Tag Archives: Black Comedy

It Came from the Reader-Suggested Queue

CAPSULE: AAAAAAAAH! (2015)

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DIRECTED BY: Steve Oram

FEATURING: Steve Oram, Tom Meeten, Julian Rhind-Tutt

PLOT: In an alternative society where people behave like primates, an exiled alpha male, along with his beta companion, attempts to return home and reestablish his dominance.

Still from Aaaaaaaah (2015)

COMMENTS: Is the entirety of human civilization nothing but a facade, camouflage for our authentically animalistic behavior? That’s what Steve Oram’s  low-budget DIY feature debut seems to suggest. Aaaaaaah strips humans of their cultural wrappings.

Our story starts in an archaic and archetypal manner, recalling Odysseus ‘s return to Ithaca. An alpha male, exiled in a forest along with his companion/follower, attempts to find his way back home and regain his former position as the dominant male of the pack. This is a narrative of power plays in their most basic and primal form. Dialogue is absent and behavior is totally unfiltered. Wild instincts govern everyone’s actions. You can expect crude violence, with B-movie special effects, and a few disgusting segments immersed in bodily fluids and secretions. It stays focused on the main plot, for the most part, though introducing some twists later on and employing a few flashbacks in the process. Once it strays from our protagonists, following the younger of the pack’s females in a short escapade to showcase similarly barbaric social dynamics in other aspects of this society.

Oram gives special emphasis to the types of media these monkey-people consume. The media landscape portrayed in Idiocracy is sophisticated in comparison. The film mirrors our own world in a distorted way, revealing how entertainment services our lizard brains: in other words, the animals within us.

The soundtrack is comprised of accordingly simple melodic tunes, and a few more nostalgic, sensual or playful ones, creating a dissonance with the depraved segments usually accompanying them.

All in all, despite its extravagance and over-the-top moments, this movie doesn’t revel in shock value, but honestly strives to underline the way archaic instincts hide behind even the most civilized social dynamics.

WHAT THE CRITICS SAY:

“Steve Oram’s deeply British feature debut is the kind of mesmerizing cult oddity whose fan base will be limited but passionate… [it] has a very specific audience in mind: those with an appetite for somewhat abstract and otherworldly art-house satire combined with midnight movie scatological humor and gore. In other words, if your DVD collection makes room for the work of both Luis Buñuel and Troma Entertainment, you’ll want to track it down”–Catherine Bray, Variety

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Aaaaaaaah!

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    Capsules

    CAPSULE: MONDO CANDIDO (1975)

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    AKA The World Is a Wonderful Show; White World

    Recommended

    DIRECTED BY: ,

    FEATURING: Christopher Brown, Michele Miller,

    PLOT: Candide, thrown out of the idealized bubble he grew up in, and has to come to terms with the hardships of real life.

    Still from Mondo Candido (1975)

    COMMENTS: Jacopetti and Prosperi are mostly known inventing the “mondo” film (Mondo Cane, Africa Addio), a genre of exploitative shockumentaries produced in large quantities in the late 60s and early 70s. Despite its name, Mondo Candido is not a mondo film. While retaining elements of social critique from their previous works, this purely narrative literary adaptation was a change in style for this duo of directors (and also their final collaboration).

    Above all else, Mondo Candido is slightly campy, slightly grotesque fiction, loosely based on Voltaire’s emblematic novel “Candide.” Voltaire, an Enlightenment intellectual, was a skeptic, and “Candide” heavily parodied the ideas of German philosopher Gottfried Wilhelm Leibniz , especially his belief that we live “in the best of all possible worlds”. Voltaire’s humor is deconstructive, dark, and full of cynicism, and translates well to the cinematic environment of the crazy, revolutionary 70s.

    The plot revolves around our young hero Candide: noble, chivalrous, pure of heart. Candide grows up in a privileged environment, inside a castle, educated by philosopher Pangloss, a caricature of Leibniz who advocates the position that our world is as ideal as it can be. However, as an adult Candide falls in love with Cunégonde, the baron’s daughter, enraging her father who deems him unworthy and throws him out. And so, his misadventures begin.

    The world proves itself to be an earthly hell, and his journey takes the form of a esque odyssey. Jacopetti and Preosperi create an atmosphere of extravagant dreaminess, suggested by a playful, anachronistic, and kitschy mise-en-scène. A few graphic segments commenting on the absurdity of war could even pass for excerpts from an film.

    The film establishes a quixotic narrative as Candide learns of Cunégonde’s whereabouts and makes it his life’s mission to find her again. But the ideal romantic images he has in his mind turn sour again and again, hurting him more than any physical torture ever could. He never stops his search, however, in a journey that traverses not only continents, but also eras.

    If the first half of the film incorporates anachronistic elements, the latter one leaves aside any pretense of a period piece, transferring our hero into the 20th century. It plays out like an attempt to reveal the ills of the film’s contemporary era as well as explore the timelessness of Voltaire’s fiction. Familiar faces like Pangloss reappear across time, in new historical settings but with similar ideologies guiding them.

    Pangloss’ ideas reveal a hidden depth towards the finale: a stoicism lies under the pretense of optimism. And this is the closest to hope this movie has to offer as an antidote to this cruel world we inhabit.

    WHAT THE CRITICS SAY:

    “Never prone to subtlety, the directors fill every frame with surreal twists, slapstick, sexuality, and repellent images. It’s certainly not a happy, upbeat narrative, but they overflow it with dazzling sequences, plus a carnival-on-peyote atmosphere… an impossible-to-categorize, absurdist masterpiece from the demented genius of Jacopetti and Prosperi.”–Steven Puchalski, Shock Cinema

    (This movie was nominated for review by TheRealBpilgrim, who called it “the forgotten Jacopetti and Prosperi film.” Suggest a weird movie of your own here.)

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    Reader Recommendations

    READER RECOMMENDATION: WHERE THE DEAD GO TO DIE (2012)

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    Reader Recommendation from Germán Biener

    Beware
    Weirdest!

    DIRECTED BY: Jimmy ScreamerClauz

    FEATURING: Voices of Ruby Larocca, Brandon Slagle, Joey Smack, Victor Bonacore

    PLOT: Throughout three loosely connected stories, a demonic dog named Labby talks traumatized individuals into taking revenge on their tormentors before transporting the former to a surreal limbo-like realm.

    Still from Where the Dead Go to Die (2012)

     

    COMMENTS: It is worth noting from the outset that ScreamerClauz’s infamous underground horror movie Where the Dead Go to Die is usually deemed abominable from both a technical and conceptual point of view, a fitting reputation for a movie he made while frequently under the influence of drugs. Think crude, “Sims”-like computer animation, voiced by adults often pitching up their voices to sound like children. Combine this with nightmarish, hallucinatory visuals, and taboo subjects—including, but not limited to, child abuse and exploitation, domestic violence, and prostitution—and you may begin to understand what watching this film feels like.

    Besides its extreme subject matter, the often-glitchy animation and jarring sound effects—like the unsettling speedcore soundtrack—are perhaps its most off-putting aspects. To be fair, however, the creator is a self-taught animator, having learned the craft via YouTube tutorials, animation software, and colleagues’ feedback, and this was his first feature-length film. The choppy animation and discordant effects actually contribute to the creepiness that the movie aims for. Nightmares tend to be disjointed and illogical, and Where the Dead Go to Die is best experienced as a waking nightmare rather than a masterclass in polished filmmaking.

    Those capable of turning a blind eye to the animation errors should brace themselves for a wild ride. Consisting of three interconnected shorts, “Tainted Milk,” “Liquid Memories,” and “The Masks that the Monsters Wear,” the movie mostly takes place in a desolate town where cold dark colors prevail. The first of these stories, originally conceived as a ghastly parody of Lassie, concerns unloved child Tommy and his dissatisfied parents. Tommy’s mother is expecting another unwanted baby. On his way to school, the boy suddenly meets Labby, a diabolical dog who, in the name of God, tries to convince Tommy that his sibling-to-be is the Antichrist and should be killed.

    The shortest of the three stories, “Tainted Milk” is also the most darkly humorous, despite being rather disturbing in nature (this story contains what is perhaps the most notorious scene in the whole movie—you’ll know when you get there). ScreamerClauz’s questionable sense of humor aside, the story depicts child neglect and the psychological disintegration it breeds. This focus on the warped visions of traumatized children forms a thematic thread throughout the three stories, an aspect of Where the Dead Go to Die

    Continue reading READER RECOMMENDATION: WHERE THE DEAD GO TO DIE (2012) →

    List Candidates

    FANTASIA 2026: APOCRYPHA CANDIDATE: GODHEAD (2026)

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    DIRECTED BY: 

    FEATURING: Al Warren, Sarah Coffey, Kimball Farley, Luke Speakman

    PLOT: Fraternal twins enter a Catholic church and demand the priest shoot one of them so that the Holy Spirit may be set free.

    Still from Godhead (2026)

    WHY IT MIGHT JOIN THE APOCRYPHA: Rapaport again slides an odd one across our desk, as his sophomore effort kicks off Funny Games-style before converting into fully blown mystical madness.

    COMMENTS: What is the Holy Ghost? One would think that the metaphysical world is sufficiently inscrutable without theorizing about an entity that lacks substance in a realm that is already beyond the perceivable. A more-vaporous vapor, it travels without constraints in a realm already lacking any constraints mortals might conceive. Though utterly incorporeal, this Ghost can apparently still be trapped in a vessel—a human vessel no less. And although its selfhood cannot be fathomed, even we lowly, three-dimensional meat-and-bone creatures are aware that no one, nothing, wants to be trapped.

    This musing is amongst the prerequisite considerations when approaching Mark H. Rapaport’s sophomore feature, Godhead. Creepy twins, named Firstborn (Sarah Coffey, slipping around the screen with serpentine malevolence) and Secondborn (Kimball Farley, trapped in his own spastic discomfiture), seem all too familiar with the “primary” third of the Godhead. The Creator; the twins claim It speaks to them. A small town priest (a mild and exhausted Al Warren) knows the triune Son, and also has an earthly son (Luke Speakman), a boy found as an infant found in a shopping basket on his doorstep and now stowed away in the back rooms of the church. A night-long journey through menace, hope, despair, and impossibility develops between these four characters.

    Godhead has a delightful, temporally ambiguous style. Low tech, the story often plays like a classical Hollywood morality tale (and that title font, oh yes). Cinematographer William Babock is on board once more, whipping up stark church imagery to contrast with the occasionally-seen “other” world from whence came the uncanny siblings. There is an odd sense of humor sprinkled about. While the priest is berated by Firstborn, Secondborn earnestly helps him with a dust pan as the priest fretfully sweeps the church. A delightful scene with the boy-in-the-backroom features a static-glowing television; the director slips in an exchange which encapsulates anticipated reactions to his movie: “I’m not sure what this is.” “I do not like it.”

    Rapaport and his tight cast alternate between punches of shock (gunplay in the sanctum is frowned upon, I can assure you), feints of deceit (a pair of hearse-bound conversations tip this film into hard-R-rating), and a third act which darts seamlessly, and often, between the mundane and the divine. The climax ratchets from one kind of weird into another. I did not expect Rapaport to be so gracious to his own creations. But that is within the dimension of possibility when you are a filmmaker: you are your own movie’s Godhead.

    WHAT THE CRITICS SAY:

    “[T]he film’s commitment to its own strangeness will also be the dividing line… plenty of films chase weirdness without understanding how to shape it. Rapaport does.” — Chris Jones, Overly Honest Reviews (festival screening)

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