Tag Archives: So bad it’s weird

Canonically Weird (The List)

212. AFTER LAST SEASON (2009)

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“This movie makes no sense. I don’t mean the story doesn’t make sense, it almost does. I mean the movie as a thing that exists doesn’t make sense.”–Rob Steele

Beware

DIRECTED BY: Mark Region

FEATURING: , Peggy McClellan

PLOT: Matthew and Sarah are med students with an interest in neurology. A fellow student is knifed to death by a serial killer. Matthew runs a telepathy experiment with Sarah, who sees visions of the killer, and together they try to visualize the murderer.

Still from After Last Season (2009)

BACKGROUND:

  • After Last Season made a minor stir on the Internet in 2009 when its nonsensical (but, as it turns out, completely representative) trailer was released on YouTube and other video sites.  The piece was so thoroughly anti-cinematic, with its laughable props and the meaningless minutiae of its dialogue, that many people assumed it was a parody of a low-budget indie film created by an established director. The frenzy reached it’s peak when “Entertainment Weekly” published an article repeating rumors that the trailer was a hoax by notorious prankster Spike Jonze intended (somehow) to draw attention to his upcoming film Where the Wild Things Are.
  • After Last Season got a one week release in four U.S. theaters.
  • Director Mark Region claimed the film cost $5 million to make. Few believed him.
  • After the original run, producer/distributor Index Square stopped offering new DVDs for sale, and actor Jason Kulas said Region has told him there are no plans to produce more.

INDELIBLE IMAGE: The astoundingly crude computer-generated animation, which often looks like it could have been drawn in MS Paint. The best moment is when a killer’s knife (which looks like an ice cream cone held upside down) emerges from out of a blank wall.

THREE WEIRD THINGS: Cardboard MRI; Photoshopped telepathy; invisible ghost

WHAT MAKES IT WEIRD: “Huh?,” “um…,” and “whah?” are all equally valid responses to After Last Season.  This movie may go down as this generation’s Beast of Yucca Flats: stultifyingly dull at times, but so full of misguided directorial choices and  failed attempts at cinematic poetry that it takes on a dreamlike character. Watching After Last Season is like trying to follow a old-timey radio serial on an AM station with fading reception: you can tell there’s a voice trying to make itself heard, but the transmission is so garbled that the basics of the story become lost in static and long stretches of dead air. It’s difficult watching, for sure—thus the “beware” rating—but for intrepid curiosity seekers looking to experience the weirdest of the worst, it’s a must see.


Original trailer for After Last Season

COMMENTS: There’s a concept in cinema theory called “film grammar;” it refers to sets of filmmaking conventions that  have been Continue reading 212. AFTER LAST SEASON (2009) →

Canonically Weird (The List)

208. THE APPLE (1980)

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“I’ve never been so high in my life!”–Bibi in The Apple

DIRECTED BY: Menahem Golan

FEATURING: George Gilmour, Catherine Mary Stewart, Vladek Sheybal

PLOT: Alfie and Bibi are a naive duo of musicians from Moose Jaw, Canada. Mr. Boogalow, a Faustian music producer who controls the entire world’s music industry with his BIM corporation, tries to sign them to a contract; Alfie refuses, but Bibi is seduced by the lure of fame. Bibi becomes the world’s biggest pop star as Boogalow extends his influence to government, forcing all citizens to wear a “Bimmark” or be fined; Alfie tries to win her back.

Still from The Apple (1980)

BACKGROUND:

  • Together with his cousin, Yolam Globus, The Apple screenwriter/director Menahem Golan ran the Cannon Group, which produced hundreds of B-movies in the 1980s. Golan personally directed 46 films and produced or co-produced over 200. Some of the films Cannon later produced or distributed included ‘s King Lear, The Company of Wolves, and Lifeforce, along with exploitation movies featuring Charles Bronson and Chuck Norris and a handful of lucrative ninja movies. Their story is told in the 2014 documentary The Go-Go Boys: The Inside Story of Cannon Films. The Apple was made near the beginning of their moviemaking careers.

INDELIBLE IMAGE: Alfie’s vision of glam-rock Hell, featuring Napoleon, a dancing chorus of the damned, and a giant plastic apple, with a Roger Daltrey clone in a gold lamé G-string serving as master of ceremonies. It’s all capped off by the moment when an actual, actual, actual vampire (with a Bride of Frankenstein hairdo and a sheer periwinkle scarf) pops into the frame, displaying her fangs and jazz claws, cocking her head, and generally acting like a vampiric village idiot.

THREE WEIRD THINGS: An actual, actual, actual vampire; pop dictatorship; deus ex Cadillac.

WHAT MAKES IT WEIRD: This science-fictiony musical satire/religious allegory is an attempt to cash in on the camp credibility of The Rocky Horror Picture Show, but with the disco sensibility and glittery production values of Xanadu (also made in 1980). The results are spectacularly uneven: the bizarre costuming, choreography, and psychedelic production numbers are actually pretty good in their deliberate excess, the songs range from annoying to hummable, and the rushed, out-of-left-field messianic ending is an unforgettable cinematic disaster.


Original trailer for The Apple

COMMENTS: The Apple pulls you in many different directions: Continue reading 208. THE APPLE (1980) →

Capsules

CAPSULE: THE BEYOND (1981)

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AKA Seven Doors of Death

DIRECTED BY:

FEATURING: (as Katherine MacColl), David Warbeck, Cinzia Monreale

PLOT: A young woman inherits a hotel that was built over one of the seven gates of Hell.

Still from The Beyond (1981)
WHY IT WON’T MAKE THE LIST: While it would be hard to deny the irrational aesthetics of The Beyond—this is, in every sense, a weird movie—its filmmaking quality leaves much to be desired. I find The Beyond falls just below the threshold of list candidacy.

COMMENTS: Convoluted and absurd, both by design and by accident, The Beyond is a mess of a horror spectacle, and its effect on a particular viewer can be difficult to predict. You might find it unsettling, or annoying, or sometimes both, in back-to-back scenes. The story lurches from plot point to plot point, racing towards the next shock sequence; long series of frames seem to be snipped out of the film. It begins with a sepia-tinted flashback: in 1927 Louisiana, a mob of torch-bearing villagers track down a “warlock” at a hotel and take him to the basement, where they beat him with chains, crucify him against the wall (is that really the symbolism director Fulci wanted?), and douse him with acid. The gore scenes are accompanied by horrifically inappropriate funk music that sounds like horror-rock band Goblin got infected by boogie fever. Years later, Joe the plumber goes down to the same basement, and unseen forces squeeze his eyeball out of its socket, one of several scenes of ocular trauma (a Fulci specialty). Once his corpse is discovered and taken in for an autopsy, the pathologist decides to hook a brainwave monitor up to the lifeless body, for the hell of it (“why not?”). Lo and behold, his brain has a heartbeat! Later, the insect world’s loudest tarantulas—they chirp like birds—eat a man’s face off. And in the weird and sporadically effective finale, a hospital is inexplicably taken over by zombies, and our fleeing heroes escape via an elevator that leads to the hotel basement!

Like I said, it’s a mess. The Beyond is one of the most divisive movies we consider for the List of the 366 Best Weird Movies, with critics and horror fans dividing up to defend or attack it in equal measures, and with equal passion. It’s a movie which alternates effectively evocative scenes (a blind girl standing on an empty bayou causeway as a lone car bears down on her) with absolute howlers (the hand-painted “do not entry” sign at the hospital). There is something attractive about the mix of sloppiness and surrealism here, but I think the enjoyment of this film relies on appreciation of a very specific type of incoherence camp that not everyone can vibe to. While I catch a glimpse of what this movie’s champions—many of whom are extremely erudite and eloquent in its defense—see in The Beyond, for me, Fulci’s incompetence and adolescent gore obsessions drown out his flashes of irrational inspiration and visual imagination. This is Lucio Fulci at his very best, but Fulci at his best is about the equivalent of at his worst.

Befitting The Beyond‘s cult status, Grindhouse Releasing’s impressive 2015 Blu-ray Collector’s Edition contains 3 discs: the film, an entire disc of extras, and a CD of the soundtrack.

“…Lucio Fulci’s bold incoherence honors [cinema] as a sensory experience…”–Fernando F. Croce, Cinepassion

WHAT THE CRITICS SAY:

(This movie was nominated for review by Alex. Suggest a weird movie of your own here.)

Capsules

CAPSULE: AN AMERICAN HIPPIE IN ISRAEL (1972)

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Ha-Trempist

DIRECTED BY: Amos Sefer

FEATURING: Asher Tzarfati, Lily Avidan, Tzila Karney, Shmuel Wolf

PLOT: Pursued across the globe by mysterious figures, an American Vietnam vet turned hippie goes to Israel and founds a small commune on an island.

Still from An American Hippie in Israel
WHY IT WON’T MAKE THE LIST: There are a few very weird (and even more very stupid) moments in this earnestly bizarre Israeli/hippie artifact. But working against An American Hippie in Israel is the fact that the vast majority of the film is so damn boring. Frankly, this is the only movie I’ve ever seen where I could honestly say: it needed more mimes. It’s worth seeing once to mark off your bad-film bucket list, but it’s no forgotten treasure.

COMMENTS: It’s easy to see why film fans were desperate for An American Hippie in Israel to be a hit. So-bad-they’re-good films are rare treasures, providing an intoxication that competent films can’t replicate, but once you’ve seen the obvious classics––Plan 9 from Outer Space, Robot Monster, Troll II, The Room—pickings get slim. So when word gets out about a lost trash classic, hopes get high. And Hippie boasts a uniquely twisted take on its botched universe, including some “thoughtful”/”mind-blowing” revelations, flat amateur acting, ponderous quality dialogue (“you fools… stop pushing buttons… you fools!”), a balding Israeli hippie who doesn’t speak English and looks twenty years older than his companions, nonsensical scenes and plot twists (sharks!), and mimes with machine guns.

And yet, I don’t think Hippie is truly a lost cult classic, because its numerous delights are buried in a morass of slow, arid scenes of Israeli hippies being groovy. When our American arrives in Tel Aviv, he’s picked up by an incipient flower child who proceeds to take him home and make him coffee—in real time. There are lots of scenes of the characters driving through the desert in a convertible, grooving to folk songs, and doing the frug at a dance party (which is happily interrupted by mimes with machine guns). That’s right, I said mimes. Two silent white-faced characters, who symbolize (pick one) death/the Vietnam War/man’s inhumanity to man are tracking our globetrotting hippie across the globe. These marauding Marcel Marceaus, who appear without rhyme or reason, are a surreal intrusion into a movie that is otherwise a rather lame fable of youth in revolt.

The other really noteworthy section of the film is our hippie’s dream as he rides across the desert towards his island utopia. It’s a totally silent, totally slo-mo, totally symbolic montage that begins with lavender-tinted lashing and ends with our protagonist whacking a couple of cassette-tape-headed aliens (?) in three piece suits with a giant oversized novelty sledgehammer. Those fools won’t be pushing any more buttons after that bashing, you can be sure. Unfortunately, the film goes downhill from there, as the bohemian quartet make increasingly stupid choices, choosing to permanently locate to a desert island without scouting it first for food or water, or bothering to secure their precious inflatable raft when the land. Stranded on the island, they descend into savagery in a weekend, with the two male hippies quickly turning into territorial rapists. The downer ending is meant to demonstrate, we gather, that even hippies become monsters when their very survival is at stake, and that man’s darker nature is stronger than his idealism. What it really demonstrates, I think, is that stupidity is stronger than either, and that if you’re an American hippie trapped in a dumb script, you are truly doomed. What a bummer.

An American Hippie in Israel was made by one Amos Sefer, who never made another movie (his only other credit is a short which is included as a bonus on the Blu-ray). Unsurprisingly, the execrable Hippie never found distribution. Somehow, Grindhouse Releasing discovered a print of this oddity and made a trailer, which generated interest in the flick. Israelis tracked down prints and began showing the movie as an interactive midnight event, complete with commentators, folk singers (singing mocking new lyrics to the instrumentals) and performance artists, turning it into a homegrown Hebrew version of The Rocky Horror Picture Show. Grindhouse  screened the film at American festivals and brought out a DVD in 2013.

WHAT THE CRITICS SAY:

“This weird inept movie was made by a former lifeguard with no training as a filmmaker… The film is so perplexing and maddening, that one can say without any trepidation that the filmmaker is a meshugener.”–Dennis Schwartz, Ozus’ World Movie Reviews (Blu-ray)

(This movie was nominated for review by Ryan Marshall. Suggest a weird movie of your own here.)

Canonically Weird (The List)

184. NINJA CHAMPION (1985)

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“The script… for one thing, it would be written in twice translated English. So we would be sitting there looking at it saying ‘what the hell does this mean?’ for one thing. And then Godfrey would sort of explain the plot, in his kind of hyper, babbling way, and then we’d sort of make it up on the spot and try to figure out for him what he wanted. Then they’d splice it together and really the only time I’d see what he was going for was when I’d see the thing in the dubbing studio when we’d come back a month later when it was edited. But even then, as you know, they really really don’t… make… sense. There’s the merest suggestion of a hint of a plot somewhere in there. But no, it was very much making it up as we went along.”–Actor Ed Chworowsky on the experience of working on Godfrey Ho movies

DIRECTED BY:

FEATURING: Nancy Chan, Jack Lam, Bruce Baron,  Pierre Tremblay,

PLOT: Rose infiltrates a diamond-smuggling ring intending to kill the three men who raped her. Rose’s ex-lover George, an ex-Interpol agent, leaves his new wife to help her attain her vengeance. Meanwhile, another Interpol agent, who is also a ninja, gradually kills off other ninjas who, though a convoluted scheme, are behind both the smuggling operation and the rape.

Still from Ninja Champion (1985)
BACKGROUND:

  • Ninja Champion was selected to go on the List of the 366 Weirdest Movies in the 5th Readers Choice Poll.
  • The 1981 movie Enter the Ninja (with Sho Kosugi and Franco Nero) was a modest exploitation hit that introduced Western moviegoers to the concept of the stealthy Japanese assassin. In the early and mid 1980s there was a mini-craze for ninja movies, which producers Joseph Lai and Betty Chan and director Godfrey Ho attempted to cash in on by making dozens of movies with “Ninja” in the title. Ho’s methodology was to acquire older martial arts movies (some unfinished or unreleased) and shoot new footage involving ninjas, which would then be clumsily spliced into the older film to make a new movie. This filmmaking technique is known as “cut-and-paste,” and Lai’s Hong Kong-based IFD Films and Arts Limited released almost a hundred of them before the fad died out.
  • Godfrey Ho may have directed IFD movies under other pseudonyms, and sometimes cut-and-paste movies have been attributed to him although there’s no clear evidence Ho worked on them. The Internet Movie Database credits Ho with directing 119 movies. Of these, 50 incorporate the word “Ninja,” including such titles as Ninja the Violent Sorcerer, Ninja in the Killing Fields, Ninja Terminator, Clash of the Ninjas, Bionic Ninja, and Full Metal Ninja.
  • According to the website Neon Harbor, the base film to which Godfrey Ho added the ninja footage to create Ninja Champion was a Korean movie called Bam-eul Beosgineun Dogjangmi (translated as Poisonous Rose Stripping the Night).
  • Prolific, down-on-his-luck B-movie actor Richard Harrison contracted to make a few movies in Hong Kong for Ho; unbeknownst to him, the footage he shot was cut up and used in approximately twenty-one new pictures. He was sometimes re-dubbed so he could speak lines related to the new plot. In multiple movies (including this one) he plays an Interpol agent named Gordon who is seen delivering orders to field agents while speaking into a telephone shaped like popular comic strip cat Garfield.

INDELIBLE IMAGE: Normally, you would say the image of two Caucasian ninjas engaged in a duel to the death while wearing headbands that read “ninja” would be hard to beat. In this movie, however, the unforgettable image has to be Nancy Chan’s topless scene, where the luminescence of her diamond-studded breasts makes the bottom half of the screen look like someone smeared Vaseline all over the lens.

WHAT MAKES IT WEIRD: It’s two weird movies in one, as a ridiculous Korean rape revenge martial arts movie gets a Godfrey Ho makeover with an overlaid Interpol/ninja plot that turns the original from a baffling trifle into a truly deranged and nearly incomprehensible example of exploitation cinema.


Clip from Ninja Champion (courtesy of Mill Creek Entertainment)

COMMENTS: Ninja Champion doesn’t necessarily make it onto the Continue reading 184. NINJA CHAMPION (1985) →