Tag Archives: Fan film

CAPSULE: IRON LUNG (2026)

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DIRECTED BY: Mark Fischbach

FEATURING: Mark Fischbach

PLOT: In the far future, when humanity is dying off, a convict is sent to the bottom of an ocean of blood on a distant moon in search of… something or other.

Still from iron lung (2026)

COMMENTS: If you’ve heard the rags-to-riches DIY success story of the fan video game adaptation Iron Lung, which played in 4,160 theaters worldwide in early 2026 based purely on a grassroots campaign where fans of YouTuber-turned-feature-film-director markiplier (Mark Fischback) begged cinemas to show it on the big screen, and are wondering whether the non-initiate will enjoy this, my answer is a firm “no.” While the film is a phenomenal success story on its own terms, it was made for a narrow niche audience, and unless you’ve played the video game or count yourself among markiplier’s 38 million YouTube channel subscribers, you ain’t it.

At least 90% of Iron Lung takes place inside a cramped submarine the size of a living room, crowded with metal apparatus and sensors. Convict pilot Simon (Fischback) is alone for almost the entire film, with occasional conversations over intercoms with bad connections to break his solitude. The craft is rickety, has no portals to see the outside world (which would just be a wall of opaque red anyway), has frequent blood leaks, and lunches a lot. You get to know every sharp corner and blinking light in the sub in the film’s 2-hour runtime; you almost feel like you could pilot this tub yourself. The detailed set conveys the feeling of a metal prison, and the sound design is superlative: drips, scrapes, static, echoes, thumps, all sorts of dreadful alarming noises to remind you that you are in a tin can surrounded by certain death. Based on the editing in the climax, I think that Fischback could direct a thrilling action scene—assuming you knew who, what, and where the antagonist was and what the hell was going on.

But as impressive as the film’s technicals may be, the script is simultaneously boring and confusing. I mentioned that the film was 2 hours long, and it makes sure you feel every minute. Reports suggest the game itself can be finished in under and hour—an hour and a half if you dwaddle—so there is a lot of padding added here to convey the combination of tedium and dread the protagonist would experience. Watching the movie, you get the sense that the game is nothing but a long test of your ability to press buttons, flip switches, and turn knobs, because this mostly what Fischback does on screen. There is a part where he accidentally irradiates some of his handlers, which has no payoff. There is a tormented personal backstory delivered in monologue, meant to humanize the an anonymous explorer. But mainly, it’s Fischback flipping switches, turning knobs, and bemoaning his fate.

The mystery of this abandoned moon is where the film’s claim to weirdness comes from. The premise itself is absurd: supposedly all the stars and planets have suddenly disappeared except for a single moon with an ocean of blood. Although the technology here comes from hard science fiction, the scenario is entirely mystical. The ocean floor contains mysterious artifacts (which I won’t spoil) and something that might be an entity—or, it could all be an oxygen-deprivation hallucination. There is some body horror, some monstrous visions, a blood-soaked cosmic climax, and no clear resolution. The lack of explanations would not be a problem if we cared about the protagonist in more than a theoretical sense, but it’s hard to become engaged with the convict’s plight. We root for humanity to survive more out of a sense of general obligation to the species than because the movie has caused us to care about this particular band of plucky survivors. So, in short: play the game first. If you want more, see the movie. Don’t reverse the process.

Iron Lung is currently available for rental or purchase solely on YouTube.

WHAT THE CRITICS SAY:

“It’s slow, weird, and draining in a way that feels oddly beautiful.”–Roberto Tyler Ortiz, Geek Vibes Nation (contemporaneous)

(This movie was nominated for review by “Anonymous,” who suggested it “[h]as enough questions about what f***ed up stuff we’re seeing is real or not, and ends with one of the goriest climaxes in all of film with a battle with a sentient ocean of radioactive human blood..” Suggest a weird movie of your own here.)

366 UNDERGROUND: STAR TREK TIME WARP TRILOGY (2010-2013)

DIRECTED BY: Brandon M. Bridges

FEATURING: Brandon M. Bridges

PLOT: A series of time paradoxes reunite a Starfleet captain with a friend he’d long thought dead.

WHY IT WON’T MAKE THE LIST: While a handful of scenes approach delightfully high levels of weirdness, the trilogy as a whole is too monotonous and just plain boring to be worthwhile.

COMMENTS: For the lover of outsider cinema, fan films are a tricky lot to evaluate. On one level, fan films make up one of the most plentiful sources of DIY filmmaking. Persons whose movie production experience ranges from amateur to none gather together out of nothing but a shared enthusiasm for their subject to make films. They write their own scripts, sew their own costumes, scout out whatever locations their friends and family have access to, and rent or buy their own equipment, all with zero expectation of commercial recompense due to copyright law. The best of fan films are filmmaking for filmmaking’s sake, regardless of budget, experience or competence, and that’s fertile ground for weird cinema.

There’s something at the root of the fan film, however, that often prevents it from being a truly weird product. By its very nature, the fan film is intrinsically tied to the aesthetics and ideologies of the commercial film industry, because it’s the output of that very industry that fan filmmakers are trying to imitate. Fan films might be described as an audiovisual form of cosplay. Be it “Star Wars,” “Star Trek,” or “The Lord of the Rings,” most fan films aim to replicate their source material as closely as a limited budget and volunteer crew and cast allows. While there’s still plenty of room for creative expression within these confines, just as there is in fan art and fanfiction, the firm ties to pre-established canons and aesthetics severely hamper the fan film’s potential for weirdness.

I don’t know if I’ve seen a fan film that typifies this dichotomy between slavish devotion to source material and bizarre outsider weirdness as much as Brandon Bridges’ Star Trek: Time Warp trilogy. Its visual fidelity to the “Star Trek” universe comes down to minute details of each ship and uniform, and it’s made all the more impressive by the fact that it was all done by one man. At the same time, the constant insertion of what are clearly the director’s personal interests throws all that fidelity into disarray. Archived video of “Teenage Mutant Ninja Turtles” plays a vital role in the protagonist’s attempts to determine the identify of a time-traveling warlord. Bridges also has a relationship with “The Price Is Right” that’s akin to ’s relationship with angora wool. Serious plot developments occur in holodeck recreations of the Bob Barker era set, and the game show’s full theme plays in each of the three films.

Maybe the strangest thing about the Time Warp trilogy isn’t its length, or its obsession with mid-70s daytime television, but rather how un-“Star Trek” the narrative feels. On a surface level, the story has many of the staples of “Trek,” particularly the original series and “Next Generation” films of the 80s and 90s. There are temporal anomalies, starship battles, and political conspiracies to disrupt peace in the universe. But most of the run time isn’t spent on any of these things; instead, it’s devoted to long, verbose conversations between the characters about their personal and emotional lives.

This isn’t to say emotional storytelling hasn’t been a focus of certain incarnations of “Star Trek,” but at their creative peak the franchise wove such storytelling into its narrative, revealing characters’ interior lives through their reactions to the events surrounding them. In Time Warp, sci-fi touchstones like time travel and alien invasions come off as little more than nuisances rudely interrupting the crew’s navel-gazing. While the concept of a mid-century melodrama occasionally interrupted by Romulans is appealing, the execution here is unfortunately just boring.

Each film in the Time Warp trilogy is available to view for free on Youtube.