Tag Archives: Cult film

3*. SINGAPORE SLING (1990)

Singapore sling: O anthropos pou agapise ena ptoma

AKA Singapore Sling: The Man Who Loved a Corpse

“You know the feeling of something half remembered,
Of something that never happened, yet you recall it well;
You know the feeling of recognizing someone
That you’ve never met as far as you could tell…”–Johnny Mercer, “Laura”

Recommended (with caution)

DIRECTED BY: Nikos Nikolaidis

FEATURING: Meredyth Herold, Panos Thanassoulis,

PLOT: A detective is searching for a missing girl, Laura, a supposed murder victim with whom he was in love and who he believes is still alive. Suffering from an unexplained bullet wound, he follows the trail to a villa where a psychotic “Daughter” and an equally insane “Mother” live in a sick relationship, hiring servants whom they later kill. When the enfeebled detective stumbles to their door, the two women capture him, dub him “Singapore Sling” after a cocktail recipe they find in his pocket, and use him in their sadomasochistic sex games.

Still from Singapore Sling (1990)

BACKGROUND:

  • Much of the plot references ‘s classic thriller/film noir, Laura, including prominent use of the famous theme song.
  • Director Nikos Nikolaidis is well-known in Greece and is sometimes considered the godfather of the “Greek Weird Wave” films (best known in the work of ). Singapore Sling is his only work that is widely available outside of Greece.
  • Singapore Sling was one of the top three vote getters in 366 Weird Movies first Apocryphally Weird movie poll, making it one of the most popular weird movies left off the 366 Weird Movies canon.

INDELIBLE IMAGE: Warning: there are a lot of images in Singapore Sling which you would probably like to forget, but will be unable to. Among the least objectionable (believe it or not) is Daughter’s memory (?) of losing her virginity to “Father”: he appears as a bandage-swathed mummy.

TWO WEIRD THINGS: Earrings on organs; mummy incest

WHAT MAKES IT WEIRD: Imagine a cross between Laura and Salo, as directed by a young dabbling in pornography, and you’ll have some idea of what you’re in for—but it’s slightly weirder than that.


Short clip from Singapore Sling (1990) (in Greek)

COMMENTS: Singapore Sling blatantly references Otto Preminger’s Continue reading 3*. SINGAPORE SLING (1990)

APOCRYPHA CANDIDATE: DARK STAR (1974)

Recommended

DIRECTED BY:

FEATURING: , Dre Pahich, Cal Kuniholm, Brian Narelle

PLOT: A tiny crew of astronauts is on a maintenance mission to wipe out unstable planets, while contending with beach-ball shaped aliens, megalomaniac AI smart bombs, toilet paper shoratges, and their own petty disputes.

Still from Dark Star (1974)

WHY IT MIGHT MAKE THE LIST: Dark Star explores just enough dark matter to make it a heavy contender for the List, given its narrow category of sci-fi-comedy. The main things holding it back are that it hasn’t aged well, it’s a shoestring budget production with a syrupy pace, and the fact that it really could have fit a few more ideas into its runtime. But some details demand its consideration, such as the theme song: still the only country-and-western quantum-physics love-ballad so far in cinematic history. And a damned catchy one!

COMMENTS: Dark Star is such an enduring and beloved cult film that nothing I could say here could dent its reputation. It marks the origin of two heavy-weight genre-film talents: director John Carpenter, of Halloween, The Thing, Big Trouble in Little China, and They Live fame, and Dan O’Bannon, who would go on to pen the screenplays for Alien, The Return of the Living Dead, Lifeforce, and Total Recall. This is about the film you’d expect if you gave these two juggernaut talents a camera and turned them loose when they were students on a dormitory budget. Dark Star is a sci-fi comedy and a clever satire on the Golden Age of science fiction. It cheerfully plunders your memory if you grew up munching “Analog” and “F&SF” magazines and pulpy sci-fi paperbacks from thrift store spinner racks (that’d be me!), in the same way plunders grindhouse cinema. This is all done with a relaxed, broken-in pace, giving it a unique tone even among sci-fi comedies.

The crew of the good ship Dark Star are on a 20+ year mission in deep space to detonate unstable planets around star systems wherever they may find them, to clear space for potential future colonization. They get pep talk video transmissions from Earth mission control with a ten-year delay; the crew has tenuous support at best and their mission is not particularly urgent. They’re a crew of expendable red-shirts. Indeed, Commander Powell is dead already, but kept as a meat popsicle able to telepathically counsel the crew. Morale is in the pits: Talby (Dre Pahich) has retreated to the observation bubble where he avoids as much responsibility as he can, Doolittle (Brian Narelle) escapes with daydreams of his good old days surfing in Malibu, Boiler (Cal Kuniholm) fitfully takes out his aggression with laser rifle target practice, and Pinback (Dan O’Bannon) has adopted a farting orange ball alien, whom he seems to identify with more than the rest of the team. In between, the crew’s intense boredom and frustration makes them lash out at each other with testy, passive-aggressive acts of random pettiness.

Outside of all that, there really isn’t much of a plot. We have a crew of burnouts who have allowed their beards and mustaches to grow into Freak Brothers‘ territory, surrounded by banks of computer monitors and endless colorful buttons and switches, earning this movie the well-deserved moniker of “hippies in space.” Everything electronic talks, from the ship’s guiding computer to each individual bomb (note that this movie predates “The Hitchhiker’s Guide to the Galaxy”). The hilarious alien gets loose and Pinback has to chase it down, in an extended slapstick sequence that brings him to peril in an elevator shaft. Various computer and electronics malfunctions cause the sentient bombs to go haywire, creating a crisis where the crew must talk a bomb down from exploding with the ship still attached. Funny throwaway moments are all over; the crew tokes doobies in joyless resignation, and thumbs through D.C. Comics’ romance titles. And of course, numerous sci-fi works from the classics up to that year are referenced, including, without spoiling it, a Ray Bradbury short story—you’ll know it when you see it.

Dark Star‘s cult following today is at least halfway due to the intelligence at the core of its lightweight premise. It is a grand piss-take on the science fiction epic blockbuster, a genre at that time still in its salad days. Ironically, Carpenter and O’Bannon would go on from here to make some of the most definitive movies in that very genre. Dark Star counters the unfolding corridors of wonder reflected in David Bowman’s eyes with caustic pragmatism: space travel sucks when you run out of toilet paper. There are no Captain Kirks or Mr. Spocks here to deliver ringing speeches about the nobility of mankind’s quest for discovery. When new stars or intelligent lifeforms are discovered, Lt. Doolittle sneers “Who cares?” and “Find me something I can blow up!” Have Stephen Spielberg and his imitators given you the impression that our first contact with alien life forms will be a sweeping cosmic epiphany? Naw, it’ll probably be something like the orange ball with horrid clawed feet which has to be chased and corralled like a rowdy puppy. Dark Star pops our Atomic Age balloon to remind us that no matter what amazing things humans accomplish, most of our problems will still be with us just because we’re dumb monkeys who can barely get anything done through the choking bureaucracy that is our only form of self-governance. This makes Dark Star a contender for the very first cyberpunk movie. Ain’t it groovy?

WHAT THE CRITICS SAY:

“‘Dark Star’ is one of the damnedest science fiction movies I’ve ever seen, a berserk combination of space opera, intelligent bombs, and beach balls from other worlds.”–Roger Ebert, Chicago Sun-Times (contemporaneous)

OTHER LINKS OF INTEREST:

Looking back at John Carpenter’s Dark Star – An in-depth review and tribute by Lawrence Brooks at “Den of Geek”

(This movie was nominated for review by “Roland Mangan.” Suggest a weird movie of your own here.)

 

CAPSULE: THE WICKER MAN (2006)

DIRECTED BY:

FEATURING: , Kate Beahan, ,

PLOT: Responding to a letter from his ex-girlfriend, Officer Edward Malus decides to recuperate from a harrowing traffic accident by investigating a missing person on an island inhabited by a cult of nature-worshiping women.

Still from The Wicker Man (20016)

WHY IT WON’T MAKE THE LIST: The weirdest thing about this movie is somehow this island of goddess-obsessed females didn’t all get seduced by mid-’00s Cage’s snarky charm. Seriously, though, the actual weirdest thing I came across was that the “Director’s Cut” was presented in full-frame on the DVD, with the PG-13 theatrical release in wide-screen on the reverse side.

COMMENTS: When under the direction of talented filmmakers, Nicolas Cage nothing short of amazing. And as for his many bad movies, I’ve never been unhappy to see him on the screen whenever he appears. So, Neil LaBute’s the Wicker Man does not deserve the lowly “3.7” score to be found on IMDb; it merits at least a solid 5. Nicolas Cage provides a competent performance in a competent PG-13 atmospheric horror film remake. That said, to come anywhere close to succeeding with a reimagining of one of the great scary movies starring some of Britain’s best actors from the ’70s, “competent” is far, far away from “worth-while”.

The story, for the few who may not know it, concerns the mercy mission of California cop Edward Malus (Nicolas Cage, in one of his many roles as a member of law enforcement). While taking some wellness leave after being injured during a dramatic (and recurring) car and truck crash, he receives a letter from ex-girlfriend Willow (Kate Beahan), requesting that he help her find her daughter, who has gone missing on Willow’s hometown island off the Pacific Northwest coast. This island is populated almost entirely by women, all of whom are members of a mother-goddess cult. As Malus’ investigation continues, their ominous harvest festival approaches.

I apologize for not having much to say about this movie, but there really isn’t much to go over. Technically, it’s put together competently ($40-million can get you that kind of quality control); the acting across the board is competent; and… then what? I volunteered to watch this having somehow spent my years between 2006 and now without having seen the movie that brought to the internet the famed “Not the bees!” meme. Indeed, I very nearly missed out on that singular treat for reasons alluded to in the “Why it won’t make the list” section. While a newer release probably would have served me better, the original DVD pressing had the director’s (read: “Not the bees!”) cut in full-frame presentation, something I avoid unless the film was intentionally made in the Academy ratio. I was quite perplexed when I finished the wide-screen version on my first go-around, having spent much of it idly taking random notes to kill time until the infamous bee scene; in the end I had to flip the disc and re-watch the finale, in full-frame. That was the most interesting part of my viewing experience. Now far bee it from me to sound so dismissive, but even though I could drone on some more if I felt like it, instead I’ll leave it that the Wicker Man rather fully lives “up” to the buzz.

WHAT THE CRITICS SAY:

“Whenever we think our man Cage is totally sucking, it’s probably that he’s just so far ahead of the curve we’re afraid to follow lest we get hit by a truck careening around the bend. Not unlike the character he plays in the BAD LIEUTENANT 2, Cage’s cop in WICKER doesn’t care if we root for him or not, he’s got his own road to ho, an arc that transcends words like ‘reckless’, ‘brave’, ‘idiotic’ or ‘inspired.’–Erich Kuersten, Acidemic

CAPSULE: ICHI THE KILLER (2001)

Koroshiya 1

DIRECTED BY:

FEATURING, ,

PLOT: A sadomasochistic Yakuza relishes being hunted by a mysterious hitman named Ichi, hoping the killer will bring him to undreamed of heights of pain.

Still from Ichi the Killer (2001)

WHY IT WON’T MAKE THE LIST: Ichi is strange, for sure, but as important as it was in developing Takashi Miike’s cult and bringing his work before more round-eyes, it values gruesomeness and shock value over pure weirdness.

COMMENTS: Ichi is notorious for its violence and sadism, and rightfully so; but, as a Takashi Miike joint, it bears an undeniable brand of quality and style. Also, as is typical with Miike, it’s uneven, almost by design, changing from yakuza intrigue to gross-out torture fest to campy black comedy at the crack of the director’s whip. The complicated plot echoes both Yojimbo (in the way one character pits rival crime factions against one another) and Memento (in the way a vulnerable man’s memories are manipulated to make him a tool of vengeance). Tadanobu Asano gives a cool, cult star-making performance as Kakihara, the ruthlessly sadomasochistic villain with dyed blonde hair and unexplained facial scars that have carved his face into a perma-Joker grin. As with every Miike movie, it contains a few moments of transcendent gonzo poetry—my personal favorite being when Jijii (played by Tetsuo director Shinya Tsukamoto) strips off his shirt to reveal an improbably jacked physique.

Still, even Miike’s best movies tend to have troughs along with its peaks, and Ichi has a number of problems that prevent it from rising very far above its nihilistic base. The ostensible protagonist—Ichi of the title—is not at all believable as a legendary assassin; in fact, his prowess at killing is completely absurd in a way that doesn’t match, or serve, the serious and frightening tone of the Kakihara’s segments. Nor does the performance of otherwise fine actor Nao Ohmori fully exploit the sympathy one might have for the character, had he been portrayed in a less cartoonish manner.

Even more problematic is the film’s violence—not its extent so much as Miike’s inconsistent attitude to depicting it. At times, torture and cruelty are depicted with a realism that makes one cringe and empathize with the victim, while at other times it’s treated with a insouciance (as when a shocked face is detached from its head and shown sliding down a bloody wall). Sometimes these inconsistent tones coexist in the same scene: Ichi witnesses a brutal rape, with the victim’s face painfully swollen from a merciless beating, then dispatches the assailant by splitting him vertically from head to toe with his razor shoe. In some sense, alternating the absurd and realistic approaches to violence makes the scene more nightmarish, keeping the audience off-balance by mixing fearful anticipation with an unexpected result. I can appreciate this effect, to some extent, without actually enjoying or approving of it. The problem is that it’s more authentically sadistic to treat suffering as a joke than to face it head-on; Ichi too often takes on the sadist’s attitude that others’ pain is entertainment. Although torture and gore is pervasive and extreme throughout Ichi—including a man hanging suspended from hooks dug into his skin, among other atrocities—the violence in Miike’s previous Audition is far more harrowing and meaningful, because a fleshed-out human beings whom we can care about suffer (and inflict) it, instead of the pain being just a revolting exhibition occurring between two caricatures.

Ichi the Killer is one of those canonical cult movies (like Donnie Darko) that is constantly being restored, tinkered with and reissued in new home video editions. The latest on offer is the 2018 Blu-ray from Well Go USA, which bills itself as the “definitive remastered edition.” While it is reportedly an improvement on the 2010 Blu from Tokyo Shock, it lacks any significant supplemental features aside from the decade-old commentary track from Miike and original manga writer Hideo Yamamoto recycled from an old DVD release. In any release, it should go without saying to beware the English-language dub.

WHAT THE CRITICS SAY:

“…the kind of deeply horrible and bizarre movie that really can only be viewed from between your fingers, or behind the sofa, for most of its two-hours-plus running time.”–Peter Bradshaw, The Guardian (contemporaneous)

(This movie was nominated for review by Caleb Moss, who called it “Pretty weird, more leaning on subtle absurdity, but when [Miike] goes for it, he can deliver some really great black comic intellect…” Suggest a weird movie of your own here.)

348. FIGHT CLUB (1999)

“If you meet the Buddha on the road, kill him.”–Zen koan

Must See

DIRECTED BY: David Fincher

FEATURING: , ,

PLOT: A yuppie actuary with chronic insomnia  becomes obsessed with going to self-help groups for ailments he doesn’t have. At one, he meets a woman who shares his obsession, but resents her for infringing on what he thought was his unique form of self-therapy. Later, he meets and is befriended by a soap-maker named Tyler Durden; together, they form a “fight club” where men reassert their masculinity with bare-knuckle fighting, but the group’s activities grow into a cult.

Still from Fight Club (1999)

BACKGROUND:

  • The movie was based on Chuck Palahniuk’s 1996 debut novel of the same name. The genesis of the novel came when Palahniuk got into a fight over the weekend. When he returned to work with two black eyes, he was surprised that no one asked what had happened; instead, everyone avoided looking him in the face. He theorized that if you looked bad enough, no one would ask what you were doing in your free time, because they’d be scared to find out the answer.
  • Pepsi provided product placements for this anti-consumerist movie. Fincher also claims to have hidden a Starbucks cup in every scene.
  • Budgeted at $63 million, Fight Club lost money in its theatrical release, but quickly became a cult film and recouped its cost on video.
  • Fight Club placed #5 in Rolling Stone‘s poll of readers’ favorite movies of the 1990s, #17 on Empire‘s readers’ poll of the best movies of all time, while American Movie Classics named it the 20th best “guy movie,” among other lists the film made.

INDELIBLE IMAGE: It has to be one (any) of the many scenes of brutal bare-knuckle boxing, overseen by a shirtless, cigarette-smoking Brad Pitt, oozing sweat, blood, and raw liquid testosterone.

THREE WEIRD THINGS: D-cup dude; penguin spirit animal; subliminal Durden wang

WHAT MAKES IT WEIRD: Yes, it’s possible to be popular and weird. Often misunderstood as a simple adolescent anti-consumerist message movie aimed at impressionable young men, Fight Club is actually a movie-length hallucination about the painful process of becoming a man.


Original trailer for Fight Club

COMMENTS: How do you talk about Fight Club? I first saw it in a Continue reading 348. FIGHT CLUB (1999)

CAPSULE: KING OF HEARTS (1966)

DIRECTED BYPhilippe de Broca

FEATURING: , , Françoise Christophe, ,

PLOT: Signal Corps pigeon-keeper Charles Plumpick is mistakenly sent into the recently abandoned town of Marville to defuse German explosives, but his mission hits a road block when released members of the local insane asylum adopt him as their king.

WHY IT WON’T MAKE THE LIST: King of Hearts is whimsical, farcical, pacifist, fairly amusing and even sometimes tense—but not weird. Film-maker Phillippe de Broca lets his hippie-freak flag fly high, but the tone and story are altogether too bright and straight-forward for this to parade anywhere near List candidacy.

COMMENTS: It is altogether natural that a movie like this—an atypical period film (WWI) made during a disruptive decade (the 1960s) concerning a small French town taken over by the inmates of an asylum—appeared on our radar. Though filmed during the (stage) theatrical run of another asylum-themed dramaKing of Hearts is preaching more to the pacifist/anti-establishment choir than dealing, cinematically, with any madness other than the folly of war. While it is set during the first World War, it’s more of a fluffy predecessor to other counterculture anti-war films like Altman‘s M*A*S*H or ‘ Catch-22.

It is safe to presume that in contemporaneous times, Charles Plumpick (Alan Bates) would have been a draftee. The Great War was a strange beast, though, and as an Englishman there’s every reason to believe that this bookish lover of birds would have volunteered the minute he heard that Jerry was on the march. As a signals officer for the military (specialty: carrier pigeons) with a name similar to a bomb disposal expert, he is sent off to the recently evacuated—and recently booby-trapped—town of Marville. Feeling guilty, one of the townsfolk unlocks the insane asylum as he flees. After wandering out, the inmates find all kinds of diversions: dressing up fancifully, enjoying shaves and haircuts, and staging ad hoc parades. Our hero Plumpick is mistaken for their King, and spends the movie being feted, scurrying madly to find the bomb trigger, and getting seduced by a cinematically antediluvian manic pixie dream girl.

I was reminded of my love of darker cinema when I first watched King of Hearts: it is entirely missing any aura of unease, much less menace. The “insane” people are all highly functional, charming, and seemingly guilty of nothing more than harmless delusions and a capacity for wonder. The British soldiers are Scottish, the only reason for which I could deduce was so the film-maker could have a bunch of kilted yobbos running around (there’s a trio of soldiers sent after Plumpick that wouldn’t have been out of place amongst the constables in The Pirates of Penzance). The Germans are boobs in the “Hogan’s Heroes” mold. The showdown between the two sides when they descend upon the city is the only bit of violence, and its orchestrated in a manner that screams, “Hey! I think war’s stupid!”

What kind of movie would it have been if Plumpick were infiltrating a bomb-laden city peopled by actually insane citizens? Obviously the movie would have been very different; and almost certainly much less beloved. King of Hearts was received lukewarmly at its release, but developed a considerable cult following since. There are some decent laughs, some clever lines, and yes, despite my complaints, I largely enjoyed the thing. However, throughout it all I couldn’t help but wonder, “How much darker, troubling, and altogether more glorious could this have been if the inmates had been more like those found in Charenton?” Ah well.

WHAT CRITICS SAY:

“…a surrealistic jewel of a comedy which you realize, when you can catch your breath between laughs, has made the case for the sanity of the lunatics and the madness of the war-waging sane.”–Charles Champlin, The Los Angeles Times (DVD)

346. LIQUID SKY (1982)

” I’ll tell you something, too, that’s starting to annoy me about UFOs: the fact that they cross galaxies or universes to visit us, and always end up in places like … Alabama. Maybe these aren’t super-intelligent beings, you know what I mean? ‘Don’t you wanna go to New York or LA?’ ‘Nah, we just had a long trip, we’re gonna kick back and whittle some.'”–Bill Hicks

Weirdest!

DIRECTED BY:

FEATURING: Anne Carlisle, Otto von Wernherr, Paula E. Sheppard, Susan Doukas, Bob Brady

PLOT: A tiny alien flying saucer lands on top of the Empire State Building, directly across from the penthouse where drug-scarfing New Wave fashion model Margaret spends her nights bedding partners of both sexes. A German UFO scientist who has tracked this manifestation takes up residence in an apartment across from Margaret, spying on her through a telescope. Margaret’s sex partners begin to die off as the aliens harvest the endorphins released during their orgasms.

Still from Liquid Sky (1982)

BACKGROUND:

  • Slava Tsukerman was a Russian Jew who trained as an engineer before switching to filmmaking. He made a mostly documentaries in the Soviet Union and Israel before emigrating to the U.S. to make features. He began developing Liquid Sky after funding for a sci-fi film that would have starred and fell through.
  • Co-writer Anne Carlisle, who starts as a fashion model in the film, was a fashion model in real life. Most of the actors were art-scene punks drawn from bohemian casting director Bob Brady’s acting classes, and most played some version of themselves.
  • Many repeat the claim that Liquid Sky was chosen as the title of the film because it was slang for heroin, but according to Tsukerman he encountered the term as a metaphor for euphoria in his research, and junkies only began to refer to the drug as “liquid sky” after the movie became a cult hit.
  • Made with an estimated budget of half a million dollars, Liquid Sky grossed more than $1.7 million in 1983.
  • In a 2014 interview Tsukerman announced his intentions to make Liquid Sky 2, but no news has emerged on that front since.

INDELIBLE IMAGE: New Wave fashion shows? Neon sculptures? Flying saucers hovering in front of the Empire State Building? Margaret’s fluorescent face paint under a blacklight? All excellent choices. But we had to go with alien-eye-vision, rendered through technology that looks like a cross between malfunctioning army ranger night-vision goggles and News at 11’s stormtracker radarscope, but with a Day-Glo color scheme, and often looking like it’s peering through a microscope aimed at a dividing zygote.

THREE WEIRD THINGS: UFO/heroin connection; spontaneous hateful beat eulogy; prayer to the Empire State Building

WHAT MAKES IT WEIRD: Liquid Sky is like an alien’s attempt at making a film set in the No-Wave Greenwich Village art scene in 1982, if their only previous exposure to movies was the works of , , and Rinse Dream. Neon, nasty, and occasionally tedious, but there’s nothing else quite like it.


Original trailer for Liquid Sky

COMMENTS: Liquid Sky is about aliens, and it might as well have Continue reading 346. LIQUID SKY (1982)