Tag Archives: Comedy

FANTASIA 2026: APOCRYPHA CANDIDATE: ZSAZSA ZATURNNAH (2026)

AKA Zsazsa Zaturnnah vs the Amazonistas of Planet X

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DIRECTED BY: Avid Liongoren

FEATURING: Voices of Phi Palmos, Adrienne Vergara, Io Balanon, Siglo Pecho, Joelle Yuvienco

PLOT: Ada, owner of a local hair salon, has a crush on the  grocer across the street and must rise to heights of heroism to defeat murderous aliens from planet Planet X.

Still from Zsazsa Zsaturnnah (2026)

WHY IT MIGHT JOIN THE APOCRYPHA: The fact that this is one of the queerest movies I’ve seen, both in the modern sense and the word’s original definition, tips my balance of judgment here. A string of silly, sexualized kaiju encounters (eggplant, anyone?) culminate in a showdown involving a cock-and-balls super weapon, so there’s certainly that, too. Zsazsa might make for a great animated sci-fi queer double feature alongside Strange Frame.

COMMENTS: Ada enjoys his quiet life, in his quiet town, working at his quiet hair salon. He enjoys, a great deal, innocently ogling Dodong from his viewpoint across the street (often falling into an inadvertent drool as the comic-book visuals morph into Steel-y pastels of hunkitude). He enjoys, somewhat less, the company of Didi, his in-your-face assistant who somehow managed to land devotedly in his employ. He enjoys, not at all, the prospect of devouring a large space rock—emblazoned with the enigmatic word, “ZATURNNAH”—at Didi’s behest; but as Didi quips, Ada has had no difficulty fitting large things into his mouth before. Open wide, gulp, fizz, blast, and behold our superhero: muscle-bound, flowing-haired, curvaceously-carressable Zsazsa!

Adapated from a comic series, and previously interpreted in live action both on screen and on stage, Zsazsa is wholly unleashed in its animated form. Avid Liongoren pushes the vibrant versatility of the medium to fabulous, fantastical heights as colors grab the eye and zippy lines whoosh us through mighty battles, culminating in a zombie horde ka-powing before the actual final showdown. That battle, against the strange forces behind the series of invasions that plague the small town, squares us off against an odd bit of commentary: a mighty queen from a far off planet who has destroyed all men and believes that Zsazsa is wholly female. There is a smirking tension in Zsazsa between misandry, misogyny, and a nebulous middle thingy. Ada is, quite firmly, a gay man, though with classically feminine tendencies, and the queen of Planet X has no experience with this.

But I risk taking things too seriously. Zsazsa bursts with Lisa Frank energy from the get-go, and the pep doesn’t let up throughout the movie. In the midst of the endless sight gags, zippy one-liners, and cartoonish combat is a message: strength comes from within, and it has nothing to do with whatever spiky space rock you may have deep-throated into yourself.

WHAT THE CRITICS SAY:

“… the actual subject of the film perfectly accentuates the strangeness of its animated frames… Fans of campy cinema, drag aesthetics, and comic-book fantasy should have an absolute blast with this wild genre combo.” — Joshua Hayes, Josh at the Movies (festival screening)

CAPSULE: THE FEELING THAT THE TIME FOR DOING SOMETHING HAS PASSED (2023)

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The Feeling That the Time for Doing Something is Gone is available to purchase or rent on-demand.

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The fourth installment in the “Pete’s Perverted Pix” series.

DIRECTED BY: Joanna Arnow

FEATURING: Joanna Arnow, , Babak Tafti

PLOT: Ann, a middle-aged single woman, has an unsatisfied lust for dominant men, but most of the men in her life are dispassionate duds.

Still from The Feeling That the Time for Doing Something Has Passed (2023)

COMMENTS: The Feeling That the Time for Doing Something Has Passed ties with Your Vice is a Locked Door and Only I Have the Key for the film I have reviewed with the most cumbersome title. “TFTtTfDSHP” will serve as the abbreviation.

TFTtTfDSHP is a deadpan comedy and a character study that’s almost too candid in dissecting the mind of the frustrated kinkster in the wild, driven to settle for the nearest thing to warmth in a cold world. Can a film be considered weird based on one performance? Writer/director/lead actress Joanna Arnow bares all in a story that’s at least a bit autobiographical (right down to having her real-life parents play her parents), while acting out a study in frustrated feminine sexuality. Her performance is so fearlessly open that it’s nothing less than heroic. This is one of the most honest portrayals not only of real-life alternative lifestyles and sexual expressions, but of 21st-century cultural frustrations in general. At the same time, Arnow, even while casually fingering herself while naked at the breakfast table or costumed as a pig-slave, keeps a firm grasp on her character’s humanity and dignity. She makes it clear that her Ann is actively the agent in her own world, seeking something better for herself. Her definition of better just happens to be different from most of ours.

For those of you who wonder “why do people want BDSM in the first place?”, films like this and Secretary provide clear answers. Secretary’s Lee has a psychologically damaged background and deals with it by engaging in thrilling, edgy fantasies so spicy that an ordinary relationship won’t cut it. In TFTtTfDSHP, Ann lives in a millennial-gray world of trivial humiliations and disrespect. She’s the black sheep of her family, her coworkers take sadistic joy in making her work life miserable, and she lives a lonely, friendless existence in a threadbare apartment in an indifferent city. A couple of hours of bedroom role-play is her only chance to feel like a whole person, to be the focus of somebody else’s attention for awhile. Her character comes off as a whiff anhedonic, hitting like MTV’s Daria all grown up to discover that adult life is just as miserable and unfulfilling as she expected it to be. Feeling intentionally humiliated, degraded, or objectified at least gives her the chance to feel something.

Even in gratifying this small pleasure, Ann is frustrated. We start with her ongoing nine-years-long relationship that amounts to being the booty call for Allen (Scott Cohen), an aloof, uncaring galoot who treats her like a piece of furniture. She’s desperate to mold Allen’s indifference into deliberate sadistic intent, but Allen is a man so devoid of imagination that he can’t even think up good scenarios when Continue reading CAPSULE: THE FEELING THAT THE TIME FOR DOING SOMETHING HAS PASSED (2023)

CAPSULE: THE NAPA BOYS (2025)

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AKA Napa Boys Present: Napa Boys 4: The Sommelier’s Amulet

DIRECTED BY: Nick Corirossi

FEATURING: Armen Weitzman, Nick Corirossi, Sarah Ramos, Jamar Neighbors, Nelson Franklin, Mike Mitchell, , Paul Rust, Vanessa Chester

PLOT: The Napa Boys and a slew of friends and hangers-on assemble for one last wine country adventure in this fourth installment of a franchise whose first three movies were never made.

Still from "The Napa Boys" (2025)
Nick Corirossi and Armen Weitzman in THE NAPA BOYS, a Magnolia Pictures release. Photo courtesy of Magnolia Pictures.

COMMENTS: The Napa Boys are, as near as I can tell—having, like everyone else, missed the first three movies—Miles Jr., Jack Jr., and Kevin. And maybe, once upon a time, Stifler? Miles Jr. is a neurotic virgin in his 30s with a dead wife and son (just roll with it). Jack Jr. is a lecherous jackass. Kevin is… well, so forgettable that he disappears without explanation for most of the movie. They are joined in their wine country adventures by fill-in Boy Stifler’s Brother and stowaway Puck, a female fan with a Napa Boys podcast. There’s also affable ally Mitch, owner of Mitch’s Winery, and fascistic enemy Squirm, owner of Squirm’s Winery. Three of the characters acquire love interests, a female drug dealer and a pair of waitresses. Adding to the crowd are unexpected cameos by Jay and Silent Bob and . Not to mention the Milfonator.

All of that sounds like fertile ground for a wacky comedy, but that’s not what’s on the filmmakers’ minds. The high concept here implies that, as the fourth film in a franchise, the blush is fading off the rosé. Thus, the in-universe movie script is desperate for new twists and turns, while continuing to work the formula and deliver bits the in-universe fans have come to expect. That means a lot of apparent references to past events that Napa Boys fans would know about, but we don’t. Corirossi and company are going for clever rather than funny, with the “joke” being ultra-meta. The cast act badly on purpose, delivering their lines in an anti-comedy game of coming as close to a joke as they can possibly get without actually making one. (For example, when Mitch spills wine down his chin, Puck observes that he’s dribbling, and the vintner explains no, he just prefers wine filtered through his beard.) There were about three jokes in the whole thing that made me giggle. I’m sure they were included by accident; no anti-comic can bat a thousand.

A surprising number of critics misdiagnosed the film’s humor because they hadn’t encountered the concept of anti-comedy before. And if professionals are missing the point, you can be sure 99% of the film’s potential audience is, too. (It’s a shame that Rex Reed never lived to see this; the film’s writers would have treasured his dismissive takedown). The Napa Boys was designed to alienate and encourage walkouts; not only is the anti-humor off-putting until (and maybe even after) you get what they’re up to, but they also put the grossest of gross-out scenes relatively early in the first act. Anyone who makes it through Jack Jr.’s desperate encounter with a wine barrel without heading for the exits is in for the long haul.

There are three possible reactions to Napa Boys: you either don’t get it, or you get it, or you get it but conclude it wasn’t worth getting. I vacillate between the last two options. But what kept me watching was the unpredictability. The plot seems road-movie random, but is more structured than it first appears: subplots that appear to have been dropped reappear at unexpected moments. And even after all the plot threads seem to have been wrapped up, the movie keeps going on in a long epilogue, introducing new characters intended to set up the in-universe sequel or a spin-off. And the stop-motion moose surprised me, too. The Merlot may have been foul at times, but I can’t say my trip to wine country was entirely wasted. If you want to go, just be sure to pack a lot of patience.

WHAT THE CRITICS SAY:

“…one of the most surreal comedies in recent memory… this movie tells our nature to eff off, challenging us to flow with its exquisitely honed stupidity and simply laugh at the gross, awkward, un-PC and just-plain-weird moments it presents… The film has the cheery look and tone of a dumbass comedy…. Now cross that with the bizarre disassociation from reality you feel while watching a David Lynch film, and you’ve bullseyed The Napa Boys…”–John Serba, Decider (contemporaneous)

The Napa Boys

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CAPSULE: BUTTONERS (1997)

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DIRECTED BY: Petr Zelenka

FEATURING: Pavel Zajicek, Jan Haubert, Seisuke Tsukahara

PLOT: A variety of tales unfold simultaneously during a single night as a radio show attempts a review of the twentieth century.

Still from "Buttoners" (1997)

COMMENTS: Czechoslovakian, and later Czech, cinema has a lot to offer, especially for those interested in the weird. Many are familiar with the legacy of the (Valerie and Her Week of Wonders, Daisies) or its tradition of stop-motion animation (The Cybernetic Grandma, The Pied Piper). There are a plethora of lesser-known auteurs and visionaries lurking in the shadows, however, awaiting rediscovery. One of them is Petr Zelenka, whose comedies tackle the human condition through an absurdist lens (the distributor’s statement says he “formally combines an American independent movie poetic with Bunuelesque absurdity.”). Buttoners is a perfect example of his style.

Buttoners takes place mostly in the course of one long night and is divided into a series of chapters, each of focusing on different characters and their quirks. It gradually adds layers of meaning by revealing new points of view and multiple intersections between the characters, hidden in the details. In “The Rituals of Civilization,” a neurotic psychiatrist tries to find comfort in the small routines of personal care and hygiene. “The Last Decent Generation” shows how two elderly couples discover each other’s strange yet harmless fetishes.  And this is just a sample of the stories included here, building into a complex narrative of humanity at its weirdest and most original.

This is not superficial comedy where the characters eccentricities make them the butt of the joke. “The Rituals of Civilization” is, in fact, a meditation on our relationship with death and chaos. “The Last Decent Generation” tackles human quirks with sympathy, recalling Jan Svankmajer‘s far more bizarre Conspirators of Pleasure (1996). The bombing of Hiroshima is referenced throughout the movie, with a metaphysical twist towards the end, forming a common ground for all these disparate stories. This major event, with all its consequences, couldn’t be absent from a movie that attempts, among other things, to review the twentieth century.

All in all, Buttoners maintains a playful tone while reveling in clever twists. We can trace some formal similarities with the more recent Hungarian title Treasure City (2020), like the constant darkness and slightly surrealistic final segment. This Czech movie is way more light-hearted and comedic in style, however, which makes it the perfect recommendation for anyone looking for a sophisticated comedy unafraid to tackle serious subject matter.

WHAT THE CRITICS SAY:

“A strong return to the eccentric soul of [Czech cinema’s]1960s heyday… quirky, hugely enjoyable…”–Eddie Cokrell, Nitrate Online (festival screening) 

Knoflikari [Buttoners]

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