Tag Archives: Patton Oswalt

CAPSULE: SEX MADNESS REVEALED (2018)

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DIRECTED BY:  Tim Kirk

FEATURINGPatton Oswalt, Rob Zabrecky

PLOT: The viewer watches the old exploitation roadshow feature Sex Madness (1938), synced to a podcast where the “Film Dick” interviews the director’s grandson and uncovers shocking secrets about the production.

Still from Sex Madness Revealed (2019)

WHY IT WON’T MAKE THE LIST: It’s a clever idea with a mildly weird twist, but the execution doesn’t live up to the premise’s promise.

COMMENTS: In the early 90s, a troupe of comedians from the Midwest revolutionized bad-movie watching with “Mystery Science Theater 3000,” which you might recognize as that show where silhouettes at the bottom of the screen toss out wisecracks while a giant monster or juvenile delinquent movie unspools in real time. Like Tim Kirk’s previous experiment, Director’s Commentary: Terror of Frankenstein (2015), Sex Madness Revealed takes that conceit to the next level: instead of making a series of one-off jokes at the expense of the film, it invents an entire new fictional narrative and overlays it onto the original. Without going too deep into spoiler territory, Revealed proposes that the base movie, the 1930s VD scare film Sex Madness, is actually a coded message from a secret society. It’s a parody of the way certain paranoid fans 1 believe movies work: directors slide secret messages into their work to signal Illuminati connections, or to slyly confess that they faked the moon landing, or whatever. This cinematic conspiracy theme explains why Room 237s signed on as producer.

Sex Madness itself is an oddity, a nearly plotless pastiche of padding, stock footage, subdued salaciousness (an as-titillating-as-possible-at-the-time lesbian seduction), and hypocritical moral shock (grotesque shots of syphilis chancres, both faked and real). The lack of a real plot in Sex Madness leaves the commentators room to speculate and to invent a story that’s more interesting than the one playing out onscreen. The task the writers give themselves is a tough one, and although it is impressive that they are able to craft a meta-narrative that holds water, the script often strains mightily. One character’s passing resemblance to launches a major portion of the plot. Sometimes, the writers inspirations are just silly and don’t come across: for example, a mysterious sound artifact leads to speculation that the actors’ performances are being controlled by the offscreen director via electrical shocks. Some minor observations approach brilliance, however: once the grandson explains that grandfather selected the wood grain in one of the film’s drab office sets for its subliminal vaginal connotations, you’ll never be able to see the room any other way.

The plot is ultimately merely serviceable, and so are the performances. Oswalt and Zabrecky recorded their lines in one day, and it sounds like it. That’s not to say they are bad: they both deliver professional readings. But they don’t have time to dive deeply into their characters to create something more than a competent caricature. As the gung ho but arrogant podcast host, Oswalt is OK, but his character isn’t completely convincing; his exhaustive command of minutiae from the dregs of exploitation cinema (e.g., instant recall of a minor exploitation actresses’ high school mascot) is a little much, even for a bad film nerd. As the eccentric grandson delivering shocking revelations, Zabrecky gives a laid-back but melodramatically sinister performance that also fails to transcend the workmanlike. If you’re drawn to this type of cinema and this type of narrative experiment, the end result is something you might enjoy listening to once; but it’s not a movie with heavy replay value. Which is a shame, since Sex Madness Revealed is currently only available on physical media, whereas it would be a fine choice for a on-demand rental one evening. (If you’re a legitimate fan of Sex Madness itself, by all means buy this disc—and may God have mercy on your soul.)

As usual, Kino Lorber treats even its nichiest releases with respect. Extras on the Sex Madness Revealed DVD or Blu-ray include the option to watch the original version of the film with no commentary track, or to listen to a real commentary track from co-writers Tim Kirk and Patrick Cooper overlaid on top of Oswalt and Zabrecky’s fake commentary track. There’s also the trailer for Kirk’s Director’s Commentary: Terror of Frankenstein and a short installment of Rob Zabrecky’s comedy seance series, “Other Side with Zabrecky,” where comedian Will Forte asks to speak to the spirit of . That last one is pretty weird; and, personally, I enjoyed it more than the feature film.

WHAT THE CRITICS SAY:

“…the ‘commentary’ is simply not very funny, and in fact may strike some as downright weird.”–Jeffrey Kaufman, Blu-ray.com (Blu-ray)

357. SORRY TO BOTHER YOU (2018)

“When I’m making my art, it really doesn’t help me to think about the definitions of what I’m doing. So what I do comes out ridiculous, or funny, or weird. That’s because the world is ridiculous, funny, and weird.”–Boots Riley

Recommended

DIRECTED BY: Boots Riley

FEATURING: Lakeith Stanfield, Tessa Thompson, Steven Yeun, Armie Hammer, Omari Hardwick, Jermaine Fowler, David Cross (voice), Patton Oswalt (voice),

PLOT: Cassius Green can’t find a job and needs to pay bills, so he hires on at a telemarketing firm. Once he learns to use his “white voice,” he discovers he has a preternatural gift for selling, and while his co-workers stage a strike, he is promoted to a “Power Caller” selling questionable services to obscenely wealthy clients. When he reaches the top rung of the corporate ladder, the CEO of the company offers him a morally repugnant deal.

Still from Sorry to Bother You (2018)

BACKGROUND:

  • Director Boots Riley was a rap musician, music producer, political activist, and former telemarketer for more than twenty-five years before writing and directing this, his first feature film. It was workshopped at the Sundance writing lab.
  • The idea for Sorry to Bother You originated from an unused song concept where Riley would rap as a telemarketer selling slave labor. In 2012 his hip-hop band The Coup produced an album of the same name inspired by the then-unfinished screenplay.
  • An early version of the screenplay was published in McSweeney’s magazine in 2014.

INDELIBLE IMAGE: We don’t want to describe it, because it’s a spoiler. Just prepare for a shock after Cassius snorts a huge line of—cocaine?—off a plate decorated with a horse. Besides that, the iconic image for marketing purposes is Cassius in a business suit with his head bandaged and a circle of red soaking through, iconography suggesting a blend of the corporate and the revolutionary.

THREE WEIRD THINGS: Commentary by earring; Mr. ___; equisapien MLK

WHAT MAKES IT WEIRD: Boots Riley’s out-of-nowhere satire plays like something Putney Swope‘s long-lost grandson might have dreamed up after an all-night pot-smoking session. I’m not going to get swept up by the mainstream hyperbole and tell you that it dials the absurdity up to “11”—but it pushes a solid 9.


Alternate promotional trailer for Sorry to Bother You

COMMENTS: Sorry to Bother You is sneaky weird; it strangens slowly Continue reading 357. SORRY TO BOTHER YOU (2018)