Tag Archives: Australian

APOCRYPHA CANDIDATE: CAT SICK BLUES (2015)

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DIRECTED BY: Dave Jackson

FEATURING: Matthew C. Vaughan, Shian Denovan, Meg Spencer, Jeni Bezuidenhout

PLOT: A former Internet celebrity whose life revolved around her cat’s  viral video performances and a fellow with a fetish for defiling and murdering women while dressed as a cat meet at a pet-loss support group. This is not a love story.

Still from Cat Sick Blues (2015)

COMMENTS: Within the first five minutes, Cat Sick Blues had already checked all my boxes for my favorite kinda horror movie: sick, dark humor on the /Full Moon spectrum (check), faithful adherence to horror movie protocol that the first two characters we meet die in minutes (check), a punk rock/screamo soundtrack that evokes the nihilist spirit of the story about to unfold (check), smirky social satire (check), a roller-coaster pace where you can’t possibly predict the next swerve (check), and a camera shot (pictured) with a head on a table, perfect to add to your decapitation scrapbook alongside Frankenhooker (check-a-roonie). By the time the first victim’s head had bounced gaily down the stairs, the movie had already bounced purring into my lap. Cat Sick Blues takes turns affectionately nuzzling your face and playfully clawing you hard enough to draw blood. Just when you think you can let your guard down, it bites your hand again, lest you get too comfortable. Many will be turned off by it, but for the rest of us horror/sicko freaks, this is our cup of catnip tea.

Claire (Shian Denovan) is the owner of Imelda, a fluffy white cat whose videos have taken on a viral life of their own. Sadly, Imelda’s fandom is a little too fanatic, as one obsessed fan shows up at her door and bluffs his way inside, only to summarily murder her cat and rape her. Broken, Claire ends up at a support group for bereaved pet owners (if you liked Fight Club’s satire of support-group culture, here’s another dose of that). There, she meets Ted (Matthew C. Vaughan), a towering and imposing fellow who’s also shy and antisocial. Ted is going through some things, to put it mildly. He has sought a support group way too late in life, having already converted himself by night into a serial killer in a cat mask. He even enlists the help of a local leather-crafter to fashion a set of sharp-clawed gloves, and a monster-sized strap-on spiked dildo to complete the ensemble. In this costume, he dispatches victims and, more than once, has a very dramatic orgasm while doing so, spasming on the floor in his cat mask and floppy dildo. All of this turns out to have a second purpose for Ted: he is collecting the blood of victims in a bucket in anticipation of re-animating his own dead black cat, Patrick. (Note to A Bucket of Blood: this is what a whole bucket of blood looks like!)

Claire and Ted hook up, after Ted makes a whirlwind cleaning tour of his apartment to hide the serial killer paraphernalia and trophies. So the question becomes, will Claire figure out that she’s dating a killer before Ted fulfills his body count? What happens from here becomes less clear as the story proceeds, until act three, where the director decides to let the story-logic slide into territory, with dream sequences and hallucinations clouding the narrative enough that we can pick our own ending. The one thing that’s clear is that this movie will have no shortage of indelible images right up to the end credits, including some genuine gross-outs.

For a small budget picture, it’s a pleasure seeing such attention to detail. The chaos is sharply filmed, framed, and hemmed in by a tight production all around. The set is filled with familiar cat-themed gift shop kitsch like cat mugs, cat T-shirts, and cat bongs. One scene has Claire sorting through her mail; the pile of envelopes has some custom-printed mailers relevant to the plot, with text you’ll want to freeze-frame so its carefully spread satire may be read and appreciated in full. A blink-and-you’ll-miss-it scene has Ted visiting a rave where teenagers in glowing jewelry wave their phones in the air and the DJ raises a squirt-gun to his lips. Most impressive of all, Cat Sick Blues was released in 2015, and yet has not aged a single day. We’re still a culture obsessed with Internet fame and cats, wallowing in bizarre fetishes and shallow morals. Claire’s fans, adoring the content yet lacking empathy for its creator, flock to ridicule her situation, or steal clicks by posting reaction videos to her plight.

It’s remarkable that this film isn’t better known (or at least didn’t cross our radar sooner), but we can chalk that up to an Australian production by a director who seems to live entirely at film festivals down under. Reading the IMDB reviews, I see commenters practically coughing up hairballs as they remark how upsetting, offensive, and disturbing this movie is. Let the poor little kittens lap their safe milk. For us fans of feral film, Cat Sick Blues is the kitty that roars like a lion.

WHAT THE CRITICS SAY:

“…sometimes movies just leave you completely confused and unsure of what it is that you just watched. That basically sums up how I felt once I had finished watching the bizarre Australian horror film, Cat Sick Blues.”–Chris Coffel, Bloody Disgusting (DVD)

(This movie was nominated for review by Bradley, who called it “one odd movie.”. Suggest a weird movie or two of your own here.)

 

 

Cat Sick Blues

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366 UNDERGROUND: AFAR (2025)

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“Cinema’s death date was 31 September 1983, when the remote-control zapper was introduced to the living room, because now cinema has to be interactive, multi-media art.”— Peter Greenaway, 2007

DIRECTED BY: Jason Trost

FEATURING: Jason Trost, voice of

PLOT: A private detective is tasked with finding a contestant from a doomed reality gameshow in the heart of the Australian wilderness.

Still from Afar (2025)

COMMENTS: A strange saturation fills the spectrum, bringing unearthly hues and twitches in the transmission—and I’m not just talking about Aurora Australis. (Those are the Southern “Northern Lights”, if you will; I know this, and you know this, and so does depressed-and-intrepid private detective, Brian Everett.) Jason Trost is a product of his times, and like so many of his (and my) generation, he has a strange nostalgia for the objectively inferior media formats of days of yore. Videotape can radiate the warmth of bygone familiarity, even while harnessed to augment creepiness.

And there’s creepiness, mystery, and tracking-issues aplenty in Afar, a film which takes multiple viewings to get a full grip on, because Trost has cut the story up into different kinds of journeys, selectable on-screen by the viewer. Do you want Brian to Run or Help? (One of those may kill him.) Do you want him to investigate the River Bed, or the Mysterious Ruins? (One of those will kill him, while the other only might…). And so on. Every few minutes or so, you will be presented with a choice to be made. There’s no “saving” your progress, but the director is good enough to allow a re-think on occasion after a jagged font informs you that Brian has snuffed it thanks to your poor decision.

Having made it this far into the review, I presume you wish to continue. Afar is a neat little movie, and I say that in no way to sound dismissive. Jason Trost has, once again, crafted something new and nostalgic on his own terms, staying true to a guiding ambition, and the result is both intriguing and entertaining. Presuming you enjoy Trost’s screen presence (which is something of a must, as he’s in the frame perhaps nine tenths of the time, as a cross between Tex Murphy and Henry Jones, Jr.), you’ll have a fine time digging around the various clues, back-stories, and pathways tucked within his interactive horror film. And while I enjoyed Afar on its own merits, I am hopeful that it will eventually stand as more of a “proof of concept.” I’d be most pleased to experience a grander, deeper, and more labyrinthine narrative interaction, even if it results in many more “You are dead” cut-screens.

The film is available to download on Steam (that’s a first), or to buy on DVD from Kunaki, There’s also a tie-in choose-your-own-horror paperback.

WHAT THE CRITICS SAY:

Afar appears to have been aiming more towards the trashy thrills of shot-on-VHS shlock than any serious kind of scares, and it still manages to nail the eerie survival horror vibe that really makes this kind of adventure worth experiencing.”–Luis H.C., Bloody Disgusting (contemporaneous)

2025 FANTASIA FILM FESTIVAL: TRADITIONAL CUISINE, PART THREE

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Montréal 2025

More than once I was quickly impressed by a film’s animation only to discover that I was only watching the production company credits.

7/30: Haunted Mountains: The Yellow Taboo

Crank down the musical score by half, and this would land in a far better place. Tsai Chia Ying attempts something risky here as he aims to fuse deep character emotion with ghostly horror. Chia Ming awakens every morning from an overhead drip. Every morning: this love-struck fellow is stuck in a loop wherein he witnesses the object of his affections die somehow while on a hiking trip taken to search for the remains of a mutual friend lost to the haunted mountains. Major No-No Points are awarded to the original trio, who decide to cut through a rather creepy barrier in the surrounding woods, accidentally disrupting an esoteric ceremony. Very nearly ending badly, the movie upgrades from regrettable to merely “meh” with its final, actual, conclusion.

$Positions

Mike meets his daily struggles with unwavering optimism and friendliness, which is no small feat in face of director Brandon Daley’s ceaseless abuse. Crypto (oh how I loathe you) sinks its talons in our hapless hero, clouding his judgment with every dip and spike. We follow a series of increasingly nasty twists of fate (and concurrent ill-decisions) as Mike’s already crummy life hits rock bottom—making true an early, optimistically-stated declaration that no, he’s “nowhere near the bottom yet!” With polyamory, drug addiction, medical debt, and somewhat more urine consumption than I might have preferred, $Positions is simultaneously icky, wacky, and heartfelt. Special shout-out to leading man Michael Kunick. I passed him after the screening commending his performance as one of the best depictions of Job to hit the screen.

Désolé, Pardon, Je m’excuse

Like many of her generation, office-worker Ella loves Internet videos. Unlike many of her generation (at least, I hope), she loves Internet videos released by a Continue reading 2025 FANTASIA FILM FESTIVAL: TRADITIONAL CUISINE, PART THREE

CAPSULE: PETROL (2022)

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DIRECTED BY: Alena Lodkina

FEATURING: Nathalie Morris, Hannah Lynch

PLOT: Eva is unsure of her film thesis subject until she meets a cryptic young performance artist named Mia.

Still from Petrol (2022)

COMMENTS: Petrol. Petrol. Petrol. (“Petrill?”) After twenty-four hours, I’m still chewing over this title, and how it relates to what I saw. It’s a slippery little movie, so perhaps that fuel’s slickness should come to mind. Alena Lodkina’s sophomore efforts defies easy description. It’s a character study, sure; it’s an exploration of filmmaking (our protagonist is a final-year film student); it’s got some inter-generational stuff going on. And it might just be one of those “coping with loss” kind of explorations.

But it’s hard to say. As Eva shyly navigates life—and the pursuit of a film degree—chance intervenes: first, when Eva accidentally comes across a performance arts troupe whilst traveling a cliffside with a small boom mic, capturing the ambient sounds; second, when she observes one of those performance artists dropping a locket in town. When Eva returns the locket, so begins her relationship with an enigmatic (and altogether Artsy) young woman named Mia, who by all accounts is “living her life” and, as evidenced by the narrative’s sometimes desperate indications, is a rather “deep” person.

Frankly, I didn’t find her all that deep; just young and a touch lachrymose—if perhaps occasionally whimsical. Kind of like this movie’s general energy. Magical realism rears its head at least six times. A finger snap brings a picnic spread into existence, pre-referencing a literary passage which appears later in the film; a couple of pertinent winks of the eye—one appearing from a coffee surface reflection—and strange “reflections” from behind make us question both Eva’s and our own perceptions. Who is Mia? What is art? What is film, in the context of art? Are we interconnected?

And so on. Petrol kept my interest, despite me neither knowing too well what was happening nor caring too deeply about it. Eva’s film professor is a highlight, his brief appearance a master class in diplomatic guidance as he civilly remarks that it’s important to have mastery of film rules and tropes before subverting them; and there’s her fellow student with his down-to-earth ambitions to make a movie about an abattoir cleaner contrasting nicely with Eva’s more ephemeral ambitions. But for the most part, Petrol feels like it’s running on fumes: it gets you to the destination, but not without the worry you’ll end up nowhere at all.

WHAT THE CRITICS SAY:

“Alena Lodkina’s dreamlike film, about a pivotal friendship between two young Melbourne women, has a poetic and sometimes surreal narrative style that conveys a vividly emotional take on the world; it reveals profound truths about the characters, even if the precise detail of their story remains slightly – and deliciously – cryptic… tonally, it recalls the psychoanalytic turn in art cinema of the 1960s and 70s (think Bergman’s Persona).”–Jason Di Rosso, ABC (Australian Broadcasting Corporation) News (contemporaneous)