Tag Archives: Spoof

FANTASIA FILM FESTIVAL 2020 CAPSULE: MONSTER SEAFOOD WARS (2020)

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

DIRECTED BY:

FEATURING: Keisuke Ueda, Ayano Christie Yoshida

PLOT: Someone steals Yuta’s temple offering of a squid, an octopus, and a crab, and soon giant versions of these three creatures begin terrorizing Japan; an anti-squid squad is formed to combat the menace.

Still from Monster Seafood Wars (2020)

COMMENTS: If you’re looking for a light kaiju appetizer that won’t ruin your appetite for more substantial fare, Monster Seafood Wars may be your dish. Minoru Kawasaki’s spoof follows a sushi delivery boy/genetic engineering prodigy Yuta as his stolen seafood goes bad in unanticipated ways. Along the way he joins a monster-fighting squad, attempts to woo his love interest away from a rival, and tries out a mouthwatering array of kaiju sushi dishes.

Unfortunately, the film is poorly paced, with too much exposition and too few battles stuffed into in the first thirty minutes. Monster Seafood Wars drops in a number of documentary-style retrospective interviews throughout its runtime, which, while not too intrusive, rarely add much beyond a bit of unnecessary pseudoscientific explication. They feel mostly like padding. When monster tentacles are sliced off during a battle—and are subsequently found to be delicious—the film’s middle section takes a long foodie detour as kaiju cuisine mania grips Japan. These segments may be parodies of actual Japanese cooking shows, but they’re mildly amusing at best, and again play like padding. The main plot is utterly ridiculous, and at times inconsistent: the monsters can’t seem to decide whether they’re teammates or adversaries. This lack of coherence isn’t a bug so much as a feature, but I wanted to see wackier characters enacting this stupidity—more like the mystical video game maven who blindfolds himself to awaken his “fifth personality” (and to set record high scores) would have been welcome.

The lightly comic plot is the starchy rice to complement the main dish—the amphibious kaiju and their awkward attempts to wreak havoc. Kawasaki goes back to basics: guys in rubber suits plodding around on miniature sets, trying to wave their heavy unarticulated limbs in as a much of a semblance of unwieldy menace as humanly (monsterly?) possible. Anatomical accuracy is not a concern: the lobster-red octopus not only has very human-looking eyes, but also a nose, and crab pincers. These giant sea creatures are all surprisingly bipedal, to boot. But like the rest of the movie, the battles are cheap. The monsters perform behind a Lego skyline, while PAs sitting just offscreen toss handfuls of Styrofoam rubble into the frame. The budget apparently didn’t allow them to actually destroy those Lego buildings, so Tokyo is not actually stomped here; no scale models were damaged, and could be returned to the hobby store after usage for a full refund. The producers couldn’t afford to risk ripping holes in those rubber suits, either; when tentacles are lopped off, it happens offscreen, then we see the giant piece of newly-cut sushi sailing through the air in a separate shot. There’s also some cheesy CGI to further season the spectacle. In other words, Big Man Japan this is not, although Monster Seafood Wars revels in its own recipe for Japanese corn. Although the costumes are goofy parodies of classic kaiju, the sound effects are quite authentic to the 1960s monster movie era Seafood is spoofing; the synthesizer shrieks and echo-chamber collisions might have been lifted from a vintage Gamera film. And the final showdown is fun, bringing in an appropriate new giant to do battle with the seafood trio.

If silly monster battles are your thing, Monster Seafood Wars will satisfy you well enough. But it seems like the kind of ground others have trod before, and I’m confident that Minoru Kawasaki is still capable of more imaginative moviemaking than this.

Kawasaki based Monster Seafood Wars on an unproduced screenplay by Eiji Tsuburaya about a giant octopus eventually defeated by a vinegar gun. If it had gone into production, that unmade project would have pre-dated Godzilla.

CAPSULE: THE VELOCIPASTOR (2018)

DIRECTED BY: Brendan Steere

FEATURING: Greg Cohan, Alyssa Kempinski, Daniel Steere

PLOT: During a crisis of faith, Pastor Jones travels to China where he is cursed by an ancient dinosaur tooth; his newly found powers, and his crusade for righteousness, attract the attention of an international drug cartel with unlikely motives.

Still from The VelociPastor (2019)

WHY IT WON’T MAKE THE LIST: Steere’s campy intentions are clear throughout, and so it can’t fall into the “” category. The narrative is silly, the acting is silly, the effects are silly, and the priest is a were-velociraptor (which is silly). This movie feels like an audition video to join the production team.

COMMENTS: “Wild with fear, the Trachodon hurries toward the water. But its fat, hulking body can only move slowly. In two leaps, the King of Tyrants lands on its back. The giant’s head seems split apart as the great mouth opens and clamps shut on the Duckbill’s neck. The dagger-teeth crunch through bones and flesh like shears cutting paper. There is frantic thrashing for a time as the colossal beasts roll into the slippery muck. Then the Trachodon lies still. Its head hangs loosely, almost severed from the neck by six-inch teeth.” 1

There is a telling scene in The VelociPastor that distills the two things to bear in mind when (for whatever reason) you find yourself watching it. Attempting to learn about his condition, Pastor Doug Jones reads up on dinosaurs using Roy Chapman Andrew’s book, “All About Dinosaurs.” Originally published in 1953 (and read by yours truly in his more intellectual childhood days), this volume has absolutely nothing to say about velociraptors. When Doug’s mentor walks into the room to check on him, he covers the dinosaur book with the Bible, pretending to read that instead.

But as to those two things I mentioned: The VelociPastor is silly and pointless. I make no complaint that I’m out five bucks having rented this; at least its 70-minute runtime made it a quick bit of silliness. And, indeed, there were some funny lines. Coming to terms with his condition (through which, in case my oblique references and the title didn’t clue you in, he transforms into a velociraptor when angered), Pastor Jones talks to a hooker (who is, of course, working her way through law school), who encourages him to embrace his curse as a gift to help him rid the world of scum. She provides the caveat, “I know nothing about God.” He rejoins, “And I know nothing about dinosaurs.”.

The opening informational paragraph has been included to flesh out this review, as there isn’t much to say. VelociPastor is cute, but not great; it’s clever, but not very; and it’s good natured, but perhaps not worth $5 for 70-minutes. Some, I suspect, may have been hopeful (or fearful) that The VelociPastor might be nominated for Apocrypha status. Unfortunately, Brendan Steere has only proven that he can carry a premise most of the way through a minimal runtime. But I do feel I am on the hook for this franchise, I suppose: the promise of interminable, possible sequels concludes this ninja/samurai/drug-cartel/Catholic Church(?)/Methodist Church(?)/dinosaur saga. Frankly, I’m more curious as to whether the hooker finishes her degree.

WHAT THE CRITICS SAY:

“…pure ridiculousness on every level…  a bonkers film that never stops entertaining.”–Bobby Lepire, Film Threat (contemporaneous)

CAPSULE: IRON SKY (2012)

DIRECTED BY:

FEATURING: Julia Dietze, Christopher Kirby, Götz Otto, Stephanie Paul, Udo Kier

PLOT: Having regrouped on the dark side of the moon, the Fourth Reich finds that the computing power of a visiting astronaut’s smart-phone is just what they need to launch their super-ship, “Götterdämmerung,” and conquer the Earth.

Still from Iron Sky (2012)

WHY IT WON’T MAKE THE LIST: As one of the last places for narrative fiction to wedge them, the whole “Nazis-on-the-moon” thing isn’t so strange. The movie itself is merely a tongue-in-cheek  diversion that errs on the side of (sometimes) dumb humor over anything weird. A serious dissection of the premise’s socio-military implications, however, would have been a shoo-in.

COMMENTS: Unlike the fabled whalers of old, Nazis on the Moon found a great deal to do during their stay. Though this isn’t the first vision of that possibility, Tim Vuorensola is probably the first film-maker to pull the trigger on it, and he provides an intermittently funny send-up of classic science fiction, B-movie sensibilities, and even a bit of political commentary. The combined efforts of maybe a dozen European production companies, as well as some crowd-funding (including me, having drunkenly splashed out eight years ago for a limited edition copy one evening) resulted in Iron Sky.

Earth-side, we root for a Sarah Palin-esque president of the United States (Stephanie Paul). She sends a black astronaut, James Washington (Christopher Kirby) to the moon as a PR stunt for her re-election. Moon-side, the Fourth Reich is ruled by Mondführer Wolfgang Kortzfleisch (Udo Kier, dropping in for a paycheck and a chance to hold the ceremonial “Führer baton”), with his right-hand man Klaus Adler (Götz Otto). Stuck in the middle is Renate Richter (Julia Dietze), daughter of the Reich’s preeminent scientist, as well as a 97% genetic (and therefore, romantic) match of Klaus. After Washington stumbles across the Nazi base, he is captured, and the fascists discover his smartphone. With it, their super weapon almost gets up and running, only for the phone battery to die. So, off go Klaus and Renate to the Earth to pick up a new machine and lay the groundwork for a full-scale invasion.

So far, so good(-ish). The story, such as it is, doesn’t really pick up until about the halfway point, with the long-form introduction acting primarily as an opportunity to crack wise about Nazis, race relations (Washington has an African-American persona straight from the mid-’90s), and the trajectory of US politics. 1 Beyond the premise, though, the only things that stand out are the art direction—the ominous, sleek, and deadly armaments look just as you imagine real Nazis would want their space machines to look—and costuming (for similar reasons). I just wish…

I just wish, I suppose, that Vuorensola had put more time and effort into the script. Shortly before writing this, I found that I had only watched the “theatrical” cut, which he was obliged to throw together very quickly to make before the premier at the Berlinale Film Festival, instead of the “Dictator’s Cut”, which has twenty more minutes fleshing out characters and scenes. With that in mind, I’ll advise a “Probably Recommended” for that version, because even in its slapdash form it maintains a good pace and has enough laugh-out-loud moments to justify itself. Only a humorless sourpuss should not-see it.

WHAT THE CRITICS SAY:

“Ultimately, ‘Iron Sky’ is neither good enough to rep a proper breakout hit nor bad enough that it might attain cult status; it’s just kind of lame, the worst of all possible worlds.”–Leslie Felperin, Variety (contemporaneous)

366 UNDERGROUND: FIRST MAN ON MARS (2016)

DIRECTED BY: Mike Lyddon

FEATURING: Marcelle Shaneyfelt, Benjamin J. Wood, Gavin Ferrara, Kirk Jordan

PLOT: An eccentric billionaire flies to Mars, mutates into a monster, then returns to Earth to terrorize the silly citizens of Black Bayou, Louisiana.

Still from First Man on Mars (2016)

WHY IT WON’T MAKE THE LIST: Ironically, this movie is only 9/10ths bad enough. Movies like The Room or Santa and the Ice Cream Bunny are low-budget and bad, but done with a sense of conviction, albeit mis-aimed. First Man on Mars is just bad on the boring, no-ideas level, not even interesting enough to make the so-bad-its-good category.

COMMENTS: First Man on Mars is an intentional parody of ’60s-’70s sci-fi horror drive-in B-movies. We open on a coroner in an office giving us a desktop lecture a la Rocky Horror Picture Show, a scene that ends with a chant of “Keep watching the stars!” Then we get to Cletus and his chum hunting in Louisiana. They run across an abandoned space capsule and a rubber-mask monster who disembowels Cletus’ hunting buddy with no foreplay, sending the terrified hick running for the cops. Flashback: the monster from the capsule was once astronaut Eli Cologne, a very obvious parody of real-life billionaire, philanthropist, and visionary Elon Musk. Eli came to Mars seeking shiny gold, despite already being rich enough to buy his own rocket to go there. Grabbing his first nugget, however, results in a tear in his glove, which soon leads to an infection which will transform him.

Mission Control argues that he’s not allowed to come back infected, but Eli is hearing none of it. He returns just in time to transform into a growling monster in the backwoods of Louisiana. The rest of the flick is pretty much people scrambling around in forest either chasing or being chased by said monster, with only the thinnest veneer of justification. That cast includes Cletus and two cops who don’t believe his story; a sleazy photographer and two models from “Bullets and Bimbos” magazine who hire Cletus as a guide to the dark swamps of Black Bayou for a woodsy photo shoot; a group of scientists from Eli’s project; an innocent girl going fishing and being fished; and a coroner who investigates Cletus’ mangled remains in between bites of lunch.

“Low budget” doesn’t begin to describe it, and cash isn’t the only thing this flick is short on. It is very stingy with the alleged classic sci-fi references. Unless you blink and miss it, you’ll catch one of the bumbling scientists being dismissed as a “red shirt” (Trekkie, check), a clumsy bit of banter with a “Bullets and Bimbos” model name-dropping (Elephant Man, check), a scene where two scientists pitch a tent just so they can play D&D (gamer nerds, am I right, ha ha?) before getting slaughtered, and so on. However, the film is generous with poop humor, boob humor, gross-out humor, insulting stereotypes of country bumpkins and geeks alike, Dollar Store props that are milked for all the lead-painted rubber they’re worth, and an extremely fuzzy understanding of the meaning of the word “humor.” At one point, one of the scientists screams over and over that he needs to defecate, before wandering off and accidentally dumping a steamer (rubber doggy doo, $0.99) on a  yet undiscovered body. Said pile of doggy doo is referenced again and again, traveling with the body even to the coroner’s office. And that, apparently, is the movie’s best foot forward.

Let it be known, being low budget does not disqualify a film from the list of 366 Weirdest Movies Ever Made (see Robot Monster and After Last Season). And simply being bad is no barrier to entry, either. But there is low budget, and then there is being stingy beyond all reason. At least Robot Monster had the imagination to try to sell a bubble machine as alien technology. Imagination costs nothing. First Man on Mars seems to be done with no intention of being taken seriously, on any level, and nothing shows anybody seemed motivated to put in much effort, either.

Viewers who like sitting through every amateur production made by kids goofing around with mom’s camera on YouTube will find First Man on Mars right up their alley. It at least passes that standard.

WHAT THE CRITICS SAY:

“…an absurd blast from low-budget director Mike Lyddon and his team of willing actor and crew participants, putting everything on the proverbial line to make this ambitious project first and put their seemingly absent shame second.”–Steven T. Lewis, It’s Blogging Evil

CAPSULE: THE ICE PIRATES (1984)

DIRECTED BY: Stewart Raffill

FEATURING: Robert Urich, Mary Crosby, Michael D. Roberts, , Bruce Vilanch

PLOT: In a galaxy far far away, where water is in short supply, a band of pirates team up with a princess to investigate her father’s disappearance.

Still from The Ice Pirates (1984)

WHY IT WON’T MAKE THE LIST: I think the operative term to describe The Ice Pirates is not “weird,” but rather “goofy.”

COMMENTS: I’m not completely sure Ice Pirates was always meant to be a comedy. The scattershot humor, the jokes inserted in random spots during action sequences, makes me imagine that it started life as a swashbuckling space opera a la Star Wars, then was retooled as a spoof when it was deemed too cookie-cutter even by Hollywood standards. Or maybe it was adapted for space from a sword-and-sorcery Conan the Barbarian ripoff script, since the villains (“Templars”) all wield longswords and wear chainmail. Whatever the case, Ice Pirates takes itself too seriously to be a laugh riot like Spaceballs, but not seriously enough that you actually get involved in the saga or swept up in the cosmic spectacle. The tone is close to a Barbarella: straight faced, but ridiculous. Unfortunately, it’s neither as sexy nor as weird as Jane Fonda’s psychedelic space classic.

Here’s what you do get: defecating aliens, “Space Invaders” battle monitors, a politically-incorrect jive-talking cyborg pimp, an alien infestation of “space herpes” (singular: “space herpey”), robots mingling with farm animals, Amazons riding on attack unicorns, a water-wasting sex scene in a virtual thunderstorm, a time warp battle shot partially in fast-forward, and lots of pirates, but almost no ice. The cast is large but forgettable. Robert Urich is no Harrison Ford, Mary Crosby is no Carrie Fisher (though she is easy on the eyes), Michael D. Roberts is a sidekick without a character hook, Anjelica Huston is supposed to be sexy but looks embarrassed, the robots’ comic relief routines need reprogramming, and the villains are toothless. Also look for a pre-fame and a post-fame John Carradine (who is literally wheeled-in to deliver his lines) in smaller parts. The cast’s lone standout is Bruce Vilanch as a King Herod type who loses his own head, but continues making wisecracks.

The Ice Pirates was made cheaply, and looks it. It wasn’t funny or spectacular enough to be a mainstream hit, and doesn’t go far enough in its absurdity to garner more than a small cult following, but it is busy enough to make it watchable. Fans of 80s camp will want to add it to their bucket list—just not to the top of the list.

Warner Archive put out an extras-free Bu-ray of Ice Pirates in early 2016.

WHAT THE CRITICS SAY:

“…a busy, bewildering, exceedingly jokey science-fiction film that looks like a ‘Star Wars’ spinoff made in an underdeveloped galaxy.”–Vincent Canby, The New York Times (contemporaneous)

228. LEMONADE JOE (1964)

Limonádový Joe aneb Konská Opera [Lemonade Joe, or the Horse Opera]

“What was before my eyes was both familiar and eerily strange.”–Danilo H. Figueredo, in Revolvers and Pistolas, Vaqueros and Caballeros: Debunking the Old West, on the experience of seeing Lemonade Joe in Cuba

Recommended

DIRECTED BY: Oldrich Lipský

FEATURING: Karel Fiala, Olga Schoberová, Rudolf Deyl, Miloš Kopecký, Kveta Fialová

PLOT: A lemonade-drinking cowboy rescues a beautiful temperance worker from rowdies in a tavern. Impressed with his heroism and trick shooting, the town opens an all-lemonade saloon, which upsets the local whiskey barons. With the help of a prostitute Joe has scorned, they scheme to kill the teetotalling hero and make Stetson City safe for intoxicating spirits once more.

Still from Lemonade Joe (1964)

BACKGROUND:

  • The word “limonádový” actually translates to “soft drink,” not “lemonade,” but there can be no doubt Lemonade Joe has a better ring to it than Soft Drink Joe.
  • The Lemonade Joe character began his life in a series of stories by satirist Jiří Brdečka. The stories were then adapted into a 1946 play, a short series of animated shorts, and finally into this hit movie.
  • Co-screenwriter/director Oldrich Lipský was the artistic director of Prague’s Satirical Theater. He went on to direct several popular and critically successful films, including Happy End (a 1966 experimental film that plays backwards) and Mysterious Castle in the Carpathians (1981).
  • Although the Western had been a popular genre in Czechoslovakia in the early part of the 20th Century, largely due to the writings of German pulp author Karl May, Western films had been banned through the German and Soviet occupations. They only began to be screened again (and then rarely) in the 1960s.
  • Czechoslovakia submitted Lemonade Joe to the Academy Awards, but it was not selected for the Best Foreign Language Film competition.
  • This movie was a huge hit in its home country—the biggest-drawing film of the 1960s—and remains a cult movie there to this day.

INDELIBLE IMAGE: Lemonade Joe and his nemesis—who is outfitted in blackface because he has been posing as Louis Armstrong for a duet with Joe at the piano—square off in a shootout. The gunfire’s path appears onscreen as dotted lines so that we can see that the bullets are striking each other in midair, leading the duel to end in a draw.

THREE WEIRD THINGS: Fiddle eating; Czech blackface; dotted bullets

WHAT MAKES IT WEIRD: Communist propaganda, surreal Czech sensibilities, and an honest appreciation for the entertainment value of early Hollywood films collide to create a homegrown retro-Western musical spoof that could almost have come from the mind of Guy Maddin.


Clip from Lemonade Joe

COMMENTS: You hear the names Milos Forman, , Continue reading 228. LEMONADE JOE (1964)

CAPSULE: THE EDITOR (2014)

DIRECTED BY,

FEATURING: , Matthew Kennedy, Adam Brooks

PLOT: A revered but mentally unstable film editor, who once lost four of his fingers on the cutting room floor, gets caught up in a classic Italian murder plot; as he struggles to prove his innocence, the bodies pile up in increasingly inventive ways.

Still from The Editor (2014)

WHY IT WON’T MAKE THE LIST: The Editor is driven by and dedicated to its famously bizarre source material (the giallo film), but this brand of weirdness is a bit too self-conscious to make the List.

COMMENTS: The issue with the parody genre, especially in recent years, is the huge gaps in quality. For every Airplane there is a Leonard Part 6, for every Naked Gun there is a Meet the Spartans; movies that, instead of being an adoring send up of the source material, come across as facetious efforts to piggyback on the success of current trends. Basically, it is a good idea to tread carefully going into any parody, regardless of whether you are a fan of whatever is being roasted at the time or not.

With The Editor, however, Canadian film collective Astron-6 have thankfully fashioned a stylish, occasionally hilarious and inventive satire that doesn’t simply regurgitate worn out jokes but instead uses the tropes of the giallo genre to produce a unique experience. Astron-6 first burst onto the scene with the Eighties science fiction experiment Manborg, an entertaining but shoddy foray into science fiction. The Editor feels like a much more polished piece of work, while retaining the surreal comedy of its predecessors—a natural progression. Dedication to the visuals and violence separate this film form being just another lame attempt at parody; they have managed to perfectly replicate the colorful vibrancy, recognizable camera movements, and even the overtly unstable dubbing of classic giallo films. Along with a pulsating electronic score, the authenticity is quite the achievement. But is this only going to be recognized by knowledgeable fans of the genre?

Every actor throws himself or herself into their roles (especially the inspector who takes the meaning of “psychosexual” to a new level), and the direction draws some genuinely creepy moments from a script focused heavily on dialogue. There is an element of repetitiveness as the film reaches its conclusion, however, and the comedy begins to be used as a crutch to keep the story afloat, while being too self-aware to keep the viewer interested. Like many of its satirical predecessors, The Editor falls short of greatness because it just doesn’t have a story to tell.

WHAT THE CRITICS SAY:

“It’s not as much fun as it should be, and while you can certainly admire the skill of the filmmakers in adhering to giallo conventions, you need to be in a midnight-movie frame of mind to really appreciate this film.”–Sarah Boslaugh, Playback:stl (DVD)