After his wife passes away, heartbroken Frank starts to have hallucinations involving his childhood stuffed toy, Jericho.
Zim-zam, flippy-floppy, jim-jam! Gibby Goo Bop, an overly-enthusiastic, sandal wearing, peace loving, tree hugging entity presents his first ever music video.
DIRECTED BY: Darren Aronofsky
PLOT: A shy up-and-coming ballet dancer lands the lead in a production of “Swan Lake.”
Obsessed with perfection and paranoid that the dual role will be taken away from her, she struggles to become both the virginal White Swan and the seductive Black Swan characters.
WHY IT MIGHT MAKE THE LIST: This is a psychological horror-thriller, no doubt about it, and in many ways it sticks to the conventions of that kind of film . But at the same time, Black Swan is so eerie, so unsettling, and so strange in its hallucinatory freak-outs and loosening grip on reality—and so good overall—that it probably warrants inclusion on the List.
COMMENTS: It is very difficult to write any kind of in-depth review of this movie without some spoilers, so if you don’t want to know anything, just take my word for it that Black Swan is a truly exceptional film and you should go see it. Otherwise, I’ll try to avoid any big revelations, but will mention various plot points.
It seems the controversial Darren Aronofsky has found a way to combine the considerable and versatile talents he exhibited in his preceding films into one near-perfect thriller that’s both unsettling and emotionally gripping. He infuses his new feature with all the depravity of Requiem for a Dream, the visceral surrealism of Pi, the visual splendor of The Fountain, and the grounded character of The Wrestler, while of course adding some beautiful dance sequences and a sapphic fantasy. His camera moves with the dancers as they bound across the stage, offering a volatile but accessible glimpse at a live art form and throwing in enough technical tricks to keep any camera geek guessing.
Nina is a quiet, innocent young woman—an obvious product of her coddling, controlling mother—and her quest for perfection in dance leads her to attempt a complete personality overhaul. To play the Black Swan role in Tchaikovsky’s “Swan Lake” she must release the dark, confident, seductive force within her that’s been fighting to break out. This duality within her character is frequently hinted at throughout the film through use of mirrors, sex, and hallucination woven so seamlessly with reality that the viewer is frequently unsure what is real—as is Nina herself. The constant mind games Aronofsky plays with his audience—along with Natalie Portman’s dedicated performance—make for a captivating, tense experience. I was so engaged and so anxious during this movie I felt myself physically relax about twenty minutes after it ended, though mentally I still felt shaken.
A testament to the great struggles inherent to any artistic expression, Black Swan is an intense and passionate film. Every sound is acutely felt, every strange vision strikes a cord. At times things get as visceral as Cronenberg‘s body horrors. The horror is derived from how little we really know about anything outside of Nina’s own experience, and how unsure we are about how much worse it’s going to get. Everyone around her presumably leads a fairly normal, expected life (well, everyone except Winona Ryder’s tragic, boozy ex-dancer Beth), but we are rarely able to see outside of Nina’s self-constructed dual prison of home and studio, which is inflated in her own head. Indeed, the few times we are reminded of the outside world offer welcome comedic breaks to somewhat ease the ever-building tension.
All of Aronofsky’s stylistic flourishes and subtly terrifying images are tempered by several truly impressive performances. Portman perfectly embodies the conflicted Nina, capturing her fear, desperation, and exhilaration. Mila Kunis is an excellent foil, physically mirroring the shy protagonist while exuding the sexuality and abandon Nina strives for. Vincent Cassell is a superb jackass, channeling George Balanchine in his romantic, tyrannical choreographer Thomas Leroy, and Barbara Hershey is appropriately sympathetic and creepy as Nina’s obsessive mother Erica.
From the very beginning Black Swan reaches out and grabs its audience, never letting its grip slip until well after the credits roll. At times it may be hard to watch, but you’ll never want to look away, and what you see will certainly stick with you. And the combination of backstage ballet drama, pulp-thriller gore, and hallucinatory allegory actually is pretty weird.
WHAT THE CRITICS SAY:
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Bad Lieutenant: Port of Call New Orleans has been promoted onto the Apocryphal List of the Best Weird Movies Ever Made. Please read the official Apocrypha entry.
DIRECTED BY: Werner Herzog
PLOT: While investigating the slaughter of an immigrant family, a pill-popping and coke-sniffing New Orleans cop’s penchant for gambling and for rolling his escort girlfriend’s clients gets him into deep trouble with his department and with dangerous men; to save his life, clear his name, and crack the case, he must pull off several double crosses while strung out and sleep deprived.
WHY IT MIGHT MAKE THE LIST: Watched with a doggedly literal mind, this version of Bad Lieutenant could almost be seen as a straightforward thriller/police procedural, but most who check out this flick will come away with the nagging feeling that there’s something exceptionally strange afoot in NOLA these days. Less than a handful of hallucinations dog our drug-soaked antihero through the port, but the visions that do appear pack one hell of a wallop. Cage’s jittery, over-the-top performance and the enigmatic, dreamlike ending Herzog supplies notch two more points in the “weird” column.
COMMENTS: In 1992 underground auteur Abel Ferrara made a notorious movie about a corrupt New York City cop who shoots heroin, smokes crack, molests teenage girls, shakes down criminals for bribes, and tries to solve a case involving a raped nun while hallucinating and dodging a bookie he owes an unpayable debt. Bad Lieutenant was an overwrought, magnificent Christian parable that sought to demonstrate God’s infinite capacity for forgiveness by presenting a character that audiences couldn’t forgive.
In 2009 renowned German auteur Werned Herzog made a movie about a corrupt New Orleans cop who snorts heroin, smokes crack, molests young women over the age of 21, rolls johns for drugs and money, and tries to solve a case involving a murdered family while hallucinating and dodging a mobster he owes an unpayable debt. Herzog defiantly claimed never to have heard of Ferrara or the first Bad Lieutenant movie, but screenwriter William M. Finkelstein notably kept his mouth shut.
It’s a good thing that Herzog, who apparently wanted to title the film Port of Call New Orleans, Continue reading LIST CANDIDATE: THE BAD LIEUTENANT: PORT OF CALL NEW ORLEANS (2009)
“I passed the summer of 1816 in the environs of Geneva. The season was cold and rainy, and in the evenings we crowded around a blazing wood fire, and occasionally amused ourselves with some German stories of ghosts, which happened to fall into our hands. These tales excited in us a playful desire of imitation. Two other friends (a tale from the pen of one of whom would be far more acceptable to the public than anything I can ever hope to produce) and myself agreed to write each a story founded on some supernatural occurrence. The weather, however, suddenly became serene; and my two friends left me on a journey among the Alps, and lost, in the magnificent scenes which they present, all memory of their ghostly visions. The following tale is the only one which has been completed.”–Mary Shelley, preface to Frankenstein
DIRECTED BY: Ken Russell
PLOT: Romantic poet Percy Shelley takes his lover, Mary, and her stepsister Claire to visit Lord Byron and his biographer, Dr. Polidori, at the poet’s sprawling Swiss estate. The fivesome spend the evening playing games and drinking laudanum, until the topic of conversation turns to ghost stories. They decide to hold a seance to materialize their worst fear, with unanticipated success: or, are they just having a group hallucination?
- The meeting in the film between Percy Shelley, Byron, Mary Godwin Shelley, Dr. Polidori and Claire Clairmont did take place, though the party actually spent the entire summer of 1816 together, not just a single night. Mary Shelley (then Mary Godwin) did conceive the idea for her novel “Frankenstein“ there, after Byron suggested that each member of the party write their own supernatural tale. Many other details of the character’s backstories are accurate: Byron did impregnate Claire, and Mary did bear a stillborn child by Percy.
- The story of “Frankenstein”‘s genesis was mentioned in the prologue to The Bride of Frankenstein, and similar stories of the meeting between Byron and the Shelleys were told in the movies The Haunted Summer (1988) and Rowing in the Wind (1988).
- The painting which hangs over the mantelpiece in the guest bedroom, which is recreated in live action in a dream sequence, in is based on John Henry Fuseli’s “The Nightmare.”
- The movie was the first major feature produced by a division of Virgin Media (known for producing and distributing their pop music). Many of the technical crew had a music video background. Virgin shut down its motion picture production and distribution operations after 1990.
- Julian Sands came to Gothic fresh off a prominent role in Merchant-Ivory’s Oscar-winning A Room with a View. After this role he wound up specializing in horror films like Warlock (1989) and its sequels.
INDELIBLE IMAGE: Breasts with eyes.
WHAT MAKES IT WEIRD: After setting up its premise, Gothic becomes a series of phantasmagorical set pieces that allow Ken Russell to indulge his penchant for perverse visuals and excessive Freudian symbolism.
Trailer for Gothic
COMMENTS: For better and worse, Gothic‘s hallucinatory structure allows director Ken Continue reading 50. GOTHIC (1986)