Tag Archives: Richard Burgin


366 Weird Movies may earn commissions from purchases made through product links.


Quick links/Discussed in this episode:

Jump to Richard Burgin interview

 Fang Facebook page for the latest news

Giles Edwards Fang review

The Absence of Milk In the Mouths of the Lost (2023): Discussion begins. A mysterious milkman may hold the key to a mother reuniting with her missing daughter. Released directly to Blu-ray (a rarity in this day and age), but the embedded trailer should explain why this caught our notice. Buy The Absence of Milk In the Mouths of the Lost.

Barbarella (1968): Discussion begins. Read the Canonically Weird review! You can now see young ‘s zero-g striptease in 4K! Unfortunately, the feature is on UHD only, although there is an entire Blu-ray of extra features. Buy Barbarella.

Basket Case (1982): Discussion begins. Read Gregory J. Smalley’s review. The late-era grindhouse classic about a killer Siamese twin gets a limited edition 4K UHD release from Arrow, with a basketful of video treasures. Buy Basket Case.

Flesh of the Gods (202?): Discussion begins. Late breaking news! has a new project in pre-production: an L.A. set vampire film starring Kristen Stewart and . Cosmatos brags “Flesh of the Gods inhabits the liminal realm between fantasy and nightmare… Flesh will take you on a hot rod joy ride deep into the glittering heart of hell.” Exciting times! More at Hollywood Reporter.

I Saw the TV Glow (2024): Discussion begins. Teenagers become overly involved with a mysterious supernatural TV broadcast. ‘s elevated followup to their debut We’re All Going to the World’s Fair is earning, dare we say, glowing reviews. I Saw the TV Glow official site.

Jobe’z World (2018): Discussion begins. A rollerblader accidentally delivers a fatal dose of drugs to a famous actor, then spends the rest of the night avoiding weirdos (After Hours style). Just making it to Blu-ray now; also streaming free for Amazon Prime subscribers. Buy Jobe’z World.

Singapore Sling (1990): Discussion begins. Read the Apocryphally Weird review! ‘ noir-by-way-of-surreal-sexual-perversion should-be cult classic finally gets the American release it deserves, from Vinegar Syndrome (of course). Buy Singapore Sling.

Time of Moulting (2020): Discussion begins. Read Giles Edwards’ Apocrypha Candidate review. This dark and enigmatic family drama had Giles “torn between scratching my head in confusion and hugging myself in despair.” Now on Blu-ray and VOD. Buy Time of Moulting.


On next week’s Pod 366, Pete Trbovich will join Gregory J. Smalley to discuss the week’s weird news and releases. In written reviews, Shane Wilson tackles another one that Came from the Reader-Suggested Queue with Mickey One, the 1965 existential experiment starring Warren Beatty as a stand-up comic on the run for unknown reasons; El Rob Hubbard sings the praises of ‘s 1985 stop-motion adaptation of The Pied Piper; Giles Edwards keeps the musical theme going as he does the same for ‘s The Tune (1992); and Gregory J. Smalley gets out to the movie theater to catch Sasquatch Sunset before the sun sets on its theatrical run. Onward and weirdward!


366 Weird Movies may earn commissions from purchases made through product links.


DIRECTED BY: Richard Burgin

FEATURING: Dylan LaRay, , Jess Paul

PLOT: Billy lives with his Parkinson’s-stricken mother; his dispiriting routine is interrupted by a rat bite which seems to catalyze an unnatural change in him.

Still from Fang (2022)

COMMENTS: Billy’s world is cramped. He sweeps a broom for nine bucks an hour on a crowded warehouse floor for Mr. Wolfson. After a short walk home, he can only look forward to his small apartment where he looks after his fading mother, Gina. On top of this dreariness, he is trapped inside his own mind, and is forced nearly every waking hour to pretend to know how to interact with all these callous normies he finds himself amongst. Daily, he faces patrician disregard from Wolfson and maternal fury from Gina. But he has a refuge.

More than ten million years in the future, the planet Graix is thriving, with wide-open spaces and a civilization descended from rats which were sent from Earth in the deep past, when a nigh-unlivable planet forced humanity into a “Noah’s Ark”-style gambit.  Billy has much more to say about this world, as it is his—the good part, at least. His mother’s caretaker, a young woman named Myra, thinks so, too. After his spiel, she looks at his drawings of this world and sincerely opines, “This is really cool.”

Richard Burgin takes great care and consideration in and for Billy’s character, and Dylan LaRay is to be commended for his spectrum-informed performance. But Burgin cannot be too kind to Billy. The protagonist’s small world looks smaller on camera, with furtive lens movements coupling with angled close-ups. The lighting is overcast. And every other character is performed, it seems to me, as slightly “too much,” as a way of capturing the daily bombardment Billy endures. (Even ignoring the confined Hell of his life with his mom.)

The supernatural element may or may not be real. We can be certain of two things: Billy is primed for a mental breakdown, and he is bitten by a small white rat. He witnesses down fur growing from an awful wound on his arm, and his hyper-perception (the foley in Fangs is not a comfortable experience) takes a tone more sinister than even his underlying circumstances should allow. While there is a facsimile of comic relief—in the form of a pair of warehouse co-workers, one of whom invariably talks about breasts, as well as a delightful scene with a zealous hardware store clerk—there is not much of it. And knowing the genre, the character’s perturbation (undiagnosed autism), the mother’s affliction (Parkinson’s disease, stage five), and observing Billy’s life in the first ten minutes, we know this will not end well.

That in mind, please take the “Recommended” notice with this warning: Fang is very painful at times; but its most painful moments are its most impressive. Billy’s encounters with his mother—sometimes with Myra bearing witness—tilt dismayingly between disturbing and sweet, cruel and caring. At times, all four, as when she condemns her boy in the most vulgar and harshest terms, and then on the heels of this excoriation mistakes him for his father and moves to seduce him. Fang is at its best when it is true to what it is at heart: a hushed, harrowing tale of mental disintegration. While some of its more overtly “Horror film” elements misfire, the genuine sadness of the son’s and mother’s experiences was enough to make me shudder.


“A dash of body horror combined with a pinch of surrealism and a peck of psychological horror... Fang is a perfect midnight movie.”— Bryan Staebell, Scare Value (festival screening)