Tag Archives: Parody

CAPSULE: KUNG FURY (2015)

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DIRECTED BY: David Sandberg

FEATURING: David Sandberg, Jorma Taccone, Leopold Nilsson

PLOT: After his captain is murdered via telephone, policeman Kung Fury must travel back in time to kill the assassin, Kung Führer (AKA Adolf Hitler).

Still from Kung Fury (2015)

COMMENTS: Kung Fury is one of the most ridiculous things I have seen. It is also one of the funniest. Even more impressively, it is that rarest of silly comedy films: one that has the wherewithal and willpower not to overstay its welcome. Apart from its other (considerable) qualities, I’d tip my hat to Sandberg for shutting up shop and spinning the closing credits well before he wore through the already well-worn tropes that are the bread and bullets of the genre. From the opening skateboard car-flip to the smugly defiant Hitler soaring amidst the high-rises of 1985 downtown Miami on his mechanized Nazi eagle, it never felt forced, fatigued, or unfunny.

Even before (or… after?) Hitler’s appearance in downtown Miami, the city’s not a pretty sight. Street toughs hassle cops with impunity, flipping their squad cars like skeet discs for target practice. Arcade machines flash a nasty “Fuck You!” to the unhappy gamers who kick it after their sky unicorn is shot down on-screen. And transformer death machines spring to life, smashing up passing motorists and menacing passing canines. These hassles are all in a day’s work for… Kung Fury: a super cop who does not play by the book. The chip on his shoulder is as real as his sardonic gruffness is fake: years back, he lost his partner and mentor at the hands of a Kung fu master; before young Fury could pull the trigger on the assailant, he was “…hit by lightning and bitten by a cobra.” The rest is history.

And there is quite a lot of history: ancient Vikings astride their dinosaur mounts, the mighty god Thor (who utters his immortal words, “Stop! Hammer Time”), and, of course, the requisite hundreds of Nazi goons ready to fall under the righteous bullet spray sof Hackerman, Triceracop, Barbarianna and Katana. Oh, and a second welcome appearance from Thor and his epic pecs. Added to all this inspired lunacy is Jorma Taccone’s performance as a martial arts fascist; the actor perfectly captures the bizarre speechifying articulations of the erstwhile Führer.

Kung Fury is first and foremost a lampoon of ’80s crime/martial arts television and film. The creative team is spot on with everything—gaudy New Wave score, “futuristic” Tron-style animations, and even a seamlessly included advertisement for a newfangled mobile telephone. It’s as resourceful as it is silly. Leaning heavily on the retrowave vibe, occasional “tracking” issues conveniently crop up to disturb the image just when the most expensive effects sequences might take place. The fight choreography is masterful, too; during the Nazi fight, it switches to a long uninterrupted side-scroller video game ballet. Absurd surrealism pops up as well, as when Fury’s boss is shot through a telephone. (A similar stunt from a classic ’70s film comes to mind.) Sandberg is informed, witty, and has an eye for action timing. Kung Fury is, admittedly, no “Must See”, but I would be hard-pressed to recommend it enough.

At the time of this writing, the producers have made Kung Fury available for free (see below).

WHAT THE CRITICS SAY:

“…an insane and ultra bizarre film…”–Martin Hafer, Influx Magazine

CAPSULE: INSPECTOR IKE (2020)

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DIRECTED BY: Graham Mason

FEATURING: Ikechukwu Ufomadu, Matt Barats, Grace Rex, Jessica Damouni, Ana Fabrega, Anthony Oberbeck, John Early

PLOT: Inspector Ike investigates a murder at an avant-garde theater group.

Strill from Inspector Ike (2020)

COMMENTS: Inspector Ike is a parody of a very specific subgenre— 1970’s mystery-themed “movies of the week,” a la “Columbo”—from the nearly extinct Zucker/Abrahams/Zucker-Mel Brooks school of tomfoolery. Presented as a faux episode of a ongoing movie-of-the-week series, complete with animated intro with a magnifying-glass carrying, trenchcoated sleuth, the movie drops us into a world where Inspector Ike already exists, catching new crooks week after week with his signature finishing move: hiding handcuffs near some incriminating piece of physical evidence, then toasting the perp with a wink and a glass of champagne.

This “episode” (“Audition for Death”) follows an struggling actor who kills his mentor so he can take the lead in his troupe’s production of the one-man musical “Mannie.” In “Columbo” fashion, we see the murder first, and suspense comes from watching Ike try to put the pieces together, while the killer tries to cover his tracks. The theater world setting allows the film to poke some gentle fun at the off-off-Broadway scene (the mythical “Avant-Garde Alley,” where you find mimes and kabuki actors smoking on stoops in-between rehearsals); that milieu, after all, is not all that different than the world of New York’s underground comedy scene from which Ike‘s cast was drawn. Like a true TV villain, murderer Matt Barats hams the hell out of his part, all sideways glances and sly grins before the heat turns on, then big-eyed and twitchy, like a hack in the Scottish play seeing an imaginary drop of blood on his corduroy sleeve. By contrast, Ufomadu’s Ike is totally deadpan; suave and quietly competent whether he’s fixing a tilted picture with his shadow or cooking a pot of chili in a nervous suspect’s apartment. A wide range of always humorous supporting actors occupy the spaces between these two combatants, most notably scene-stealing Deputies Hawthorne and Dinardo, who can never seem to stay on topic during their consultations with Ike.

Inspector Ike gets the fond camp tone exactly right—possibly because there’s not a lot of well-worn tropes to overparody in this extremely specific subgenre, which allows the script freedom to simply wander in the direction of whatever joke it finds most amusing at the moment. Despite the minuscule budget, Ike seems like a relic of the era, based mainly on accurate 70s wardrobes (Harry’s mustard turtleneck, Ike’s powder-blue suit with wide striped tie) and appropriate touches like commercial fadeouts. The film was shot on the streets of Brooklyn, carefully avoiding anachronisms. Casting such a project with local stand-ups rather than full-time thespians was a wise choice; low-budget comedies often fail because the actors lack comic timing and instincts, which is never an issue here. I’ll confess that I rarely found any of the gags laugh-out-loud funny, but that wasn’t a problem, because the likeable cast carries the movie along on a pleasant current of low-key absurdity that never becomes either boring or upsetting.

So it’s fun, but is it a weird movie? Well, mildly so, in at least in its general conception. In his director’s commentary, Mason says that he was trying to create something that “nobody asked for,” an artifact that would leave the audience wondering “why does this even exist?” but glad that it does. He succeeds in this goal admirably, and I’d love to see more stuff from the Mason/Ufomadu team that I never asked for.

It’s a shame that Inspector Ike did not land a streaming deal so that more people could see it, but the Blu-ray package is well worth the purchase for comedy fans. It features a commentary track by director/co-writer Mason, and a booklet with more Graham commentary, an “Inspector Ike” episode guide, and a word search puzzle. Along with the memorable trailer, two comic Ufomadu/Mason short collaborations round out the package: “Words with Ike” (a “word of the day” TV parody) and “The Photos of Ana” (with “Detective Hawthorne” Ana Fabrega). Both shorts have the same underplayed, off-kilter comic sensibilities as Inspector Ike. The package even includes an official Inspector Ike recipe card, which you can use to jot down ingredients and directions for Ike’s detailed chili recipe when prompted.

WHAT THE CRITICS SAY:

“As pop culture deep cuts go in 2022, ‘Inspector Ike’ certainly has the weirdest inspiration in recent memory… Ufomadu is terrific in the part, and the rest of the cast commits to the weirdness of the effort. Not every joke lands, or is even attempted, but there are spirited, dryly hilarious performances to enjoy throughout the endeavor.”–Brian Orndorf, Blu-ray.com (Blu-ray)

CAPSULE: THE OTHER SIDE OF THE WIND (2018)

DIRECTED BY: Orson Welles

FEATURING: John Huston, , Peter Bogdanovich, Susan Strasberg, Norman Foster, Robert Random

PLOT: On the last day of his life, director Jake Hannaford shares footage from the movie he’s been trying to complete despite a desperate lack of funding, the disappearance of his leading actor, and the doubts of his crew, his peers, and the Hollywood press.

Still from The Other Side of the Wind (2018)

COMMENTS: It’s natural to be wary of a movie where the story behind it is more interesting than the one on the screen. On the other hand, it’s arguable that Orson Welles never made a movie where that equation wasn’t in play. From his very first feature, a little picture about a newspaper publisher, the story off-camera has always been at least as compelling as the one made for public consumption, and usually with a good deal more tragedy attached. As the major studios turned against him and his efforts to assemble financing and infrastructure became more haphazard and idiosyncratic, the subject of Welles himself invariably took precedence over whatever story he actually hoped to tell.

But even by his own yardstick, the road to The Other Side of the Wind is unusually winding and protracted. Welles filmed over the course of six years on two continents, with multiple parts recast over the years and the lead role unfilled until Year 3, and with the filmmaker insisting that there was still more to shoot. Completion was held up by variety of obstacles, including producer embezzlement, flooding in Spain, Hollywood indifference, and the Iranian revolution. Like so many of Welles’ projects, Wind would remain unfinished at the time of his death, another dream lost to history… until, 42 years after principal photography wrapped, a team of Welles collaborators and admirers endeavored to assemble the many pieces of his last great work into a form he might have intended. (Whatever you may think of Netflix, they did cinema history a favor by not only bankrolling this effort but by releasing it alongside a documentary about Welles’ torturous efforts to complete the film, They’ll Love Me When I’m Dead. It’s an invaluable companion piece for anyone interested in this chapter of the great man’s legendarily troubled career.)

It is impossible to know how successfully this reconstruction got to the vision locked inside Welles’ head. After all, Welles himself changed his intentions throughout production. Furthermore, he seems to have been going for something entirely new and alien to him. Welles made much of the fact that neither the framing film or Jake Hannaford’s work are meant to be in a style in any way recognizable as his own, so we can’t even rely upon the director’s previous works as a guide. Today, we recognize Welles’ use of improvisation and documentary techniques as what we’ve come to call “mockumentary,” but in the early 70s, there was very little precedent (except, possibly, Welles’ own “War of the Worlds”). But we know enough of Welles’ increasing focus on the subjects of abandonment, thwarted ambition, and betrayal to recognize that Wind is not only a continuation of those themes but maybe his most personal exploration of them.

Welles denied suggestions that the film was autobiographical, which Continue reading CAPSULE: THE OTHER SIDE OF THE WIND (2018)