Claus.” The mythos described by the shorts is weirder than that in the feature, and the two don’t seem entirely compatible. In fact, the ending of the feature doesn’t make as much sense independently without seeing the shorts; for most of the film, we are asked to accept on faith the notion that possession of the original Santa Claus would be worth a lot of money, without a sense of how he could be commercially exploited. For my money, the universe of the shorts is superior—the problem being that it’s too much of a one-joke a premise to support an entire movie, which is why the expanded version leans into horror rather than comedy. For the best experience, watch the shorts and the feature in tandem for two different takes on the same basic idea. If you’re the kind of person who liked the Grinch better before his heart grew three sizes, Rare Exports may become a holiday staple at your house. It beats the 200th screening of the usual chestnuts, at least.

WHAT THE CRITICS SAY:

(This movie was nominated for review by “Paul Singleton,” who dubbed it “an excellent movie and very strange to say the least. This one will be certified weird by you guys at some point.” Suggest a weird movie of your own here.)

CAPSULE: SKELETONS (2010)

DIRECTED BY: Nick Whitfield

FEATURING: Ed Gaughan, Andrew Buckley, Tuppence Middleton, Paprika Steen, Jason Isaacs

PLOT: Two psychic investigators—memory extractors who literally find “skeletons in the closet”—investigate a missing person case at the request of an eccentric family.

Still from Skeletons (2010)

WHY IT WON’T MAKE THE LIST: Skeletons is sort of a whimsical corporate memory scenario, with a dash of humor, on an obvious low budget. Its ambition makes you want to root for it, but the end result is so minor that it ultimately doesn’t leave a lasting impression.

COMMENTS: Naturally gifted but troubled Davis and big-boned Bennett, the more stable of the team, are a pair of—psychic exorcists? Through a combination of technology and mental gymnastics, they are able to enter into people’s memories (entering via their home closets) and discover their secrets. The rules to this procedure are never clearly laid out. We stumble upon certain concepts in the course of the investigation, which is generally a good way to introduce information while keeping up the suspense, but here the technique is sometimes clumsy. (Why the necessity to build a “bypass” around the family’s homestead after the “triangulation fails,” except to buy the script more time to explore a parallel plot development?) At other times, the procedure’s dodgy mechanics lead to amusingly absurd results: “glow chase” too often, and you might end up “going Bulgarian.” One of the strangest things about the premise, which was never explained to my satisfaction, is who exactly the market is for these services. It appears to be couples who are afraid to tell each other their deepest secrets and require professional interventions, New Age dilettantes, and skeptics who end up embarrassed by the revelations; not much of a customer base, in my opinion. Although it’s presented as an unusual assignment, the idea of the two being sent on a missing persons case makes more sense—perhaps their objective perspective will allow them to find a clue in someone’s memory that person would miss. In fact, the movie might work best as the pilot episode for a weekly psychic mystery series that never happened.

Gaughan and Butler, veterans of British television, show good comic timing and chemistry. Each shows a mixture of loyalty to, and exasperation with, the other that makes their long-term partnership believable. They spend their long walks (for budgetary reasons, I guess, no one in their organization owns a car) discussing whether Rasputin was morally admirable. Bennet is concerned about Gaughan’s lifestyle and covers for him, but that doesn’t stop the pair from bickering on the job. The supporting characters do their jobs well: Paprika Steen as the quirky possible widow/potential love interest, Jason Isaacs as the bullying boss. The oddly-named Tuppence Middleton is the weakest link, if only because her suspiciously mute character often plays like more of a plot device than an organic presence. The comedy works, at least in spurts, at its funniest when Gaughan reads off his bureaucratic checklist (“have you ever seen a bear?”) and makes sure clients dot their i’s when signing forms (“yeah, but can you verbally confirm it?”) All in all, Skeletons is an amiable, reasonably witty indie that can’t quite figure out how to efficiently get its multitude of ideas across to the audience, resulting in a near-miss at cult status.

WHAT THE CRITICS SAY:

“…an intriguing, well-acted, quietly funny film that, though it is outright weird most of the time and certainly won’t be to everyone’s taste, has a quirky charm and emotional heart all its own.”–Owen Van Spall, Eye for Film (contemporaneous)

(This movie was nominated for review by “D-2.” Suggest a weird movie of your own here.)

CAPSULE: MEAT (2010)

Vlees

DIRECTED BY:  Victor Nieuwenhuijs, Maartje Seyferth

FEATURING: Titus Muizelaar, Nellie Benner

PLOT: An emotionally neutered detective investigates a murder at a butcher shop where all the employees have high libidos.

Still from Meat (2010)

WHY IT WON’T MAKE THE LIST: There is no question that this is a weird one. But Meat never really matches its mystery to the grand theme or emotional resonance it’s searching for. Its main virtue is that it’s short and sexy, making for a relatively easy watch despite its challenging narrative format.

COMMENTS: Here are some things that happen in Meat: a butcher has sex with a co-worker in a meat locker while another employee secretly videotapes it. A woman plummets to her death. The butcher is found murdered. Here are some things that may or may not happen in Meat: The woman who lives in the room above the shop is a prostitute who meets tricks there during business hours. The prime suspect is raped by a man wearing a skull mask the night of the murder. The murder investigation is conducted by the victim’s doppelganger. Here are some things that don’t happen in Meat, despite the fact that we see them: Three middle-aged customers approach the meat display case, totally nude. The detective watches man being led away from a slaughterhouse, one of them dressed like a chicken, while blood drips down his windshield. Cows, lambs and pigs find their way into the butcher shop at night and urinate on the floor.

It’s that kind of movie. After a set-up that is only marginally odd, focused more on eroticism than surrealism, the last third of the movie surrenders entirely to dream logic. Cryptic shots of a butterfly and a woman submerged in a bathtub, plus elliptical monologues about sheep-slaughtering, are spread through the early sections as harbingers of the all-out weirdness to come. Our dumpy middle-aged butcher has some sort of sexual arrangement with a woman who lives at the shop and whose main duty seems to be to sleep with all the male employees; yet, he naturally fancies the slim blond college-aged part-time worker whose short skirt is half-hidden under her floor-length butcher’s apron. He comes up to her from behind and whispers his dirty old man fantasies into her nubile ears. In the real world, his come-ons would be actionable sexual harassment; here, because they occur while the girl is breathlessly videotaping a dish full of animal organs, it’s mere sexual absurdism.

Later, the phraseology of this scene will be mirrored in the investigator’s language as he interviews the girl, now a suspect: seduction has become interrogation; desire, guilt. Meat‘s strategy is to vacillate between opposites: the body as a sexual canvas, and as a collection of organs to be hacked apart and sold; genitals as organs of pleasure, and portals for the release of bodily waste. Desire goes to war with disgust, as rationality yields to irrationality. Meat explores issues of sex, carnality and guilt—maybe with a side of vegetarianism.

After screening at a handful of European film festivals, Meat spent six years in a post-presentation, pre-distribution netherworld before Artsploitation Films picked it up for belated September 2016 DVD release. With no clear audience besides arthouse curiosity seekers, Meat is an orphan that needs your love.

WHAT THE CRITICS SAY:

“…bizarre, chilling little character drama …”–Matthew Lee, Screen Anarchy (festival screening)

CAPSULE: BEYOND THE GRAVE (2010)

Porto Dos Mortos

DIRECTED BY: Davi de Oliveira Pinheiro

FEATURING: Rafael Tombini, Álvaro Rosa Costa, Ricardo Seffner

PLOT: A solitary policeman travels the countryside looking for the Dark Rider, one of the prime agents of evil walking the earth after the Seven Gates of Hell have opened.

Still from Beyond the Grave (2010)

WHY IT WON’T MAKE THE LIST: While it works nicely as an imagining of a minor zombie classic from the 1970s, its various idiosyncrasies aren’t too dissimilar from what you might find in many other low budget horror pictures.

COMMENTS: Highways invariably become desolate when the undead start out-numbering the living. Our film opens on a lone black car traveling a deserted stretch of road, and inside is the film’s hero—a determined police officer on a quest. A radio DJ broadcasts from some indeterminate location, playing music and speaking to the few survivors: “…if you’re out there, have a nice day. I hope you survive it.” The officer makes a stop at an abandoned building, enters, and dispatches the killers who have set up camp there. He narrowly avoids decapitation, revealing a preternatural ability to survive. Now nearly out of ammunition, he returns to his car and flips through dossiers in the trunk. He obviously still has unfinished business.

Though made in 2010, Pinheiro’s zombie film has the feel of a much older movie. The picture quality is slightly washed out, and looks like a relic from a bygone era. The environs and fashions hail from thirty to forty years ago. And the gist of the story—lone man, undead, Gates of Hell— all smack of the golden age of zombie pictures.

Through the course of the officer’s travels (his character, like all but one in the movie, is never given a name), he encounters a young couple, a household of survivors who’ve set up shop in an abandoned school, and a clutch of supernatural assailants keen on thwarting his mission. Ostensibly his goal is to kill someone or something called the “Dark Rider,” who always has the undead following in his wake. Though society has by and large collapsed, the officer continues doing his job. He always has his lights spinning on his car during his many long drives, more as an act of defiance against the death of civilization than anything else.

As with most supernatural movies, there are elements of the strange. The cop stumbles across ceremonial designs drawn on dingy floors, sometimes in blood. The trio of killers that he is both following and is followed by are made up of a man armed with bow and arrow, a mixta woman wearing a gas mask and armed with a handgun with a pistol-grip of human bone, and a nebulous fellow whose weapon is an atonal harmonica that when played cripples enemies with its bleed-inducing drone. There is talk of the Seven Gates of Hell having been opened, and at one point a cultist gives the officer a book with which to summon the Dark Rider (Necronomicon, anyone?) Also, this is the only zombie movie I know of that takes something of a sympathetic stance towards the afflicted. A few scenes depict cruelty toward the walking dead negatively.

Beyond the Grave clocks in at a succinct 89 minutes. While not everything is made clear, there is a consistency to the narrative. Though certainly not weird by the standards set at this website, it still is a pleasant way to spend an hour and a half in an atmospheric, post-Apocalyptic detour.

Beyond the Grave is currently available for viewing free in the U.S. on Hulu.

WHAT THE CRITICS SAY:

“…a unique experience in the theater of the weird.”–Mark L. Miller, Ain’t It Cool News (contemporaneous)

198. BEYOND THE BLACK RAINBOW (2010)

“I love popcorn movies just as much as I love bizarre art films. And my mother, she was an experimental abstract sculptor and there were these haunted pieces of sculpture [around the house] that I always really connected with. I always felt like my filmmaking sensibility is a weird hybrid of both of them.”–Panos Cosmatos

DIRECTED BY: Panos Cosmatos

FEATURING: Michael Rodgers, Eva Allen, Scott Hylands, Marilyn Nory

PLOT: Dr. Barry Nyle conducts experiments on Elena, a woman with telepathic powers who spends most of her time in a near-comatose daze, at the sparsely appointed “Arboria Institute” in 1983. A psychedelic flashback suggests that a bizarre ritual performed at Elena’s birth is responsible for her current condition. Elena decides to escape from the Institute, pursued by a transformed Nyle.

Still from Beyond the Black Rainbow (2010)BACKGROUND:

  • This was Panos Cosmatos’ first (and as of 2015, still only) feature film. He is the son of George P. Cosmatos, the director of Hollywood blockbusters Rambo (1985), Cobra (1986), and Tombstone (1993).
  • Cosmatos said the two main inspirations for Beyond the Black Rainbow were “hazy childhood memories of midnight movies and Saturday morning cartoons.” He also said that as a child he would look at the covers of horror movies at the video store which he was not allowed to rent, and that the movie is his grown-up realization of the kinds of stories he imagined were contained inside those boxes.
  • Beyond the Black Rainbow proudly admits to being a pastiche of the midnight movies that would be roughly contemporaneous to its 1983 setting. George Lucas’ THX 1138 (1971), ‘s Dark Star (1974), Suspiria (1977), and Michael Mann’s The Keep (1983) are some of the moviess Cosmatos and others who worked on the project cited as visual and spiritual influences. The high-contrast black and white of the flashback sequence was explicitly modeled on Begotten (1990).
  • Beyond the Black Rainbow beat out 63 competitors in a reader’s poll to be officially named to the List of the 366 Best Weird Movies.

INDELIBLE IMAGE: Although it’s far from the most stunning image in a movie filled with unforgettable visions, in some ways the bit that sticks with me most from Beyond the Black Rainbow is the slow low-angle pan down the Arboria Institute’s fluorescent corridor. The shot is replayed many times: with blood red tinting as Dr. Nyle first marches to interview Elena, a ghostly pan across the glowing white panels that slowly fade to industrial blue, a shot tracking the Sentionaut as he walks towards the sleeping Elena. Although this mysterious motif recurs often enough to be noteworthy, for an indelible image we’ll go instead with the fearsome appearance of “appliance-free”Dr. Nyle: bald, eyes permanently dilated, clad in skintight black leather fetish gear, and clutching his fang-shaped ceremonial dagger.

WHAT MAKES IT WEIRD: Shamelessly allusive, sinfully trippy, Beyond the Black Rainbow is a love letter to midnight movies of decades past, a hazy conjuration overseen by the guiding spirits of , , and a thousand doped-up sci-fi dreamers that somehow manifests its own unique vision. It’s the kind of movie most of us here would make if we were handed a big bag of residuals from Tombstone and told we could do whatever we wanted with it.


Festival trailer for Beyond the Black Rainbow

COMMENTS: The very title Beyond the Black Rainbow invokes an Continue reading 198. BEYOND THE BLACK RAINBOW (2010)