Tag Archives: Alien

Guest Reviews

GUEST REVIEW: MAN FACING SOUTHEAST (1986)

2 Comments

Guest review by Amy Vaughn

Hombre mirando al sudeste

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

DIRECTED BY: Eliseo Subiela

FEATURING: Lorenzo Quinteros, Hugo Soto, Inés Vernengo

PLOT: A man appears in a mental hospital claiming to be an alien.

Still from Man Facing Southeast (1986)

COMMENTS: Man Facing Southeast is a meditation on the human condition. Like Mindwalk or  Waking Life, it’s best to know what you’re getting into, and that there will be monologuing and pithy one-liners like, “I am your hallucination.”

It is plenty deep, and it was appreciated when it came out in 1986, garnering much praise and many awards in its home country of Argentina. For good reason: it’s well made on a slim budget ($600,000 USD), the acting is tight, the script leaves you with take-home ideas, and at the time the story hadn’t been done to death.

But now, everything seems predictable, from the worn facades of the sanitarium, to the jaded psychiatrist, to the mysterious (possibly alien) patient who may or may not save the doctor from himself. Even the patient/alien becoming ever more Christlike, gaining an entourage of sedated mental patients, and using psychokinesis to help a hungry mother feed her children—it’s all kind of ho-hum.

Rantés, the mental patient/alien played expertly by Hugo Soto, tells the psychiatrist that, because he is an alien hologram, he is unable to feel human emotions. He says he was sent/projected to Earth to determine what is wrong with humans, why we are so awful to one another.

Throughout the film, the psychiatrist vacillates about believing Rantés. He labels him delusional but does not put him on anti-psychotics. He broods about him and goes home to play the saxophone. A lot. There is a lot of saxophone in this movie.

An hour in, another possible alien enters the story. Her name is Beatriz Dick (apparently named in honor to Philip K.). She is meekly mannered and conservatively dressed. Rantés tells the psychiatrist she is a rogue alien, seduced by “sunsets and certain odors” to want to stay on Earth. The psychiatrist, predictably, falls in love with her. There are two odd things about Beatriz: she often exchanges her shoes for shoes that are exactly the same, which she carries with her in a shopping bag; and her saliva is blue, which we see once.

That’s it. That’s all the movie gives us to determine whether or not they are aliens: Rantés has psychokinetic powers and Beatriz has blue saliva.

The weirdest thing about this movie is that Rantés cannot feel, yet helps people anyway. As things progress—mostly as he is exposed to music—Rantés begins to smile and dance and experience joy, which becomes his undoing.

As much as Man Facing Southeast downplays its science fiction aspects, it spoon-feeds us its philosophy. But that’s what these movies do. Meant to be a timeless study of humankind’s inhumanity to itself and what it means to be human, decades of intervening movies on similar themes (both sci-fi and phi) have overshadowed it.

WHAT THE CRITICS SAY:

“…it shows huge promise — its mystery, its patient pace and its eerie resonance sometimes transcend its didactics.”–Rita Kempley, The Washington Post (contemporaneous)

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

Capsules

CAPSULE: THE SEED (2021)

Leave a comment

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

DIRECTED BY: Sam Walker

FEATURING: Chelsea Edge, Lucy Martin, Sophie Vavasseur

PLOT: Three young women spend a weekend in a remote home for a photo shoot, but their plans are interrupted when a meteor shower delivers an alien.

Still from The Seed (2021)

COMMENTS:

  • Deidre: vapid; (conventionally) smokin’ hot; internet influencer.
  • Charlotte: geek-nerd; works at a pet store; has an old phone.
  • Heather: required because her father owns the remote house the three women are stranded in.

There are three other (human) characters, but here’s the thing: I’m talking about a low-budget science-fiction/horror thingy that is the kind of story horror filmmakers have been re-tooling since… (research pending). Gosh, if only I had Charlotte around to help me here—writer/director Sam Walker makes it obvious she reads books and knows things. Also made obvious is the fact that wherever these three pals are spending the weekend has no phone reception, or wi/fi, or even a land-line. (This last fact was deftly established by Charlotte’s line, “People don’t have land-lines any more”; this is patently a falsehood, as I assure you that I myself have a landline.)

The Seed spends the better part of an hour establishing their remoteness, their vehicleless-ness (though this assertion is later undermined), and the stinkiness of whatever it was that falls from the sky during a “once in a lifetime meteor shower.” I watched in vague impatience as the characters’ personalities were dictated, molded, established, reinforced, and etched in carbonite. An hour goes by, the vapid one vapids, the daughter of the homeowner freaks out about damaging the place, and the geek-nerd spares the life of a space entity and, in the one thing that kept me hopeful in the opening two-thirds, has an odd kiss with the odd boy who comes around to tend the lawn.

This capering, however, finally becomes interesting in the closing act. Elements from Eraserhead, and even Society, creep into the action. When Charlotte brings in the stinky baby-alien, its look and its swaddling (and its intermittent screeching) bring to mind Henry’s ordeal with the evil duck-fetus. And when Deidre attempts to kill the whats-it while Heather and Charlotte go off in the “buggy,” she instead partakes in something with a… shunting kind of look. And oh yes, there’s a bit of an Edward Blake-meets-2001: A Space Odyssey scene (with boobies). The final half hour ultimately makes The Seed worth watching, as the over-long opening setup allows a new personality for the two least interesting characters. Even Heather succumbs to the strange wiles of the alien entity and, in a stroke that emphasizes just how tedious she is as a person, transmogrifies into an unsettling facsimile of a chill young person.

This damning with faint praise (or, not even that I suppose) may suggest that I am not happy to have spent my time in this odd world of privilege, swish housing, and Chekhov’s mace. Somehow I was smiling by the end, even through the requisite “Oh-ho, you thought the problem may have been addressed, but you were wrong!” final shot. The Seed is effective B-movie fare, with sun-shiny pool scenes, fun creature effects, and just enough suspense in the finale to have me talking back to the television screen.

WHAT THE CRITICS SAY:

“…a psychedelic interplanetary strain that’s like Society meets a Cosmopolitan photoshoot. Shudder’s latest original also brings to mind something akin to The Cleanse, in which an adorable puppet becomes something much worse. I don’t mention Critters or Gremlins because that denotes a bit more creature polish—The Seed has more in common with Brian Yuzna or Stuart Gordon weirdness.”–Matt Donato, Paste (contemporaneous)

Capsules

CAPSULE: GALAXY OF TERROR (1981)

Leave a comment

aka Mindwarp: An Infinity of Terror

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

 DIRECTED BY: Bruce D. Clark

FEATURING: Edward Albert, Erin Moran, Ray Walston, Robert Englund, , Taaffe O’Connell, , , Bernard Behrens

PLOT: On a mission to investigate the disappearance of a lost spaceship, the crew of the Quest confronts an alien monster that hunts them by preying upon their worst fears.

Still from Galaxy of Terror (1981)

COMMENTS: No one ever accused Roger Corman of failing to capitalize upon someone else’s success. Having seen Alien reap box office gold, he and his mercenary studio New World Pictures quickly put together a film based upon a simple principle: an alien hunts a space crew one by one. Of course, what Corman and his cohorts never seemed to consider (or, more likely, could not be bothered to care) was that Alien was much more than merely a slasher film transplanted into outer space. The earlier film used foreboding and patience in a way that its imitator couldn’t even contemplate. Where Alien carefully developed the complex interpersonal relationships of the crew of the Nostromo, Galaxy of Terror just spits out one-line motivations and outsized character tics and hopes that will generate some empathy. We’ve got the blueprint here, but the only parts that carried over were the alien and the dead crew.

Galaxy of Terror is cheap. After all, it’s a Roger Corman production. But amazingly, it doesn’t look cheap, and a great deal of credit goes to the production designer, a promising young fellow by the name of James Cameron. (He also served as second-unit director and took on other behind-the-scenes roles.) The spaceship milieu is rich and convincing – the set is allegedly supplemented with spray-painted McDonald’s containers – while a walk through the chambers of an alien pyramid is vividly unfamiliar. The visual style readily evokes Cameron’s future endeavors, such as The Terminator and Aliens, and it’s entertaining to see him deploying his talents early on.

The story is considerably less accomplished. That notion of an enemy that can exploit your worst nightmares is intriguing (and would later be explored extensively by co-star Englund), but is only haphazardly pursued here, usually by a character announcing their worst fear and promptly being confronted with it in the next scene. Moran is claustrophobic, but her particularly grim fate is sealed less by confined spaces than by the vicious tentacles that attack her. Haig’s demise at the hands of his own crystal throwing stars is one of the film’s most effective pieces of visual horror, but makes little sense when you realize his weakness isn’t fear, but faith. In most cases, one has to assume that what the victims fear most is a large-clawed, bloodsucking monster, because that’s what most consistently does them in.

Which leads us to the film’s most notorious sequence, in which Continue reading CAPSULE: GALAXY OF TERROR (1981) →

Capsules

CAPSULE: ALIENS, CLOWNS, & GEEKS (2019)

Leave a comment

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

DIRECTED BY: Richard Elfman

FEATURING: Bodhi Elfman, Rebecca Forsythe, Steve Agee, French Stewart

PLOT: Clown aliens, green aliens, Chinese gangsters, and government agents are all keen to get their hands on a mysterious obelisk that emerged from Eddy’s ass; Eddy would gladly be spared the bother.

Still from Aliens, Clowns & Geeks (2019)

COMMENTS: Depending upon your threshold for staggering silliness, Aliens, Clowns, & Geeks will either repel you right away, or draw you in like a frisky fly to a custard pie. The menu is baked in the title, and the chef of this mad meal is spray-painted in candy right there for all to see. This is an Elfman film. Oingo Boingo’s Richard Elfman wrote and directed it, Richard’s boy Bodhi stars in it, Bodhi’s uncle Danny composed the score, Danny’s sister-in-law Anastasia co-stars, and assorted B-movie luminaries flesh out the surrounding cast to deliver as non-stop an outing into fun-time idiocy as I’ve seen since the ’90s.

Overcoming the threat of further nostalgia, I’ll nip it in the bud with this: that innocent decade is where AC&G belongs. This film exists in a permeating atmosphere of un-thought-out nonsensicality and naïve whimsy, teetering along the slicked edge of guffaw and “Good God, why…?” Eddy Pine is a charmless actor and—scratch that, I’ll let him speak for himself: “My mother’s a junkie whore. My father’s an alien from outer space. Killer clowns are out to get me. My asshole’s the portal to the Sixth Dimension – and they cancelled my fucking series! Do you really think everything’s going to be ok?” The first part of Eddy’s lament summarizes the story. As for his question, I spoil no thinking-person’s anticipations by stating here and now: Yes, everything’s going to be okay. Because the Elfmans (Elfmen?) are in charge here.

There were innumerable moments where I half-conceived the thought, “Oh, just move on from this stup-”; but, by the time I had nearly formulated my kvetch, they had moved on. On the outside chance that the on-screen clowning, both literal and figurative, wasn’t enough to keep kicking the antics along, the score reliably schlepps the actors and audience into the next schtick. (Some quick math has just informed me that 83% of the proceedings have full-blown Elfman scoring, heightening the descent into Elfmania.)

Further reflection on ACG does summon hazy complaints about how very little of it actually works; but for this film, reflection is the enemy. While watching, one does not have time to think about what’s going on—such as why the two smokin’ hot Swedes fall for -lite Bodhi, or how Doctor von Scheisenberg (“sh*t mountain”) knows so much about the 18” plinth from Eddy’s posterior—and that is for the best. Just kick back and let the Elfman clan administer an invigorating seltzer-blast into your eyeball.

WHAT THE CRITICS SAY:

“Elfman’s Aliens, Clowns, & Geeks is 86 minutes of weird, strange silliness.” -Alan Ng, Film Threat (contemporaneous)

Capsules, List Candidates

FANTASIA FILM FESTIVAL 2020 CAPSULE: FRIED BARRY (2020)

3 Comments

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

DIRECTED BY: Ryan Kruger

FEATURING: Gary Green

PLOT: Heroin addict Barry is possessed by a creature from outer space.

Still from Fried Barry (2020)

COMMENTS: Looking like a pre-mortem Crypt Keeper but with a glorious goatee, Gary Green’s gaunt visage may be Fried Barry‘s greatest asset. It’s not surprising that someone would want to build a film around that face, even if for most of the movie it does nothing but stare blankly. Balding, but with long stringy hair (and thin, but with a surprisingly cut physique), Green looks the part of a deteriorating addict under constant threat of eviction. I enjoyed looking at that face even when the attached film dragged it into shaggy, often improvised vignettes.

The movie begins with “adults only and no one else!” content disclaimer promising (er, I mean, warning of) “explicit language, nudity, and strong scenes of high impact sexual violence…” The explicit language box is simple enough to check off. There is nudity—and some awkward fully-clothed sex—because, apparently, bedraggled aliens with bug-eyed stares attract the ladies like flies. There is also plenty of violence, but not really any “high impact” sexual violence (it’s indirect, homophobic sexual violence). There is, on the other hand, a lot of senseless non-sexual violence—including an uncharacteristic detour into torture porn that ends in a chainsaw battle—if that counts for anything. What the presenter in the opening didn’t warn about was the public toilet sex, hospital corridor pooping, or adult breastfeeding. Or the hard drug porn: whether it be old-fashioned shooting up, complementary club ecstasy, or random junk smoked out of a light bulb, all of Barry’s friends (and about half of the random strangers he meets on the street) want to get him high for free. And what the presenter especially doesn’t warn you about is the insta-birth alien conception scene…

In other words, Fried Barry‘s exploitation credentials check out. There are also decent dollops of weirdness in its nearly structureless runtime. Ten minutes into the movie Barry shoots up, finds himself submerged underwater, has flashbacks, sees colored lights, and levitates into the heavens. Then, some weird stuff happens in what we assume is an alien spacecraft. After returning to Earth, he takes a few more psychedelic trips, becomes a dad, uses his eyelids as remote controls, has visions of an old guy singing in tongues while doing a soft-shoe routine, and makes a highly illogical escape from the loony bin. These snatches of madness break up his odd encounters with various prostitutes, lowlifes, and eerily cheerful cheese-sample pushers.

Fried Barry is part of a mini-tradition of movies about mute or verbally challenged outsiders/aliens wandering about urban areas, holding up mirror to society. There’s more than a little Bad Boy Bubby (1993) here: Barry speaks no dialogue save what he repeats, and his son is even named “Bubby,” in what surely must be a tribute. Barry also can heal like the Brother from Another Planet (1984); at least, he does so once. There’s a touch of Under the Skin (2013), too, and maybe even a drop of Liquid Sky (1982). For all the nods, Fried Barry brings nothing new to this particular table. What it especially doesn’t bring is any kind of visible ideas. Barry’s ordeal is most naturally viewed as one long, drug-induced psychosis. If you take the story at face value, it’s a sci-fi film about aliens who travel across the inky blackness of space to South Africa so they can possess heroin addicts and… who don’t have much of a plan beyond that. Fried Barry won’t give you any great sociological or existential insights, but if it’s a mindbending trip to the outer limits of consciousness you’re after, it’s a lot safer than sticking a needle in your arm—or being beamed up by saucers.

Giles Edwards adds: Fried Barry left me feeling that pleasantly odd, detached sensation I get when I watch a weird movie, and so I make this pitch on its behalf for Apocryphizing. The lead’s performance alone is a continuous oddity–almost 100 minutes of jittery reactions. Gary Green is always interesting to look at, and observing his “Barry” go through four drug overdoses (that I could count) was impressive. With virtually no dialogue for his character, it was like watching the half-awake facsimile of Dale Cooper of Twin Peaks: the Return stumble, dance, and twitch through two jam-packed days full of run-ins with thugs, unlikely escapes, and even the daring rescue of a dozen kidnapped children.

The lighting and score of Fried Barry supplement Green’s spastic tics, rendering his forty-eight-hour (?) journey somewhere between reality and unreality, further rendering the unreal somewhere between an exalted and sinister dream. In particular, Barry’s abduction comes across as an unsettling fusion of 2001: A Space Odyssey and a H.R. Geiger-saturated nightmare. The pulsing electro-score and violently-hued color schemes add a shining varnish to Barry’s jerking physical flow. When the ominous “Intermission” sequence spooled on-screen, I finally gave up on trying to guess where the heck this movie was going and let myself sit back to enjoy the wild fried.

WHAT THE CRITICS SAY:

“…a trippy exploration of mankind.”–Norman Gidney, Horror Buzz