Journalists expose the rise of another California cult, Voice Farm, where members ready themselves for space travel.
DIRECTED BY: Gregg Araki
FEATURING: Thomas Dekker, Haley Bennett, Juno Temple, Chris Zylka, James Duval
PLOT: A sensitive college freshman experiences sexual awakening, stumbles upon a murder mystery, and uncovers secrets about his family while once in a while working on his film studies major, all set amidst scores of colorful visions, voodoo hallucinations, and sexy encounters.
WHY IT MIGHT MAKE THE LIST: Kaboom is a tough one to pin down. It takes a while to get a handle on itself, combining a wealth of different ideas and subplots that don’t quite add up, but it does command my respect with its delightfully trippy visual approach and boldly unhinged ending. It must be said: this movie is definitely weird. But is it List-worthy?
COMMENTS: Enrolled in a clean and modern college replete with impossibly beautiful, voraciously horny undergrads, Smith (Dekker) has plenty of free time to sleep with or fantasize about most of the people he comes across. While he becomes a surprise sex-buddy for the blunt and sexy London (Temple), his best friend Stella (Bennett) begins dating a real-life witch with a clingy personality. Through many sexual escapades and relationship woes, a lingering murder mystery involving a scantily-clad redhead and some creepy men in animal masks worries Smith for months. The more he delves into the puzzle, the more he seems to get konked on the head or chased by mysterious figures no one else sees. And it all seems to tie into his recurring dream featuring those closest to him and a bright red dumpster.
With its over-exposed, over-saturated cinematography and frequent use of dreams and hallucinations, Kaboom definitely finds its way into “surreal” territory. The vibrant color schemes, kooky mod fashion, slightly pornographic sex scenes, and sarcastic one-liners belie the dark undertones involving mysterious killings and abductions, masked men, witchcraft, and a sinister doomsday cult. This dichotomy can work against the film as a whole; the tone is uneven and the script flits back and forth with awkward attempts at cohesion. However, seeing these distinct narrative halves somehow come together in a completely unexpected way makes for an admittedly compelling and memorable viewing.
Kaboom has its drawbacks—dialogue that tries too hard to be funny, a few too many sex scenes (which I didn’t think was possible), some stilted performances—but I can’t say I didn’t enjoy myself. Everything (and everyone) was just so pretty! It gets weirder as it progresses, and it’s better for it, and the brash, unexpected ending definitely has a special effect on audiences (there was a good mix of “Huh…”, “Ha!”, and “What the hell?!” at my screening). It is riddled with twists and turns, and is sure to keep anyone with a libido somewhat interested, but I’m still not quite sure just what to make of it.
WHAT THE CRITICS SAY:
“Araki lets his absurdist imagination run wild, and ‘Kaboom’ takes the time-honored gambit of gradually revealing that nothing is as it seems to delightfully cockamamie extremes.”–Kevin Thomas, The LA Times (contemporaneous)
AKA Young Sherlock Holmes and the Pyramid of Fear
DIRECTED BY: Barry Levinson
FEATURING: Alan Cox, Nicholas Rowe, Sophie Ward
PLOT: Young Watson meets prodigy schoolboy Sherlock at a British boarding school; together with Holmes’ girlfriend, they solve a mysterious rash of bizarre murders plaguing London.
WHY IT WON’T MAKE THE LIST: Noteworthy for some dark and intense hallucinatory scenes, but basically it’s a rollicking Spielberg-produced action-adventure a la the Indiana Jones series.
COMMENTS: Directed by Barry Levinson but bearing executive producer Steven Spielberg’s stamp all over it (much like “Tobe Hooper” ‘s 1982 Poltergeist), Young Sherlock Holmes was an unexpected box office flop in 1985, but has since garnered a minor cult film reputation among nostalgic post-boomers. There are a few exhibitions of Holmesian deduction in the early reels to establish the prodigal intelligence of the adolescent Holmes, but the main mystery, involving an ancient Egyptian cult in Victorian London, isn’t quite up to Arthur Conan Doyle’s intricate standards. The reason to watch it is for the special effects in the fanciful hallucination sequences, which hold up excellently today, and can still be intense and scary for younger viewers. The most memorable of these is a stained-glass knight who jumps down of a cathedral wall and menaces a cleric; a more whimsical example is the sinister cupcakes that menace chubby young Watson in a graveyard. Leaving aside the objection that shooting your victims full of hallucinogenic drugs and hoping that they commit suicide while battling phantasms in their delirium isn’t the most fail-proof of techniques for a professional assassin to employ, these scenes are mildly weird and enjoyable enough in themselves to make this flick worth catching for weirdophiles. The hallucinations cease in the second half, as the film becomes more concerned with solving the mystery and restoring the status quo; inevitably Holmes, the apex of rationality, is able to defeat the dark occult specters from the ancient unconscious and reestablish the Age of Enlightenment.
WHAT THE CRITICS SAY:
“…things take a turn towards the predictable thanks to Chris Columbus’s script ignoring all the things that made the duo so dynamic and instead cobbling together some nonsense about Eastern cults and hallucinogenic drugs that more readily recalls the work of Sax Rohmer (Fu Manchu) than Conan Doyle.”–Richard Luck, Channel 4 Film