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DIRECTED BY: Jacob Vaughan
FEATURING: Ken Marino, Peter Stormare, Gillian Jacobs, Stephen Root, Patrick Warburton, Mary Kay Place, Toby Huss
PLOT: An accountant finds that his searing intestinal pains come from a monster that lives in his lower digestive tract, who emerges from his bowels to kill whatever is causing him undue stress in his life.
WHY IT WON’T MAKE THE LIST: Playing like a cross between a Frank Henenlotter splatter goof and The Brood remade as a comedy, Milo has minor midnight movie aspirations, but lacks the gut impact to become one of the top weird movies of all time.
COMMENTS: For a movie about a demon that lives in an accountant’s colon and emerges to slay his enemies, Bad Milo isn’t nearly as much of an exercise in bad taste as you might think. There’s only one scene of spraying fecal matter, and it’s rather light, almost a mist. There’s more blood than poop, but Milo isn’t a gorefest by horror movie standards, either. The movie’s grossest moments are all left up to your imagination, suggested only by Ken Marino’s labored grunts. Whether this modicum of restraint constitutes a relief or a disappointment is up to you, but the odd fact is that Milo the movie ends as surprisingly good-natured as Milo the killer puppet is disarmingly cute. Ray Romano-lookalike Marino plays accountant Duncan as a put-upon pushover who gradually grows a pair when forced to defend his family from his own intestinal impulses. Marino is ably supported by a familiar cast of character actors whose presence give the movie a polished and professional feel (again, whether “polished and professional” is what you want from your butt-monster movie may be a matter of personal taste). Peter Stormare, as a disheveled, New Age-y hypnotherapist (“witch doctor!,” accuses his parrot) is the movie’s quirkiest creation. Mary Kay Place amuses as Duncan’s cradle-robbing mom who gives her son T.M.I. about her S&M lifestyle. Stephen Root plays a pothead whose laid back attitude proves a constant struggle for him, while Patrick Warburton proves a natural as a genially sociopathic middle manager. For the most part, the script’s humor emerges easily from the absurd premise and capable performances, and rarely feels strained.
Milo‘s unexpectedly layered psychology involves learning to cope with buried neuroses rather than letting them become impacted, paternal abandonment issues, and, most importantly, a fear of parenthood angle. Duncan may explicitly deny that the monster up his butt is a metaphor, but the movie begs to differ. And that very fact may hurt Milo with its target audience: by being more thoughtful and probing than the usual movie about butt-monsters, it passes up a lot of scatological opportunities, which may explain why it failed to wow the midnight movie crowds. This is a case where the movie might benefit from a less tasteful approach.
WHAT THE CRITICS SAY:
“…its creators usually know when to let their inherently insane ideas speak for themselves.”–Simon Abrams, RogerEbert.com (contemporaneous)