Journalists expose the rise of another California cult, Voice Farm, where members ready themselves for space travel.
A military squadron stationed in a desert landscape becomes aware that it is not alone. As days transpire, the sightings of unfamiliar beings becomes more common, and, to the dismay of the squad, the creatures don’t seem all that friendly.
DIRECTED BY: Slava Tsukerman
FEATURING: Anne Carlisle, Paula E. Sheppard, Susan Doukas, Otto von Wernherr, Bob Brady
PLOT: Tiny aliens land their flying saucer on the roof of a New York City penthouse and begin sucking the brains out of sex-addicted New Wave beatniks.
WHY IT SHOULD MAKE THE LIST: Tsukerman’s filming style is free-form and unconventional. Liquid Sky‘s visual footprint is every bit as avant-garde as its story about drug addicted extraterrestrials is bizarre.
COMMENTS: Aliens come to Earth in search of a heroin rush. It seems the little green, er, ah, terrestrially challenged ones don’t have the requisite opposing thumbs needed for handling a set of works, so they enjoy their smack the next best way: by telekinetically extracting the gray-matter of heroin addicts whose brains are flooded with opiates. Wonderful though it may be, heroin turns out to be only a gateway drug for the saucer-jockeys. While some human poppy-heads may find death to be the ultimate narcotic, the aliens soon discover that the endorphin rush in a juicy human brain during orgasm is the ultimate high, and they reset their priorities accordingly.
Now the gnarly little starmen seek out fornicators and harvest their orgasms for the best buzz. Still guided by the scent of smack, the space-meisters dock their star-buggy on the roof of a penthouse shared by a drug dealer and her lesbian fashion model lover. Their apartment contains a large amount of heroin, but better yet, is the locus of a lot of degenerate sex.
When the two gal pals aren’t waxing philosophic during their performance art exhibitions and dance routines at a local New Wave club, they are attracting a steady stream of addicted customers, androgynous jet trash, and depraved sex fiends back to their pad. The astral hop heads make the most of the situation and suck hapless guests dry when they sexually relieve themselves. Of course this kills each guest, but no matter. A few dead bodies are an almost normalizing factor at these two girls’ crazy, drug-addled, day-glo, non-stop New Wave penthouse party.
A Berlin scientist who has been studying the aliens makes the scene and tries to rescue the girls before the little neuron nibblers absorb their whacked-out noggins as well. The situation becomes a bit sticky when he discovers that the fashion model has plans of her own for the moonmen junkies.
Liquid Sky is a terribly dated, low budget film that is imaginatively colorful and oh so avant-garde. While it looks pretty campy now, 1980’s hipsters affirm that at the time of its release, Liquid Sky was considered to be the coolest thing by New Wave standards since “smart drinks” and those wraparound mirrored “spectrums” Devo used to wear.
WHAT THE CRITICS SAY:
“…one of the weirdest films you’ll ever see… The film redefines weirdness and randomness as it jumps back and forth between seemingly unimportant scenes in clubs where our characters, like deer stuck in headlights, dance away and fight off the advances of others.”–Ed Gonzalez, Apollo Movie Guide (DVD)
DIRECTED BY: Yûdai Yamaguchi and Jun’ichi Yamamoto
FEATURING: Issei Takahashi, Aoba Kawai
PLOT: Alien parasites infect human hosts, morphing their bodies into bio-combat machines who then fight each other to the death; shy factory worker Yôji and Sachiko, the lonely girl he fancies, soon find themselves caught up in the struggle.
WHY IT’S ON THE BORDERLINE: Meatball Machine‘s alien gladiator-parasite setup is bizarre, but the movie never really tries to top its strangeness. Rather, the weirdness pretty much stops at the premise, as the producers instead spend their energy indulging their true loves: gore and special effects. The result is a movie that’s well within the weird genre, but not an outstanding example of it. (NOTE: upon further reflection, Meatball Machine was upgraded to “Borderline Weird” on 7/5/2010).
COMMENTS: To say that Meatball Machine‘s storyline is thin would be an insult to the relatively dense scripts of Michael Bay. In fact, the entire last half hour of the movie is nothing but an extended melee that persists long after the dual directors have run out of combat hooks. To keep us emotionally involved in between (and during) the fight scenes, the plot takes a perfunctory stab at a touching love story between two losers; viewers will have to buy into this romance on their own, as neither the script nor the actors sell it. But though Meatball Machine might be light on depth, what the movie does have going for it is unforgettable costume design and a few endearing oddnesses; and, of course, buckets of gore, for those who consider that a plus. The alien parasites who populate this film thrive by inserting themselves inside humans and mutating the host body to create an ever-evolving arsenal of extremely implausible organic weapons, among which are biochainsaws, bioflamethrowers, and, for the necroborg who has everything, a visor complete with a windshield wiper to keep blood from splashing into his Continue reading BORDERLINE WEIRD: MEATBALL MACHINE (2005)