Tag Archives: Low budget

Capsules, It Came from the Reader-Suggested Queue

IT CAME FROM THE READER-SUGGESTED QUEUE: POULTRYGEIST: NIGHT OF THE CHICKEN DEAD (2006)

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DIRECTED BY: Lloyd Kaufman

FEATURING: Jason Yachanin, Kate Graham, Allyson Sereboff, Joshua Olatunde, Robin L. Watkins

PLOT: When a ravenously capitalist fast-food chain builds a franchise on an old Indian burial ground in the fair burg of Tromaville, the spirits of dead Native Americans and dead chickens conspire to turn the poultry-eating populace into fluid-spewing zombies.

Still from Poultrygeist: Night of the Chicken Dead (2006)

COMMENTS: What are you doing out there on the front porch? Get in here, darn ya! Sit, sit, we’re just about ready to serve. The stuffing is on the table, the onions on the green bean casserole are crisp, I’ve got a spoon for the cranberry sauce… oh, and here’s the bird. Would you like to carve? Just be careful with the knife, because once you cut into that crispy seasoned flesh, you’re liable to be sprayed with an unholy onslaught of blood, bile, vomit, feces, and any number of disgusting fluids. Go on, dig in!

Yes, it’s a Thanksgiving here at 366 Weird Movies headquarters, and even though it’s chicken and not turkey on the menu in Poultrygeist: Night of the Chicken Dead, the film is suffused with the spirits of the two oppressed populations who have made our modern American Thanksgiving possible: Native Americans and domesticated fowl. If Troma Entertainment has taught us anything, it’s that failure to pay the proper respects will result in terror of the most disgusting and ridiculous nature imaginable, so choose your words carefully when you say grace.

What can one say when reviewing the most review-proof organization in show business? A rave would be an endorsement, while a pan is a badge of honor. I will suggest, then, that Poultrygeist is, in Troma terms, an almost perfect object. It’s got everything you expect, by the bucketload: deep stupidity, rampant nudity, crude insults that punch up and down in equal measure, and so much fluid being sprayed like a fire hose. Consider that a character named after a certain submarine sandwich pitchman/convicted sex criminal isn’t merely fat in defiance of his processed food diet; he’s morbidly obese, and we’re treated to an in-toilet POV shot of his unfortunate encounter with a haunted meal, a sight so appalling that even the Troma braintrust has seen fit to slap “CENSORED” bars across the screen. If you have even a passing familiarity with the Troma House of Moviemaking and that’s your bag, you will not be disappointed.

Liquids aside, Poultrygeist is a satire, but of the everyone’s-a-target variety. Voracious capitalism comes under fire, but so do self-righteous protesters and mawkish bleeding hearts. The cynical people who make fast food are hardly worse than the mindless hordes who eat it. Ridicule is ladled out in copious amounts at women, gay Continue reading IT CAME FROM THE READER-SUGGESTED QUEUE: POULTRYGEIST: NIGHT OF THE CHICKEN DEAD (2006) →

Capsules

CAPSULE: SCREWDRIVER (2023)

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Screwdriver can be rented or purchased on-demand.

DIRECTED BY: Cairo Smith

FEATURING: AnnaClare Hicks, Charlie Farrell, Milly Sanders

PLOT: Recovering from a breakup, Emily goes to California to stay with a high school friend and his wife, but discovers that they are anxious to keep her around—by any means possible.

Still from Screwdriver (2023)

COMMENTS: The orange-colored drinks Melissa insists Emily drain aren’t screwdrivers—they’re spiked with something seriously stronger than Ketel One. Emily, who comes from a conservative Christian background, doesn’t drink much; three glasses of wine at dinner are a guilty indulgence for her. But whatever Melissa and Robert are slipping into her food and drink is sapping her already fragile willpower.

It’s not a spoiler to suggest that her hosts are up to no good; it’s inherent in the subgenre, and right there in the synopsis. The suspense occurs in how and why that “no good” is realized. Screwdriver has no money to realize it’s aims; the closest you will get to a special effect is some disorienting editing suggesting time passing in a blur. Its tools are limited to its three main characters talking in one house. Screwdriver gets the acting quality necessary to pass over the watchability threshold. As Emily, Hicks is always likable, if sometimes too meek and submissively childlike, even given her vulnerable state. Farrell’s Robert hits the proper note of nerdy menace, with smiles that linger on the border of genuine and smarmy. (Sanders, as a chilly corporate Lady Macbeth, gives a more stereotypical performance, but it doesn’t distract from the overall drama.) The script toys with their three-way dynamic artfully, never stating anything too obviously, leaving the audience to guess at the darker implications under the surface of the small talk. Dialogue exchanges are realistic—you can see Emily sensing unsaid subtext, although she lacks the courage to challenge her hosts directly. The movie’s biggest gamble is Robert’s use of guided visualization in his pro-bono therapy sessions with his guest: the journeys he leads Emily on are surreal and filled with pseudo-religious imagery (like talking cigarette oracles), a technique that generates a sense of mystical grandeur (and menace) far outside what the budget will allow.

The main trick Screwdriver has up its sleeve is its subtle impenetrability. It’s clear what happens in the movie, and even how it happens; what’s harder to grasp is why it happens, and what it ultimately means. Even if you suss out Robert and Melissa’s ultimate motive, plenty of uncertainties remain about what exactly will happen after the end credits roll. A number of things are left unsaid; the characters always know more than they let on to the audience. We hear one-sided telephone conversations about events whose significance to the plot is obscure. Robert hints at possible mistakes in Emily’s past. We don’t know why she and her husband broke up. There’s a lot of talk about God—Robert treats Emily’s belief in God with contempt, as a weakness he can exploit. He’s also extremely concerned about his tenure review, which should be just a formality—is there a lurking scandal? Melissa is coy about what her startup—excuse me, her “startrupt”— actually does. And although a literal screwdriver appears in the film, along with a mystical imaginary one, its significance is unclear, so even the title is a mystery. The movie’s obliqueness and unelaborated subplots may strike some as dry and amateurish; others will find it clever enough to make for an intriguing and promising feature debut.

Writer/director Cairo Smith is only 26. As pointed out above, Screwdriver was obviously made for almost no money; Smith was forced to rely on the script do the heavy lifting. Somebody should give this guy a fat stack and see what he can get done.

WHAT THE CRITICS SAY:

“What is going on here? This is a question which Screwdriver (2023) poses early, but cannot answer in a meaningful way throughout its ninety-minute (or so) runtime. Lost in a maze of hard-to-follow, harder-to-engage dialogue, with a limited cast, set and – most detrimentally to the film overall – characterisation, it feels far longer than it is.”–Keri O’Shea, Warped Perspective (contemporaneous)

Capsules

CAPSULE: OPEN (2023)

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Open can be rented or purchased on-demand.

Recommended

DIRECTED BY: Miles Doleac

FEATURING: Lindsay Anne Williams, Miles Doleac, Jeremy London, Elena Sanchez, Amber Reign Smith

PLOT: Kristina comes to regret pursuing her long-time fantasy of dating her teen idol when she and her husband explore sharing an open marriage.

Still from OPEN (2022)

COMMENTS: Be advised: if you have an aversion to New Wave music, you will want to avoid this movie. Over its run time, there are some dozen or so interludes featuring ’80s style studio music videos wherein Kristina Corbin’s subconscious processes her situational and emotional circumstances. Her youthful dream of fronting a glamorous synth-rock band is the pulsing heart of this quietly satisfying romantic comedy, and while the segues slip into the narrative like clockwork, they never feel unwelcome.

Ultimately unwelcome, however, is Erik LaRoux, an erstwhile teen idol whom Kristina adored growing up. When she and husband Robert’s marriage hits the rocks—triggered by a recent miscarriage—they are unsure how to proceed. They feel, they know—it must be!—that they’re good together, and that they shouldn’t split up the metaphorical band; but they’ll be damned if they can figure out what direction to go. And so, Kristina makes a suggestion: an open relationship. The first act of Play runs like a cute-‘n’-clever little relationship dramedy, with Kristina hooking up with a charismatic has-been, and Robert falling in bed with a long-time friend.

Open is very much an “all well and good” kind of experience. It shuffles along, capably attaining its realistic ambitions. The characters are all likable (even Erik, before his dark turn) and the songs hover around the better side of average. Sometimes the band is mediocre, other times they flirt with genius. (The tune “Aspic” merits bonus points for the choral couplet, “Damn it to Hell, get me out of this stinking putrid well/I need some elevation for my aspic to gel,” a line which prompts the husband-keyboardist character to exclaim, “‘Aspic’? Really?”) Even when it begins to flounder in the third act, Open is still charmingly executed.

In the end, I was kind of surprised—in a good way. When the closing number queued up, I was hit with the sentiment, “It’s over already?” So, be advised: anyone looking for a fun, mature, and tuneful romantic comedy would do well to take a look at and listen to Open. It’s got heart, brio, and plenty of good advice: “Grab love by the balls, but don’t twist ’em too hard when you feel small.”

WHAT THE CRITICS SAY:

“Doleac, whose previous features have been horrors of deliciously demented delicacies, tries his hand at a quirky musical thriller – and the result is completely darling and truly absorbing.”–Bill Arceneaux, Moviegoing with Bill (festival screening)

Capsules

CAPSULE: EYES OF DREAD (2023)

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Eyes of Dread can be rented or purchased on-demand.

DIRECTED BY: Andreas Marawell

FEATURING: Malin Saine, Luna Dvil, Karin Engman

PLOT: Nina is rumoured to be dead; her sister Anna doesn’t believe it and investigates in dreams, while the other sister, Julie, investigates in the physical world.

Still from Eyes of Dread (2023)

COMMENTS: Another reviewer groused that the strip club scenes in Eyes of Dread far too often featured far too clothed dancing. While most of his other remarks were on the mark (if perhaps phrased undiplomatically), he did miss a point here: this is an artistic dance club, featured in random intervals in an artistic movie. This is evidenced by the prevalence of red and blue lens filters; thwompy, but not overpowering, sound; and the appreciable use of mirrors, alleyways, candles, and foreign accents. It’s one of those films where any given screen capture might suggest it is interesting.

It is not. A big spooky delivery of “She… went into.. a building(!). That’s where she disappeared. She disappeared there. But I can’t tell you where it is…” is as good example of the dialogue (although I did like skeazy guy’s advice to Paul the photographer: “the alpha animal, he gets all the bitches”). Much of my grousing about the dialogue might have been avoided had the filmmakers written it in the actors’ language of choice. Funneling Z-grade English-language lines through non-native speakers can make for an odd and unsettling experience.

It does not. Not in Eyes of Dread. Digging around the more charitable corners of my mind, I will remark that the camera work is sufficiently interesting, taking advantage of the undisclosed Central/Eastern European’s nook-filled density with its understated meandering. But that may be all. Unnatural phenomena typically demand a naturalistic approach: the unspeakable needs some veneer of relatability, if not necessarily believability.

I did not believe any of these characters, in spite of their painted-on earnestness. And while I don’t mind—and often can take considerable delight in—narratives that flirt with incoherence, there needs to be an “aura” to the film, that difficult-to-describe combination of elements that trap the viewer like a dream. Writer/director Andreas Marawell takes a stab at it, but relies too heavily on vague facsimiles of stuff seen in other films. He captures images handily—and it might be best if he stuck with cinematography until he can whip up a better movie formula.

WHAT THE CRITICS SAY:

“I swear it was just some student film with thrown together scenes at times since there was no plot to speak of. ” — Justin Whippo, Jackmeats Flix (contemporaneous)