Tag Archives: 2010

FILM FESTIVAL DOUBLE FEATURE: THE LAST CIRCUS [BALADA TRISTE DE TROMPETA] (2010)/RAINBOWS END (2010)

Your faithful correspondent has returned from the field with reports on two offbeat festival films…

Still from The Last Circus (2010)Alex de la Iglesia bolsters his already fine cult film résumé (Acción Mutante, The Day of the Beast) with this b-movie styled action/melodrama that’s also an allegory for the Spanish Civil War. The movie’s best sequence is the prologue, where the Republican army conscripts a circus troupe into emergency action (“a clown with a machete—you’ll scare the s**t out of them”!) Flash forward to 1973, when the embittered son of one of the Shanghaied carnies embarks upon a career as a “Sad Clown,” but is immediately smitten by a beautiful trapeze artist. Unfortunately for him, the acrobat Natalia is the personal property of the “Happy Clown,” a psychotic, drunken woman-beater who just happens to be great with kids. The two mountebanks’ working relationship quickly turns sour as they take turns beating the greasepaint off each other in a brutal rivalry that eventually leaves both of them mutilated and insane. Which mad harlequin will Natalia choose? The Spanish Civil War angle is simplistic and neither adds nor subtracts from the narrative, which starts as a tawdry carnival melodrama and morphs into an action movie with a high-flying, clown-mauling showdown atop a giant cross. A few Sad Clown dream sequences–he keeps seeing his dead father and archival footage of Spanish pop singer Raphael singing a vintage ballad in clownface—add nominal weirdness, but these touches aren’t pervasive enough to raise the film above the level of aggressively offbeat. Still, there are those who are going to want to check out any film where an insane jester uses lye, an iron, and some clerical vestments to improvise his own clown costume, then steals a cache of automatic weapons and walks the streets of Madrid armed to the teeth with homicidal gleam in his eye. One final note: my movie-going companion was disappointed in the lack of variety in the clown-on-clown violence; he had been hoping to see a wide variety of Bozos brutalizing each other in an all-out melee. So be forewarned—if you consider two killer clowns too few, this Circus is not for you.

THE LAST CIRCUS [Balada Triste de Trompeta] (2010). Dir. Álex de la Iglesia, Featuring Carlos Areces, Antonio de la Torre, .

Rainbows EndIf The Last Circus is edgy, Rainbows End occupies the opposite end of the offbeat spectrum—it’s whimsical. Ostensibly a documentary about six east Texas eccentrics on a road trip to California to pursue a motley assortment of dreams, it’s also one of the funniest movies yours truly has had the privilege of checking out in 2011. It’s the characters who drive the bus in this episodic feature—and in this case that bus needs a push start, leaks radiator fluid, and at times is literally held together with duct tape. Continue reading FILM FESTIVAL DOUBLE FEATURE: THE LAST CIRCUS [BALADA TRISTE DE TROMPETA] (2010)/RAINBOWS END (2010)

CAPSULE: WILLIAM S. BURROUGHS: A MAN WITHIN (2010)

DIRECTED BY: Yony Leyser

FEATURING: Peter Weller, Amiri Bakara, Jello Biafra, David Cronenberg, Allen Ginsberg (footage), Iggy Pop, Genesis P-Orridge, Patti Smith, , Andy Warhol (footage), John Waters

PLOT: A portrait of the life of the literary outlaw told through archival footage, rare home movies, and interviews with friends, admirers and followers.

Still from William S. Burroughs: A Man Within (2010)

WHY IT WON’T MAKE THE LIST: Its subject is weird, but despite the brief avant-garde sequences used as buffers between the praising heads, its method isn’t.

COMMENTS: With his quick wit, cadaverous features, and patrician drawl, William S. Burroughs projected a mighty persona. His writings were full of ironic distance, parody and outlandish stream-of-consciousness surrealism, only occasionally punctured by confessional. The romantic myth that grew up about him—the artist tormented by guilt, addiction, and public ostracism, who strikes back at society by rejecting all forms of authority—was so powerful that it became far more influential than his actual writings.

The subtitle of this documentary—A Man Within—suggests that we may get a peek under that dapper three-piece armor Burroughs wore in public and see the real, naked man underneath. Yony Leyser’s freshman documentary is partially successful at that task; he gives us unprecedented access to Burroughs’ home movies (showing him as an old man smoking a joint before going out to fire a shotgun) and reminiscences from those closest to him, including several former lovers. The portrait that emerges is of a man who may have suffered as much from loneliness as from drugs and remorse; the man we see here has difficulty forming relationships with men he’s attracted to, and prefers to seek the companionship of street hustlers and boys too young and foolish to break his heart. Topics covered, in jumbled order, include Burroughs’ upper class upbringing; his role as godfather of the Beats; his homosexuality and his refusal to join the “gay mainstream;” his lifelong relationship with heroin; his love of snakes and guns; the accidental killing of Joan Vollmer Continue reading CAPSULE: WILLIAM S. BURROUGHS: A MAN WITHIN (2010)

LIST CANDIDATE: KABOOM (2010)

DIRECTED BY: Gregg Araki

FEATURING: Thomas Dekker, Haley Bennett, , Chris Zylka, James Duval

PLOT: A sensitive college freshman experiences sexual awakening, stumbles upon a murder mystery, and uncovers secrets about his family while once in a while working on his film studies major, all set amidst scores of colorful visions, voodoo hallucinations, and sexy encounters.

Still from Kaboom

WHY IT MIGHT MAKE THE LIST: Kaboom is a tough one to pin down.  It takes a while to get a handle on itself, combining a wealth of different ideas and subplots that don’t quite add up, but it does command my respect with its delightfully trippy visual approach and boldly unhinged ending.  It must be said: this movie is definitely weird.  But is it List-worthy?

COMMENTS: Enrolled in a clean and modern college replete with impossibly beautiful, voraciously horny undergrads, Smith (Dekker) has plenty of free time to sleep with or fantasize about most of the people he comes across.  While he becomes a surprise sex-buddy for the blunt and sexy London (Temple), his best friend Stella (Bennett) begins dating a real-life witch with a clingy personality.  Through many sexual escapades and relationship woes, a lingering murder mystery involving a scantily-clad redhead and some creepy men in animal masks worries Smith for months.  The more he delves into the puzzle, the more he seems to get konked on the head or chased by mysterious figures no one else sees.  And it all seems to tie into his recurring dream featuring those closest to him and a bright red dumpster.

With its over-exposed, over-saturated cinematography and frequent use of dreams and hallucinations, Kaboom definitely finds its way into “surreal” territory.  The vibrant color schemes, kooky mod fashion, slightly pornographic sex scenes, and sarcastic one-liners belie the dark undertones involving mysterious killings and abductions, masked men, witchcraft, and a sinister doomsday cult.  This dichotomy can work against the film as a whole; the tone is uneven and the script flits back and forth with awkward attempts at cohesion.  However, seeing these distinct narrative halves somehow come together in a completely unexpected way makes for an admittedly compelling and memorable viewing.

Kaboom has its drawbacks—dialogue that tries too hard to be funny, a few too many sex scenes (which I didn’t think was possible), some stilted performances—but I can’t say I didn’t enjoy myself.  Everything (and everyone) was just so pretty!  It gets weirder as it progresses, and it’s better for it, and the brash, unexpected ending definitely has a special effect on audiences (there was a good mix of “Huh…”, “Ha!”, and “What the hell?!” at my screening).  It is riddled with twists and turns, and is sure to keep anyone with a libido somewhat interested, but I’m still not quite sure just what to make of it.

WHAT THE CRITICS SAY:

“Araki lets his absurdist imagination run wild, and ‘Kaboom’ takes the time-honored gambit of gradually revealing that nothing is as it seems to delightfully cockamamie extremes.”–Kevin Thomas, The LA Times (contemporaneous)

OBSOLESCENCE (2011) & LETHAL OBSESSION (2010): THE POTENTIAL AND FAILURE OF INDEPENDENT FILM

Jakob Bilinski‘s last film, Shade of Grey (2009) was a well-crafted feature, compellingly approached, yet flawed by inexperienced acting in key roles.  Bilinski has returned to the short film format with Obsolescence (2011), having considerably improved his craftsmanship, first and foremost in the acting. That is beneficial, because Obsolescence turns out as Bilinski’s best effort to date.

The seed of the idea for this psychological science fiction was inspired by Bilinski’s wife, Mackenzie.  It was shot in L.A. on a minuscule budget with a two day shooting schedule and a meager cast of four.  Far more often than not, guerrilla film-making methods such as these only lead to an execrable experience, but Bilinski is a conceptual artist who molds his gem with intelligence and style.

“Better never to have met you in my dream than to wake and reach for hands that are not there.”–Otomo No Yakamochi.  This introductory quote aptly dissipates shortly before the opening view of an empyrean horizon, its composition dismantled by Bilinski’s feverish, frenzied camera—a sign of things to come.  Nick (Scott Ganyo) is bathed in a bucolic landscape, but the deceptive harmony fails to mask a twitch.

Still from ObsolescenceTess (Rosalind Rubin) is strapped to a chair in a desolate location.  She is being held hostage by Nick.  In lesser hands this would have been the predictable setup for an adolescent excuse to show a torture fest, but Bilinski and the superb Rubin invest kinetic, tense excitement into the conflict.  Nick has poisoned Tess.  Her salvation lies in information that Nick requires regarding the death of his wife, Annie (Jen Lilley).  Rubin hypnotically conveys fear, frustration, and futile effort as she witnesses humanity slipping away from her captor, who is engulfed in grief.  Nick’s ability to empathize trickles away like water into sewage.  He is more fascinated than compassionate when the poison begin to take hold of Tess.  Wracked with pain, Tess’ Continue reading OBSOLESCENCE (2011) & LETHAL OBSESSION (2010): THE POTENTIAL AND FAILURE OF INDEPENDENT FILM

CAPSULE: ALIEN VS. NINJA (2010)

DIRECTED BY: Seiji Chiba

FEATURING: Mansinori Mimoto, Mika Hijii, Donpei Tsuchihira, Shuji Kashiwabara

PLOT: Aliens land in feudal Japan, and a band of ninjas must defeat them.

Still from Alien vs. Ninja

WHY IT WON’T MAKE THE LIST: It’s a lightweight action movie with some b-movie absurdity; a fun and frivolous flick for an evening’s entertainment, but not approaching the level of weirdness required for Listing.

COMMENTS:  Inventive swordplay and thrilling (if ridiculous) action choreography narrowly defeat cheap CGI and corny rubber alien suits in Alien vs. Ninja, reaffirming our faith in humanity over technology.  In the prologue that begins the film, CGI ninjas leap from a towering pagoda, launching themselves at ridiculous speeds and flying hundreds of feet in the air; the effect doesn’t look superhuman so much as amateurishly fake.  By contrast, in the first action scene ninja freak Yamata slices up a dozen opponents, whirling about and deploying four different blades, tossing one into the air and using another to sling it into its target when it falls; both scenes are impossible, but the second one is an exciting and convincing illusion.  The ninja effects generally beat the alien effects; the extraterrestrials, while imaginatively designed (they have extra orifices hiding some nasty little tricks), are obviously played by a man in a rubber suit, and their immobile facial features seem way behind the times.  They look like they came from a planet where life evolved along the lines of a 1980s or 1990s Roger Corman movie, which could be a plus or a minus depending on your tastes in cheesy monsters.  There is some of the expected gore—a head squashed in an explosion of blood, and so on—but this actioner doesn’t follow the splatterpunk ethos, where showers of blood and organs are the “money shots” and main reason for the flick to exist.  The plot is serviceable: it’s a formula action flick, but a few minor points may catch you by surprise, and tributes to the classic Alien movies supply some additional interest.  The four main ninja characters are only briefly sketched, but that’s just fine, since the movie drags whenever they take a stab at fleshing them out.  The cowardly older ninja, played for broad comic relief by a mugging Donpei Tsuchihira, can’t get off the screen fast enough for most Westerners’ tastes.  Although it’s the action scenes, directed by Yûji Shimomura, that elevate Alien vs. Ninja from pure junk to acceptable entertainment, it’s the few flourishes of typically Japanese absurd humor that make it of tangential interest to weirdophiles.  It’s ludicrous that one ninja can deflect a throwing star hurled by another one in mid-flight or that a man could land on his feet unharmed after plummeting to earth from above the treetops, but what’s weird is that when ninjas are turned into zombies by alien parasites, the only language they can use are curse words—in contemporary English.  Even stranger is the one-on-one melee between sexy Mika Hijii (in skintight black latex ninja-wear with specially molded boob armor, yum) and an alien who seems to have cross-species mating more on his mind than victory in combat.  This battle is the funniest, most memorable and most bizarre of Alien vs. Ninja‘s set pieces; fortunately, Mika has “mighty strength” to help protect her from horny, handsy space monsters.  Mildly weird, with good action sequences and some silly chuckles, Ninja vs. Alien is not just a solid choice if you want to see martial arts masters duke it out ninjato to tentacle with beings from another planet—it’s your only choice.

Alien vs. Ninja is the first offering from Sushi Typhoon, a new B-movie subsidiary of venerable Nikkatsu studios (best known around these parts for their battle to get weird director Seijun Suzuki blacklisted after he delivered the sublime but “incomprehensible” Branded to Kill).

WHAT THE CRITICS SAY:

“…dull to start, but goofy good fun once guys in rubber suits start tangling with a foxy ninja baby and her hunky male comrades-in-arms.”–Richard Kuipers, Variety (contemporaneous)