Tag Archives: Romance

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FANTASIA FILM FESTIVAL 2021: STRAWBERRY MANSION (2021)

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DIRECTED BY: , Albert Birney

FEATURING: Kentucker Audley, Penny Fuller, Grace Glowicki, Reed Birney, Linas Phillips

PLOT: In the future, dreams are taxed, and when a dream auditor goes to check in on an elderly woman who’s off the grid, he finds himself drawn to dreams that are more free than his own.

Still from Strawberry Mansion (2021)

WHY IT MIGHT JOIN THE APOCRYPHA: With themes reminiscent of Eternal Sunshine of the Spotless Mind and a handmade aesthetic straight from The Science of Sleep, Strawberry Mansion is the 2020s American indie version of a turn-of-the-millennium Michel Gondry movie. It may be a tribute, but it’s a worthy trip of its own.

COMMENTS: Dream movies are tricky, and making a dream movie on a low budget is even trickier. Strawberry Mansion addresses these limitations up front. The introductory dream is minimalist: an everyday kitchen, but painted entirely pink, into which comes a friendly visitor bearing a bucket of fried chicken. Throughout the movie, dreams will be conveyed using these types of simple props and sets thrown together in incongruous ways: actors dressed as Halloween-costume frogs (playing saxophones) or mice (in sailor suits); walking shrubs; demons with turquoise light-bulb eyes. Add in the occasional stop-motion animated skeleton or caterpillar to go along with some simple green screen, and you’ve proven that you can convey an otherwordly feel without millions of dollars of CGI.

The second scene addresses the non-budgetary conundrum dream movies face: the cliché of slippage between the waking world and the dream world, and the idea that the audience must be on guard to discriminate between the two. Our hero (a bureaucrat with the Brazil-ish name “Preble”) awakes to find himself craving chicken, and goes to Cap’n Kelly’s drive-thru, where the A.I. clerk tries to sell him a brand new “Chicken Shake.” Chowing down in the parking lot, he has a brief flash-forward hallucination—and that’s it, as far as the old “blurring the lines between dream and reality” bit goes. There is no “real’ world in Strawberry Mansion to confuse with the dream world. The premise of this near-future vision isn’t dystopian science fiction, but light absurdist satire. The very idea of taxes on dreams—dream of a buffalo, and you’re assessed a twenty-five cent bill; dandelions are three cents apiece—is something that would only occur to you in a dream. There’s no narrative confusion about whether we’re in the characters’ dreams or the movie’s reality, and there’s also never any sense that we’re meant to take this cinematic world as more than a dream itself. This dream-inside-a-dream structure frees us up to experience the movie on its own terms, instead of falling into the psychological thriller trap of trying to distinguish what is a dream from what is “really happening.”

As Preble, Audley is rather bland as a slouchy, glum bureaucrat, but that’s by design; his character contrasts with the grandiose poetry of dreams, which go beyond workaday realities. Penny Fuller‘s eccentric Arabella—when he asks her what she does during the intake interview, she describes herself as an “atmosphere creator,” so he jots down “artist” on his form’s “occupation” line—is the sweet but slightly ridiculous woman who will seduce him into a more fulfilling mode of being human. Strawberry Mansion is a manifesto for resisting the numbing effects of modern technology—represented explicitly by advertising—in favor of the playful freedom of imagination. This message is wrapped in a sugary confection about a man and a woman who have a deep but chaste romance based on shared dreams rather than the passions of the physical world. It’s funny, gentle, and filled with funny, gentle dreams to tickle your imagination. It may be the best dream you’ll have this year, and it’s well worth the bill.

Kentucker Audley is best known as an actor in indie circles, but he also founded the website NoBudge, which curates low-budget (and often weird) short films from up-and-coming directors. Audley and co-writer/co-director Albert Birney previously collaborated on the absurdist comedy Silvio (2017), about a gorilla news anchor going through an existential crisis. Strawberry Mansion is inexplicably named after a Philadelphia neighborhood. It debuted at Sundance and already has a distributor (Music Box), so expect to see it available to the general public later this year, by early 2022 by the very latest.

WHAT THE CRITICS SAY:

“Many will surely find the metaphysical derring-do and aggressive weirdness of Strawberry Mansion too much of an ask, but for those prepared to dive down its nutso rabbit-hole, it offers a divertingly free-wheeling vision.”–Shaun Munro, Flickering Myth (festival screening)

Apocryphally Weird

18*. GREEN SNAKE (1993)

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 Ching se

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“Was it cowardice, that I dared not kill him?
Was it perversity, that I longed to talk to him?
Was it humility, to feel honoured?”–D.H. Lawrence, “Snake”

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FEATURING: Maggie Cheung, Joey Wang, Wenzhuo Zhao, Hsing-Kuo Wu

PLOT: After imprisoning the soul of a shapeshifting spider in a bowl, a monk spares the lives of two snakes, one white and one green. The two snakes take human form, seeking to learn the wisdom of our species. White falls in love with a scholar, while Green is more mischievous and seductive; eventually, the monk regrets sparing the pair, and seeks to banish them to their old forms.

Still from Green Snake (1993)

BACKGROUND:

  • As a director, and perhaps even more importantly as a producer, Tsui Hark is one of the key figures in the Hong Kong New Wave of the 1980s and 1990s.
  • Hark wrote the screenplay based on Lilian Lee Pik-Wah’s novel, which was itself based on an ancient Chinese legend. In the original tale the Green Snake is a subordinate character to the White Snake, but in the novel and movie they are of approximately equal importance.
  • The same folktale was the basis for The Sorcerer and the White Snake (2011) with Jet Li, and the recent Chinese animated hits White Snake (2019) and Green Snake (2021).

INDELIBLE IMAGE: An amazing moment occurs when meditating monk Fa-hai is bedeviled by lustful demons, who appear to him as bald women in skintight cat suits. Shocked when one appears in his lap, he leaps ten feet into the air in front of his giant Buddha statue, then fights the felines off with a flaming sword while they taunt him.

TWO WEIRD THINGS: Monk tempted by pussies; snake joins a Bollywood dance number

WHAT MAKES IT WEIRD: Tsui Hark has style to spare, but spares none of it in this feverish epic filled with Taoist magic and Buddhist mysticism. A spectacle for the ages, Green Snake goes beyond the merely exotic into the realm of the hallucinatory.


UK trailer for Green Snake (1993)

COMMENTS: Green Snake gives you everything you could want in a Continue reading 18*. GREEN SNAKE (1993) →

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CAPSULE: PERDITA DURANGO (1997)

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AKA Dance with the Devil

DIRECTED BY:

FEATURING: Rosie Perez, , Aimee Graham, Harley Cross,

PLOT: Perdita Durango teams up with Santeria priest/bank robber Romeo to transport a truckload of fetuses to Las Vegas, kidnapping a couple of college kids along the way for fun.

Still from Perdita Durango (1997)

COMMENTS: Sexy leads Rosie Perez and . Alex de la Iglesia directing with a mid-range budget. Barry “Wild at Heart” Gifford co-scripting from his own novel. Small parts played by Screamin’ Jay Hawkins and .

From this assemblage of talent, you’d predict an unqualified gonzo masterpiece. But, although it has its fans, Perdita Durango‘s results are qualified, at best. True, the film is wild and unhinged: any movie with black market fetuses as a plot point has got some impudent imagination going for it. The problem is that Perdita Durango and Romeo Dolorosa aren’t sympathetic outlaws like Sailor and Lula from Wild at Heart, or the sinful-but-valiant trio of de la Iglesia’s previous outing, Day of the Beast. They’re unrepentant sociopaths, in the vein of Mickey and Mallory, but lacking those characters’ satirical edge. That leaves de la Iglesia trying to navigate a dangerous border between black comedy and grindhouse nihilism; and although the movie work in spurts, he never gets the difficult tone flowing just right.

The big problem is the rape scene that happens fairly early on. It’s one thing to rob banks, or even to plan to eat your victims in a Santeria ritual—those are understandable, forgivable movie crimes, motivated by greed and misplaced mystical beliefs. But this sadistic violation is motivated by pure meanness, and Perdita and Romeo can never quite recover our affection. The script only compounds that problem when, instead of offing the dead weight after their cannibal ritual is foiled, Perdita and Romeo let their blonde collegiate kidnap victims tag along for the rest of their spree. Their neglect in ruthlessly killing these two is totally out of character, and seems transparently motivated by narrative interests—giving the criminals someone to talk to other than each other, providing opportunities for suspense from the teens’ escape attempts, and maybe even granting Perdita some kind of unearned character growth—rather than any sort of logic.

And that’s a shame, because Perdita Durango has a lot of cool pieces that could have cohered into a fun movie: Javier Bardem’s Aztec mullet. Random Herb Alpert music scattered throughout. Genuine sexual chemistry between Perez and Bardem. Santeria rituals involving snorting obscene amounts of coke and tossing hearts at the wall while Screamin’ Jay wails in the background. A jaguar dream sequence. But alas, when there’s no one in the movie to root for, and not enough humor (or weirdness) to compensate for the depravity, it’s all for naught.

Normally, I would blame the distributors for cutting the film by ten controversial minutes, retitling it Dance with the Devil, and barely releasing it at all—but this project was a mess from the beginning. It was originally to be directed by Bigas Luna, with Madonna, Victoria Abril, , , and all variously attached before dropping out. Four writers worked on the screenplay. Dialogue slips from Spanish to English (heavily accented, often difficult to understand English, in Bardem’s case). Overall, the production was unsettled, and the chaotic, underwhelming results were almost to be expected. Bardem would go on to better things, Barry Gifford would again collaborate with on Lost Highway, and de la Iglesia would bounce back; but this is something of a low point for most everyone involved. Nevertheless, thanks to Severin films and their 2021 Blu-ray release for rescuing this early de la Iglesia film from oblivion.

WHAT THE CRITICS SAY:

“…[a] kinetic and bizarre journey through the dark underworld of wild debauchery, reckless abandon, and Santeria.”–Jason Buchanan, All Movie Guide

(This movie was nominated for review [as Dance with the Devil] by “StarWanderer.” Suggest a weird movie of your own here.)

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CAPSULE: USED AND BORROWED TIME (2020)

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DIRECTED BY: Sophia Romma

FEATURING: Cam Kornman, Emily Seibert, Clas Duncan, Alice Bahlke, Grant Morenz, Gavin Roher, Maureen O’Connor

PLOT: A blind old Jewish woman eats a mystic pie served up by a racist at an Alabama fair and goes back in time to relive her experiences in an interracial romance during the civil rights struggle.

Still from Used and Borrowed Time (2020)

COMMENTS: According to the protagonist’s own words, time is not the commodity that’s been used and borrowed in Used and Borrowed Time. That conundrum is far from the strangest thing in this avant-garde1  production, though. The time-travel plot alone is a little bit strange, since the core story about a doomed interracial love affair in the Deep South in the early Sixties would normally be treated with “respectful” realism. It’s even odder, though, that the impetus for the journey is supplied via psychedelic pies sold at an Alabama fair by rabid anti-Semites who drawl their way though a series of MAGA taking points that would make Richard Spencer complain “geez, these guys sound a little bit racist.” Add to the mix the fact that the dialogue inconsistently adopts a loose, rap-inspired rhyme scheme (“You are so uptight. And you look afright. How’s a lost soul like you supposed to make it home alright?”), is decorated with cheap out-of-the-box CGI effects, and is enacted with the passion and talent of a community theater troupe, and you have an oddity ready made for raising eyebrows. And, it’s nearly four hours long! (Thankfully, it’s split into two parts on Amazon Prime).

Now, I can’t say that Used and Borrowed Time is actually worth your time, all the time. The project desperately needed a good editor to salvage a halfway decent, very weird 90-minute feature out of this well-intentioned but epically overlong jumble of platitudes. There are a few good things to highlight: the musical interludes from a soulful R&B chanteuse, for example. The effects occasionally work, like when a pair of glowing red cats eyes fade in and out like glowing embers from a wire crate in the background as the young couple prepare to make surreptitious love in a barn. And there are a lot of funny moments and bits of dialogue, some of which may be intentional. When the old lady steals a piece of apple pie which makes her all green and sparkly and throws her into a void, she laments “I should never have indulged in that voodoo pie bliss.” When a romantic liaison is interrupted by the withered old green-glowing time traveler replacing Steadroy’s nubile sweetheart in his arms, his reaction is a deadpan, “What’s going on? I was just about to shag Eva in the shed!” It takes a family of hicks five minutes to recite grace on Christmas Eve dinner, because they keep interrupting the prayer with digressions, blasphemies, and threats to murder each other. And you have to give some bonus points to any script that attempts to rhyme “cracker” with “pecker.”

Having said that, the negatives here far outweigh the positives; and if the negatives weren’t frequently softened by being so darn strange, the movie would be unwatchable. Apart from the distracting cheapness of the production (amateurish acting, threadbare sets, a Halloween wig used as a major costuming choice), Used and Borrowed Time is far too infatuated with it’s own nobility and cleverness. More devastatingly, it’s far too long. The family of white villains is composed of a timid young adult, a bitter and vindictive matron, a weak-willed sister who was educated in righteousness when she married a senator from above the Mason-Dixon line, along with one interesting character, a heretical gay uncle who’s just as hateful and bigoted as the others, but whose constant perverse and sacrilegious utterances everyone accepts with a shrug. Their endless dialogues go over and over the same territory time and time again, establishing that they are, indeed, irredeemable racists and all-around awful specimens of humanity. The young lovers’ attempts to get it on are repetitively interrupted by the sparkly time-traveling woman (whose charming Southern accent, by the way, has changed over entirely to a grating New York Jewish one over the decades). When the couple are captured by the redneck family, they are, once again, locked up and threatened in various ways over and over, and despite the time-traveler constantly undoing the ropes that bind them, they always get caught again, sometimes without explanation. Quite simply, the script keeps repeating itself like its caught in a time loop, until the drama of the situation yields to cries from the audience to “get on with it!”

It’s difficult to criticize a film whose heart—both ethically and aesthetically—is generally in the right place (although residents of Alabama might disagree), but the result here leaves much to be desired. Used and Borrowed Time will find probably draw most of its audience from a woke anti-racism crowd looking to feel smart and self-congratulatory while looking down their noses at some admittedly despicable racist strawmen. But I think it’s more of a find for for those of us who seek out the oddest ideas committed to celluloid—whether they be executed well or badly.

Used and Borrowed Time is currently streaming free for Amazon Prime members.

WHAT THE CRITICS SAY:

“This film manages to beautifully deliver an important message while remaining artistic and unique.”–Adva Reichman, Cult Critic (contemporaneous)

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CAPSULE: “WORLD OF TOMORROW, EPISODE 3: THE ABSENT DESTINATIONS OF DAVID PRIME” (2020)

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DIRECTED BY:

FEATURING:

PLOT: A time-traveling clone appears to David Prime to warn him of future danger.

Still from "World of Tomorrow Episode 3: The Absent Destinations of David Prime"

COMMENTS: There’s probably no one coming into “The Absent Destinations of David Prime” without having seen “World of Tomorrow” or its sequel first—but just in case, know that this short does stand alone, and knowledge of previous episodes isn’t absolutely necessary, though such knowledge will obviously inform and expand your enjoyment.

The rest of us will find the new World of Tomorrow familiar, yet different. The thing that’s most obviously missing is Winona Mae, the child star of the first two episodes. Her imaginative chattering  provided both a ground for Hertzefeldt to bounce his speculative ideas off of, and a comic foil for Julia Potts (who voices Winona’s adult clones). The emotional and thematic core of the first two episodes was the tension between adult realities (represented by Potts’ hilariously flawed and damaged clones) and the innocent potentialities of Winona Mae’s candidly captured childhood. Now, at about age 9, the child has aged out of the role, and with her exit, Hertzfeldt has been forced to adapt the series. Potts still voices an Emily clone (Emily 9, to be precise), but the protagonist is now David, Emily’s love interest, introduced in the original through his brain-dead clone on display at a museum. David doesn’t speak (although his infant self babbles, courtesy of newborn voiceover from one Jack Parrett). The wistful melancholy for childhood lost no longer forms the emotional backbone of tomorrow’s world; instead, it’s the wistful melancholy of lost love—a romance that is complicated by the fact that it happens between various permutations of clones, each of whom share incomplete and faulty memories with their originals. This patchwork reflects the uncertainty (and fatalism) of romantic love. The theoretical construct of “shared memories” both drives the plot and serves as the chief metaphor.

“Episode 3” is less specifically philosophical and melancholy than previous installments, driven instead by its intricate time-travel narrative. What remains the same across all the entries is Hertzfeld’s incisive satire, Emily’s quotable non-sequitur dialogue (“I feel like I should like avocados more”), and the animation, which, although continuing to advance into ever more elaborate organic alien landscapes, remains stick-figure-based. The satire, in particular, hits a high note in this episode: the World of Tomorrow is a cybernetic nightmare of data overload chillingly reminiscent of our own fast-moving times. Tomorrow, humans will have neural chips—the equivalent of iPhones implanted directly inside our brains—that allow us to install and delete various functions as needed. Apps like Chinese fluency or basic ambulation can be removed at will to free up space for new content, such as Emily’s old bundled memories. Advertising is omnipresent; Emily’s memory cache is partly funded by pop-up ads, including one for “holograms that yell at you!”

“Episode 3” also continues the series’ trippy visual style, which has always featured simplistic stick figures marching against colorfully-envisioned digital backgrounds. Hertzfeldt throws in some new tricks, blurring some of the action to depict Emily’s faltering attempts to materialize herself—time-travel creates backwards-compatibility issues—and adding bewildering layers of content and chryons fighting for our attention. David’s hallucinatory journey to a distant moon to collect a trove of memories stored inside a robot could be Hertzfeld’s compressed stick figure tribute to 2001‘s Star Gate. With less dialogue this time around, the director pays greater attention to the sound design, which is stronger and stranger than in previous outings; there are ambient space noises, Emily’s messages are often glitchy and buried in layers of static. The soundtrack is classical and original music, sometimes used ironically (as when “relaxing music” meant to calm an agitated David is overlaid with an insistent electronic alarm directing him to his next destination).

“The Absent Destinations of David Prime” is the most ambitious “World of Tomorrow” yet, clocking it at over thirty minutes long, about double the previous two episodes lengths. The knotty time-travel plot will generates discussion and exegesis (charts may be helpful), without unduly sidelining the series’ main asset: its tragicomic empathy for the human condition. Each episode now is like a clone of the original “World of Tomorrow,” deteriorating in some aspects, but developing their own quirks or mutations, all the while maintaining a basic identity. Having survived the maturation of Winona Mae, it appears that Hertzfeldt’s imagination is capable of spinning out the series indefinitely into the ever expanding World of Tomorrow—and perhaps even to the day after that.

“World of Tomorrow Episode 3: The Absent Destinations of David Prime” is currently available exclusively for purchase or rental on Vimeo. I predict that someday all three episodes (and maybe even a future episode) will be available bundled together on physical media. No time traveler has yet appeared to me to divulge the release date, however.

WHAT THE CRITICS SAY:

“…. there was no way [Hertzfeldt] was just going to pack up his toys and call it a day after mashing ‘The Jetsons’ and ‘Brazil’ into the kind of digital sandbox that someone could play in until the Earth blew up without ever growing bored of the existential crises it allowed them to imagineer along the way… ‘Time is a prison of living things,’ David tells us, and like any prison, we are always looking for a way out. The impulse to escape will never change, it will only grow weirder.”–David Ehrlich, Indiewire (contemporaneous)

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FANTASIA FILM FESTIVAL 2020 CAPSULE: TEZUKA’S BARBARA (2019)

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Screening online for Canadians at 2020’s online Fantasia Film Festival

DIRECTED BY: Macoto Tezuka

FEATURING: Gorô Inagaki, Fumi Nikaidô

PLOT: Yosuke Mikura, a popular writer facing a creative lull, meets Barbara and develops an obsession with her.

COMMENTS: Damn it, Barbara, you were so very close. Your devil-may-care manic-pixie-dream-girl self was crafted by one of Japan’s most renowned manga artists. You were brought to life in a ragged city milieu, spouting poetry. You toyed so mischievously with the mind of a famous young writer. Your mother constantly wore a helmet-hat made out of cherry cordials. You knocked back 50-year-old single malt Scotch like the pro I always wanted to be. And you just up and dropped the frickin’ ball—right on my eyeball.

It is only because I want to give Osamu Tezuka a fair shake in the future that I won’t hold Tezuka’s Barbara against him. His work might someday actually achieve the weirdness I was looking for, instead of just shamelessly flirting with it. Yosuke is a dull cipher of a protagonist, but that’s fine; all the better to provide the viewer a lens through which to witness the following: frantic lovemaking to a living mannequin cut short by a deft, head-removing smack from a liquor bottle; unsettling voodoo-doll machinations targeted against Barbara’s romantic rival; sociopolitical commentary in the form of Yosuke’s scheming fiancée’s scheming-er father; an all-nude “old religion,” hyper-ritualized with body-oiling wedding ceremony; and promises of necrophilia followed by a cannibalistic snack. But everything collapses into gauzy, melodramatic mush.

If you hear bitterness in my tone, I can assure you it’s there. I had the Apocrypha Candidate review all lined up in my head as I watched Barbara. I was going to compare it to Naked Lunch, due to the films’ shared urban filth and dissonant jazz score. I was going to quip that “Barbara is exactly the girl that Céline and Julie would have met and eaten strange candies with during their Junior year abroad.” Now, I won’t be able to revel in the clever observations about how Barbara captured low-literary romance with high production values.

Instead, I found myself on tenterhooks waiting for the movie’s half-dozen-plus weird ingredients to turn the corner; “weirdus interruptus” doesn’t even begin to describe the disappointment. This is a review written out of spite, and I wouldn’t blame management for not posting it. However, as Yosuke needed to get Barbara out of his system, I desperately needed to get Barbara out of mine.

WHAT THE CRITICS SAY:

“… an exceedingly bizarre love story that is too distanced to be moving, but still has its visual and other pleasures..” -Deborah Young, The Hollywood Reporter (festival screening)

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APOCRYPHA CANDIDATE: THE MAD FOX (1962)

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Koiya koi nasuna koi; AKA Love, Thy Name Be Sorrow

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DIRECTED BY: Tomu Uchida

FEATURING: Michiko Saga, Hashizô Ôkawa

PLOT: An apprentice astrologer, betrayed and driven mad, flees to the countryside where he meets both the twin sister of his lost beloved and fox spirits.

WHY IT MIGHT MAKE THE APOCRYPHA: The Mad Fox opens as a medieval Japanese epic with a  folkloric spin and then suddenly goes mad, turning into kabuki theater and ending on a flying flame.

COMMENTS: The Mad Fox begins on a grandiose note when a “white rainbow” portentously appears in the sky. The Emperor summons the court astrologer, who predicts doom for the kingdom. Before the sage can divulge a remedy suggested by the astrological scroll that holds the answers to the future, he is slain by bandits. Only his chosen successor can read the scroll, but the astrologer died without officially choosing between his two disciples. Much scheming and intrigue follows, and the first act ends with Yasuna, the good and faithful disciple, fleeing to the countryside after the death of Sakaki, his beloved and the astrologer’s adopted daughter.

This first section of the film is a sumptuous Technicolor spectacle that plays out on lavish courtyard sets with characters kneeling about in embroidered silk robes, a mise-en-scene that wouldn’t be out of place in an period piece. Things shift precipitously towards the abstract once Yasuna’s insanity hits, however. The exiled apprentice finds himself in a sea of glowing sunflowers while butterflies on visible strings flit by and a traditional Japanese singer warbles a warning to “never fall in love.” After this Expressionist interlude, act two begins when he stumbles upon Sakaki’s twin sister and, in his madness, believes her to be his lost love. Things get further complicated when the noble Yasuna rescues a wounded fox, transformed into human shape. The fox spirit’s granddaughter falls in love with him and when Yasuna is later wounded, she assumes the likeness of Sakaki and appears to him and licks his wounds clean. It’s a shade of Vertigo, but with the madman desperately falling for two separate specters of his lost love. As Yasuna and the fox build an illusory family, the final act leaves realism even farther behind, turning into a kabuki performance played out on an obvious stage set.

For some reason, synopses and reviews often stress that the movie is “hard to follow.” Although a few details of Tokugawa era society might be unfamiliar to Western audiences, this concern is greatly overblown; I had no more trouble following this than I would a Shakespeare play. The more common complaint among the movie’s rare detractors is that the stylistic transitions Uchida employs are jarring, which I consider to be an asset rather than a liability. The second half of the film, when we follow Yasuna into his delusions, are consistently more engaging and moving than the realist set up–at least, for those of us who value deep imagination over shallow authenticity.

Though respected in his native Japan, Tomu Uchida never broke through to international audiences, for reasons that probably have more to do with bad luck than anything else. The Mad Fox was seldom exhibited outside Japan. Arrow Academy rediscovered and restored this minor classic in 2020 and released it on Blu-ray, where it can now be experienced by the adventurous cinephile with moderately deep pockets.

WHAT THE CRITICS SAY:

“… there reaches a point at which the movie just goes off the rails in terms of strangeness; Uchida throws anything even resembling logic out the window and begins offering up increasingly oddball elements – including musical numbers and animated sequences – before the entire thing transforms into a filmed play (literally!) that even Max Fischer would find overwrought.”–David Nusair, Reel Film Reviews