Relax, it’s just a little cosmic joke.
CONTENT WARNING: Psychedelics use, bathroom humor.
Tag Archives: Comedy
SATURDAY SHORT: DON’T HUG ME I’M SCARED 3 (2014)
A butterfly teaches Michael about a mysterious force called “love,” but thankfully, it’s just a dream.
APOCRYPHA CANDIDATE: THE DRAGON LIVES AGAIN (1977)
Li san jiao wei zhen di yu men; AKA Deadly Hands of Kung Fu
DIRECTED BY: Lo Chi
FEATURING: Siu-Lung Leung (as Bruce Leong), Ie Lung Shen, Ching Tang, Alexander Grand, Jenny, Wong Mei, Eric Tsang, Bobby Canavarro, Hsi Chang
PLOT: Martial arts superstar Bruce Lee dies, winds up in the afterlife, and soon butts heads with the King of the Underworld, the Godfather, the Man With No-Name, Zatoichi, 007, Emmanuelle, the Exorcist and Dracula—but he’s still Bruce Lee, and he’s got Caine the Wanderer, the One-Armed Swordsman and Popeye the Sailor Man backing him up…
WHY IT MIGHT JOIN THE APOCRYPHA: There are many, many films in the wake of Bruce Lee’s death made to capitalize off of the death and his fame. Very, very few of them pull off the feat of being entertaining and imaginative enough to surpass their crass origins to become something that stands on its own.
COMMENTS: The Bruce Lee Phenomenon is unfathomable to someone who didn’t grow up in the mid-70s. You had to experience it firsthand. There’s no one in the present day who comes close to Lee: cultural icons all have their share of imitators, but few can spawn an entire subgenre after their death.
The “Bruceploitation” phenomenon encompassed all aspects of Bruce Lee’s short life and ongoing legacy, from biopics and docudramas to variations on his most popular films to total fantasies on his death (or faux death) and afterlife, all with a variety of imitators/wannabees/clones presented to the still Bruce-hungry public. Some were unapologetic cash grabs, while some genuflected some modicum of respect towards Lee.
The Dragon Lives Again occupies its own niche. It’s the most bonkers Bruceploitation movie and probably the most entertaining of the bunch, making good on its opening “Dedicated to the Millions Who Love Bruce Lee” title. It’s one of the best examples of a theory what experimental filmmaker Craig Baldwin would encapsulize years later in his motto, “Copyright infringement is your best entertainment value.” It’s actually kind of wild that it works as well as it does, bringing such disparate characters together. (Lee is as much of a brand character as the others, fighting Dracula and his minions in his Kato wardrobe from “The Green Hornet”.)
The comedy is good, including moves named for films Lee appeared in and talking skeletons. At times it’s naughty: a running gag involving Lee’s rumored sexual prowess and the Underworld King’s wives attempting to find that out firsthand; a joke involving nunchucks and “Bruce Lee’s Third Leg,” which was snatched subsequently for other kung-fu comedies. And just the idea of bringing together Popeye, Emmanuelle, 007 and others is brilliant, especially since such a thing wouldn’t even be possible in today’s corporate climate unless it were a no-budget ultra-underground project that maybe 30 people would even be aware of existing.
The Dragon Lives Again has been available in various dodgy versions for years, but I doubt that anyone is going to better the Severin Blu-ray in their box set “The Game of Clones: Bruceploitation Vol. 1.” The original negative was deemed unusable, so they utilized a 2K scan of a print from the AGFA Collection. It’s not immaculate, but it’s much better than what’s was previously available. The disc has a commentary by Bruceploitation experts Michael Worth and Frank Djeng, an audio essay by one Lovely Jon, and 7 minutes of deleted/extended scenes from the French release.
Cinefamily trailer:
WHAT THE CRITICS SAY:
![The Game Of Clones: Bruceploitation Collection - Volume 1 (7-Disc Special Edition) [Blu-ray]](https://m.media-amazon.com/images/I/51vhC5R6uJL._SL500_.jpg)
- 7-Disc Special Edition
APOCRYPHA CANDIDATE: UNIVERSAL LANGUAGE (2024)
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DIRECTED BY: Matthew Rankin
FEATURING: Matthew Rankin, Rojina Esmaeili, Saba Vahedyousefi, Pirouz Nemati
PLOT: The lives of a civil servant, a tour guide, two girls searching for a way to thaw a banknote frozen in ice, and a turkey magnate collide in a Winnipeg where everyone inexplicably speaks Farsi.
WHY IT MIGHT JOIN THE APOCRYPHA: Rankin’s icy fantasia is the premier (well, only) fusion of Canadian absurdism and Iranian neorealism.
COMMENTS: You’re a director infatuated with Iranian realist dramas, but you live in Winnipeg. What do you do? Round up every Farsi speaker in Manitoba and put them into a comedy set in Canada, obviously. Be sure to include a guy wandering around dressed like a Christmas tree, a shrine to an abandoned briefcase, and a turkey beauty contest-winner, just for that added note of realism.
Universal Language‘s plot is a woven Persian rug, composed of three major strands: two sisters hunt for a way to retrieve a 500 Rial note they find frozen under several inches of ice, a disillusioned civil servant returns home after an unhappy stint in Quebec, and a tour guide leads a bored group through the city’s bland attractions (“Winnipeg is a strange destination for tourism”). Most of the action occurs in a range from Winnipeg’s Beige District all the way to its Grey District, along bazaar-like streets bustling with street vendors. And surprisingly, despite its many detours though drag bingo parlors, Persian Tim Hortons, and shots of beautiful turkeys, in the end every plot corner clicks in place like a piece in a puzzle. It’s thoroughly comedic and absurd, but by the time Rankin turns sincere for the ending, it works, because the committed comedy of the earlier scenes seduces you into accepting this bizarre world as a real place.
Rankin’s debut feature, The Twentieth Century, was (to say the least) heavily indebted to Guy Maddin (who Ranking calls “one of my cinematic parents”). Here, Rankin moves only slightly out of the shadow of Maddin, only to position himself under a canopy of other directors. Scenes like the guy who dresses as a Christmas tree, and other dreamlike comic surprises I won’t spoil, could have been dreamed up by Quentin Dupieux. The bit where Matthew buys sleeping pills would fit comfortably in a Roy Andersson sketch. Besides these, there’s all the Iranian directors, led by Abbas Kiarostami. (Several of Universal Language‘s plotlines are lifted from Iranian movies, although heavily warped and refracted by the narrative lens.) And in an interview included with the press kit, Rankin acknowledges everyone from John Paizs to Jacques Tati to the Marx Brothers (among the less obscure names) as influences. In some sense, Universal Language nothing but a shameless pastiche of homages; but, because it reflects such specific tastes and obsessions, it creates a unique universe. And paradoxically, that very eclecticism is what makes the film so relatable. Rankin isn’t shy about his influences, which is refreshing. He’s working towards a cinema of tributes. And cinema is a universal language.
WHAT THE CRITICS SAY:
SLAMDANCE FILM FESTIVAL: APOCRYPHA CANDIDATE: IN THE MOUTH (2025)
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DIRECTED BY: Cory Santilli
FEATURING: Colin Burgess, Paul Michael
PLOT: Merl, a shut-in forced to take in a roommate to cover the rent, fears his giant head that slumbers on the front lawn.
WHY IT MIGHT MAKE THE APOCRYPHA: The central premise, as explained above, is enough to make this an easy in; but Santilli’s one-set comedy also lays on plenty of quirky flourishes on top of this (massive) conceit.
COMMENTS: Merl lives in a world of his own. This world is made up of an undefined number of rooms, and a narrow hallway just long enough for him to scooter around through it—kind of. Making the corners is a little tough. Merl cannot leave his home, relying on a pulley system to retrieve his mail, and a dino-head bite grip to pull in the larger parcels which do not fit in his mailbox. His world ends at his front door. Beyond that door is our world, peopled by complicated types demanding rent, and inhabited by a head that’s roughly one story tall. It usually slumbers, but intermittently reminds Merl of its presence with booming yawns.
Writer/director Cory Santilli builds a narrative terrarium for his protagonist. Merl lives a highly unscheduled life: puttering around, arranging objets, and avoiding the invader, Margaret, who owns the property in question. Informed both by classic “creature features”—see credit’s title font and hear the title music—and noir—jazz music flairs and crisp, black and white cinematography pleases the eye—Santilli bends these livelier genres to his own quiet ends, and then upends the tone and action by introducing a criminal on the run. Interloper Larry is both a lens to view our subject anew and a means of creating empathy for the odd protagonist. He calls Merl “brother”, and insists that Merl do please call him “Lah”—because it’s easier. (Merl matter-of-factly inquires, “Is it?”)
Whether or not Merl’s rent gets paid is something of a moot point. Santilli takes his viewers on an up-close journey through the daily struggles and joys of an agoraphobic, choosing a delightfully apt metaphor to do so. It’s a funny film, too, with ’90s nostalgia (how many people have AskedJeeves™ how to dispose of a corpse?) and genre-twisting (this first time I’ve witnessed the Good Cop / Deaf Cop trope). Complications leave Merl with a bag of cash and a body to dispose of. This, despite all the “baby cameras” (not cameras for babies, mind, but cameras hidden in the creepy little baby-headed figurines Merl accumulates) secreted about the house. So, where else to put the corpse, but…
In The Mouth is a strange little character study kept under the watchful eye of an absurd premise: this head in the front lawn. Merl’s head. It is Merl’s keeper, and in true form of a domineering partner, his protector. While Merl’s world appears to be large enough, we know—and he knows—that a paradigm shift must eventually come to a head.
In the Mouth debuted at Slamdance Film Festival in February 2025. We’ll keep you abreast of any distribution plans when we know more.
WHAT THE CRITICS SAY:
“…such a bold, weird, creative film…”–Shane Conto, Wasteland Reviews (festival screening)