Category Archives: Cult Movie

Blu-ray reissue: Liquid Sky (***1/2)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 11, 2018)

https://i2.wp.com/diaboliquemagazine.com/wp-content/uploads/2017/11/Liquid_Sky-Margaret-620x349.jpg?resize=474%2C267&ssl=1Liquid Sky – Vinegar Syndrome Blu-ray

A diminutive, parasitic alien (who seems to have a particular delectation for NYC club kids, models and performance artists) lands on an East Village rooftop and starts mainlining off the limbic systems of junkies and sex addicts…right at the moment that they, you know…reach the maximum peak of pleasure center stimulation (I suppose that makes the alien a dopamine junkie?). Just don’t think about the science too hard.

The main attraction here is the inventive photography and the fascinatingly bizarre performance (or non-performance) by (co-screen writer) Anne Carlisle, who tackles two roles-a female fashion model who becomes the alien’s primary host, and a male model. Director Slava Zsukerman co-wrote the electronic music score.

This 1982 space oddity has been long overdue for a decent home video transfer, and Vinegar Syndrome gets an A+ for its 4K Blu-ray restoration (devotees like yours truly were previously stuck with a dismal DVD release that, while sold “legitimately”, screams “bootleg”). Extras include commentary track by director Zsukerman, plus a 50-minute “making of” documentary, a new interview with star Carlisle, outtakes, and much more.

Blu-ray reissue: Female Trouble (***)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 11, 2018)

Image result for female troubleFemale Trouble – Criterion Collection Blu-ray

The late great Divine chews up major scenery as Dawn Davenport, a “good girl gone bad” …in the worst ways imaginable. Parents be cautioned: if your teenage daughter demands cha-cha heels for Christmas…for God’s sake, humor her–or there will be hell to pay.

Even by his own mondo bizzaro standards, “czar of bad taste” John Waters has seldom topped the utter depravity of this mordantly hilarious 1974 entry. That said, our “reality” continues to catch up with his once-satirical, hyper-real vision of an American society completely driven by narcissism, an unhealthy obsession with the cult of celebrity, and self-aggrandizement at any cost. A trash classic.

Criterion’s Blu-ray edition features a restored 4K transfer; the film (shot on 16mm) has never looked more vivid (which might not necessarily be a good thing for squeamish viewers, who may spend some time afterwards wishing they could “un-see” certain scenes). Nonetheless, aficionados will be delighted by the generous piles of extras, including a commentary track (recorded in 2004) by the ever-chatty and vastly entertaining Waters, new and archival interviews with cast members, outtakes, and more.

Blu-ray reissue: Dead Man (****)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on August 11, 2018)

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Rhymes with: “deadpan”. Then again, that could describe any film directed by the idiosyncratic Jim Jarmusch. As far as Kafkaesque westerns go, you could do worse than this 1995 offering.

Johnny Depp plays mild-mannered accountant and city slicker William Blake (yes, I know) who travels West by train to the rustic town of Machine, where he has accepted a job. Or so he assumes. Getting shooed out of his would-be employer’s office at gunpoint (a great cameo by Robert Mitchum) turns out to be the least of his problems, which rapidly escalate. Soon, he’s a reluctant fugitive on the lam. Once he crosses paths with a semi-mystical Native American named Nobody (the wonderful Gary Farmer), his journey takes on a mythic ethos. Surreal, darkly funny, and poetic.

Criterion’s 4K digital restoration shows a marked improvement over a previously released Blu-ray from Lion’s Gate (showcasing the late Robby Mueller’s stunning B&W photography ). Extras include footage of Neil Young working on the soundtrack, a new interview with Farmer, and an entertaining Q & A produced exclusively for Criterion, with Jarmusch responding to inquires sent in by fans.

Beguilingly mondo: The Misandrists (**½)

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 30, 2018)

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If you were to stuff Clint Eastwood’s The Beguiled, Rainer Werner Fassbinder’s The Third Generation, and John Waters’ Cecil B. Demented in a blender, the result would be along the lines of Bruce La Bruce’s “best seen through your fingers” sociopolitical satire.

Truth be told, a quick insert or two of genital surgery footage and hard-core gay porno clips aside (“Not that there is anything wrong with that!” to paraphrase Seinfeld), I was able to get though most of The Misandrists without having to watch through my fingers (I feel it my duty as a film critic to caution sensitive and/or squeamish viewers up front).

La Bruce’s film opens playfully enough (in the year 1999), with two young women amorously frolicking in a field. It’s all fun and games until they stumble upon a grievously wounded anti-corporatist leftist who is fleeing from the law. He begs for help. The young man’s unexpected appearance not only disrupts the couple’s rapturous state of Sapphic bliss but ignites hotly contentious debate over whether they should help him out.

Compassion wins out, and the pair surreptitiously squirrel the young man away in the cellar of their rambling, somewhat gothic girl’s school. This isn’t just any girl’s school; it is the “stronghold” of The Female Liberation Army, lorded over by a Strangelovian headmistress addressed as Big Mother. Big Mother has big plans-namely, to snip the “man” from “mankind” and establish a dominant female world order. She demands her girls stay focused and in peak shape and does not suffer “laggards” gladly (is she strict!).

Big Mother’s Doomsday Machine? A camera, some lights, and some hot girl-on-girl action. If all goes as planned, she and her girls will produce, direct and distribute lesbian porno movies that are so autonomously beautiful and liberating that the world will come to its senses and realize how superfluous men are, after all. But you know what they say about the best-laid plans of mice and radical feminist terrorist cells. Obviously, the potential discovery of the young man convalescing in their midst is a ticking time bomb.

La Bruce’s mélange of retro radical chic, feminist revenge fantasy, broad political satire and in-your-face campiness has flashes of inspiration; however much of it seems ladled on purely for shock value, or as a patch-over for lazy screenwriting. Still, I would not necessarily discourage dedicated fans of outsider cinema, nor open-minded filmgoers seeking out a true alternative to standard summer blockbuster fare from giving it a peek.

SIFF 2018: * [“Star”] **1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on May 26, 2018)

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You see, the thing about “experimental films” is that…they’re experiments. And the viewer gets the dubious privilege of being the lab rat. How do I describe this one in particular? To paraphrase Keir Dullea in the film 2010: “My god, it’s full of stars!” Hence, the film’s title. I could also describe it as being 90 minutes too long, because Johann Lurf’s high concept collage would have been a perfect 10 minute short. Lurf curated every starry image on film that he could get his mitts on (spanning 1905 to 2017) and condensed them chronologically into a narrative-free film. It also gives you  a condensation of how film technology itself has evolved over 100 years. Something else you may get from this 99-minute flash-cut endurance test: a bout of vertigo, or an epileptic seizure. Watch at your own risk.

Fright night at the art house: A top 10 list

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on October 28, 2017)

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Since Halloween is coming up before my next weekly post, I thought I would do a little early trick-or-treating tonight (wait…you don’t think 61 is too old to trick-or-treat…is it?). Now, I enjoy a good old fashioned creature feature as much as the next person, but tonight’s recommendations largely eschew the vampires, werewolves, axe-murderers and chainsaw-wielders. Okay, we’ve got a few aliens, and (possibly) the odd zombie or ghost; but these are films where the volume knob on the sense of dread is left up the viewer’s discretion. The “horror” is in the eye of the beholder. Alphabetically:

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 Blue Velvet– Any film that begins with the discovery of a severed human ear, roiling with ants amid a dreamy, idealized milieu beneath the blue suburban skies instantly commands your full attention. Writer-director David Lynch not only grabs you with this 1986 mystery thriller, but practically pushes you face-first into the dark and seedy mulch that lurks under all those verdant, freshly mowed lawns and happy smiling faces.

The detached appendage in question is found by an all-American “boy next door” (Kyle MacLachlan), who is about to get a crash course in the evil that men do. He is joined in his sleuthing caper by a Nancy Drew-ish Laura Dern. But they’re not the most interesting characters. That honor goes to the troubled young woman at the center of the mystery (Isabella Rossellini) and her boyfriend (Dennis Hopper).  Hopper is frightening as the 100% pure bat shit crazy Frank Booth, one of the all-time great screen heavies

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Brotherhood of the Wolf– If I told you that the best martial arts film of the 1990s features an 18th-century French libertine/naturalist/philosopher and his enigmatic “blood-brother” (an Iroquois mystic) who are on the prowl for a supernaturally huge, man-eating lupine creature terrorizing the countryside-would you avoid eye contact and scurry to the other side of the street? Christophe Gans’ film defies category; Dangerous Liaisons meets Captain Kronos-Vampire Hunter by way of Crouching Tiger, Hidden Dragon is the best I can do. Artfully photographed, handsomely mounted and surprising at every turn.

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Don’t Look Now– This is a tough film to describe without risking spoilers, so I’ll be brief. Based on a Daphne du Maurier story, this haunting, one-of-a-kind 1974 psychological thriller from Nicholas Roeg stars Donald Sutherland and Julie Christie as a couple who are coming to grips with the tragic death of their little girl. Roeg slowly percolates an ever-creeping sense of impending doom, drenched in the Gothic atmosphere of Venice.

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In the Realms of the Unreal– Artist Henry Darger is not usually mentioned in the same breath as Picasso, but he is a fascinating study. Darger was a recluse who worked as a janitor for his entire adult life. He had no significant relationships of record and died in obscurity in 1973. While sorting out the contents of the small Chicago apartment he had lived in for years, his landlady discovered a treasury of artwork and writings, including over 300 paintings.

The centerpiece was an epic, 15,000-page illustrated novel, which Darger had meticulously notated in long hand over a period of decades; it was literally his life’s work. The subject at hand: An entire mythic alternate universe populated mostly by young, naked hermaphrodites, whom he dubbed the “Vivian Girls”.

Although it’s tempting to dismiss Darger as a perv, until you have actually seen the astounding breadth of Darger’s imaginary world, spilled out over so many pages and so much canvas, it’s hard to convey how weirdly compelling it all is (especially if you view an actual exhibit, which I had the chance to see). The doc mixes Darger’s bio with animation of his work (actors read excerpts from the tome). Truth is stranger than fiction.

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Liquid Sky– A diminutive, parasitic alien (who seems to have a particular delectation for NYC club kids, models and performance artists) lands on an East Village rooftop and starts mainlining off the limbic systems of junkies and sex addicts…right at the moment that they, you know…reach the maximum peak of pleasure center stimulation (I suppose that makes the alien a dopamine junkie?). Just don’t think about the science too hard. The main attraction here is the inventive photography and the fascinatingly bizarre performance (or non-performance) by (co-screen writer) Anne Carlisle, who tackles two roles-a female fashion model who becomes the alien’s primary host, and a gay male model. Director Slava Zsukerman helped compose the compelling electronic music score.

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Mystery Train-Elvis’ ghost shakes, rattles and rolls (literally and figuratively) all throughout Jim Jarmusch’s culture clash dramedy/love letter to the “Memphis Sound”. In his typically droll and deadpan manner, Jarmusch constructs a series of episodic vignettes that loosely intersect at a seedy hotel. You’ve gotta love any movie that has Screamin’ Jay Hawkins as a night clerk. Also be on the lookout for music legends Rufus Thomas and Joe Strummer, and you will hear the mellifluous voice of Tom Waits on the radio (undoubtedly a call back to his DJ character in Jarmusch’s previous film, Down by Law).

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The Night Porter– Director Liliana Cavani uses a depiction of sadomasochism and sexual politics as an allusion to the horrors of Hitler’s Germany. Dirk Bogarde and Charlotte Rampling are broodingly decadent as a former SS officer and a concentration camp survivor, respectively, who become entwined in a twisted, doomed relationship years after WW2. You’d have to search high and low to find two braver performances than Bogarde and Rampling give here. I think the film has been misunderstood over the years; it frequently gets lumped in with (and is dismissed as) Nazi kitsch exploitation fare like Ilsa, SheWolf of the SS or Salon Kitty. Disturbing, repulsive…yet weirdly mesmerizing.

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Upstream Color– Not that my original take on Shane Carruth’s 2013 film was negative (it leaned toward ambivalent), but apparently this is one of those films that grows on you; the more time I’ve had to ponder it, the more I have come to appreciate it (most films I see nowadays are forgotten by the time I get back to my car). To say it’s a riddle, wrapped in a mystery, inside an enigma is understatement. To say that it redefines the meaning of “Wha…?!” is more apt.

A woman (Amy Seimitz) is abducted, then forced to ingest a creepy-crawly whatsit that places her into a docile and suggestible state. Her kidnapper however turns out to be not so much Buffalo Bill, but more Terence McKenna. Long story short, next thing she knows, she’s back behind the wheel of her car, parked near a cornfield, and spends the rest of the movie retrieving memories of her bizarre experience in bits and pieces. As do we. You have been warned.

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Venus in Furs (aka Paroxismus)– Jess Franco’s 1969 Gothic horror-psychedelic sexploitation fest was inspired by a conversation the director once had with trumpeter Chet Baker. Maria Rohm portrays a mysterious siren that pops into a nightclub one foggy night, and stirs the loins of a brooding jazz trumpeter (played with a perpetually puzzled expression by James “Moondoggie” Darren). Darren follows Rohm to the back room of a mansion, just in time to witness her ritualistic demise at the hands of a decadent playboy (Klaus Kinski) and several of his kinky socialite friends.

Sometime later, Darren is playing his trumpet on the beach, where Rohm’s body is seen washing ashore (you following this so far?). Next thing we know, she has “revived” and sets out to wreak revenge on her tormentors, in between torrid love scenes with Darren. Does she (or her “killers”) actually exist, outside of Darren’s mind? This visually arresting mash-up of Carnival of Souls and Blow-up is a bit dubious as to narrative, but heavy on atmosphere.

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Wake in Fright– Considered one of the great lost entries from Australia’s own “new wave” movement back in the 70s, Ted Kotcheff’s unique psychological thriller concerns a burned-out teacher (Gary Bond) who works in a one-room schoolhouse somewhere in the Outback. Headed back to Sydney to visit his girlfriend over the school holiday, he takes the train to Bundanyabba, where he will need to lodge for one night.

“The Yabba” is one of those burgs where the clannish regulars at the local pub take an unhealthy interest in strangers, starting with the “friendly” town cop (Chips Rafferty) who bullies the teacher into getting blotto. This kick starts a lost weekend that lasts for days.

The ensuing booze-soaked debaucheries have to be seen to be believed; particularly an unnerving and surreal sequence involving a drunken nocturnal kangaroo hunt (a lengthy disclaimer in the end credits may not assuage animal lovers’ worst fears, but at least acknowledges their potential sensitivities). The general atmosphere of dread is tempered by blackly comic dialog (Evan Jones adapted from Kenneth Cook’s novel). Splendid performances abound, especially from Donald Pleasance as a boozy MD.

Blu-ray reissue: The Loved One ***1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 22, 2017)

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The Loved One – Warner Archive Collection Blu-ray

In 1965, this black comedy/social satire was billed as “The motion picture with something to offend everyone.” By today’s standards, it’s relatively tame (but still pretty sick). Robert Morse plays a befuddled Englishman struggling to process the madness of southern California, where he has come for an extended visit at the invitation of his uncle (Sir John Gielgud) who works for a Hollywood studio.

Along the way, he falls in love with a beautiful but mentally unstable mortuary cosmetician (Anjanette Comer), gets a job at a pet cemetery, and basically reacts to all the various whack-jobs he encounters. The wildly eclectic cast includes Jonathan Winters (in three roles), Robert Morley, Roddy McDowell, Milton Berle, James Coburn, Liberace, Paul Williams and Rod Steiger (as Mr. Joyboy!). Tony Richardson directed; the screenplay was adapted by Terry Southern and Christopher Isherwood from Evelyn Waugh’s novel. No extras on this edition, but the high-definition transfer is good.

Blu-ray reissue: Multiple Maniacs ***

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on July 22, 2017)

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Multiple Maniacs – The Criterion Collection Blu-ray

Warning: This 1970 trash classic from czar of bad taste John Waters is definitely not for the pious, easily offended or the faint of heart. A long out-of-print VHS edition aside, it has been conspicuously absent from home video…until now. Thank (or blame) The Criterion Collection, who have meticulously restored the film back to all of its original B&W 16mm glory (well, almost…there’s grumbling from purists about the “new” music soundtrack, reportedly precipitated by the prohibitive costs of securing music rights for some of the tracks that were “borrowed” by Waters for his original cut).

The one and only Divine heads the cast who became Waters’ faithful “Dreamland” repertory (Edith Massey, Mink Stole, David Lochary, etc.) in a tale of mayhem, filth and blasphemy too shocking to discuss in mixed company (you’ll never see a Passion Play the same way).

Watching this the other day for the first time in several decades, I was suddenly struck by the similarities with the contemporaneous films of Rainier Werner Fassbinder (Love is Colder than Death and Gods of the Plague in particular). Once you get past its inherent shock value, Multiple Maniacs is very much an American art film. Extras include a typically hilarious commentary track by Waters.

SIFF 2017: Zoology **

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on June 3, 2017)

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This oddity from Russian writer-director Ivan Tverdosky answers the question: What would happen if David Cronenberg directed a film with a script by Lena Dunham? A middle-aged, socially phobic woman who lives with her mother and works in a zoo administration office, appears to be at her happiest when she’s hanging out with the animals who are housed there. That’s because her supervisor and co-workers cruelly belittle her, on a daily basis. But when a doctor’s exam reveals a tail growing from the base of her spine, she is overwhelmed by a sudden feeling of empowerment and begins to gain confidence, perhaps even a sense of defiance about her “otherness”. This does not go unnoticed by a strapping young x-ray tech, who becomes hopelessly smitten as this ugly duckling turns into a beautiful swan…a beautiful swan with a freakishly long tensile tail.

Beauty is the beast: The Lure **1/2

By Dennis Hartley

(Originally posted on Digby’s Hullabaloo on March 18, 2017)

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As far as retro 1980s New Wave-flavored horror musicals about sexy flesh-eating mermaids go, I suppose you could do worse than Agnieszka Smoczynska’s The Lure (at the SIFF Film Center in Seattle March 24-26; check your local listings for possible limited engagements in your area). Needless to say…it is not for kids (this is a tale that would make Hans Christian Andersen plotz).

Near as I was able to discern the plot (thin enough to dissolve into sea foam at the slightest suggestion of an impending gale), two sultry sister-sirens are slithering about in the Baltic surf one evening, when they espy a Polish new wave band hanging around on the beach. As we all know, no man, be he a sailor or synth-popper, can resist the clarion call of a sexy Baltic Sea siren.

The band members have no option but to stash the sisters backstage at the strip club they gig at, until they can figure out their next move. Before long, the sleazy house manager discovers them and sees dollar signs. He unceremoniously demands that Silver (Marta Mazurek) and Golden (Michalina Olszanska) show him their wares; however he quickly discerns certain elements of the mermaid’s human form to be, shall we say, un-formed…and incompatible with job requirements.

But before the manager can boot the freeloaders out, the band’s lead singer (Kinga Preis) intervenes on the sisters’ behalf. Feeling a maternal tug, she offers to take the young women under her wing, convincing the manager to begrudgingly hire them on as part of the band’s act. Naturally, the lovely sirens beguile the audiences and become an instant hit (A Starfish is Born?).

But alas, every Silver has a cloudy lining. Or in this case, sister Silver has a propensity for being a real man-eater. Literally. For now, Golden’s more feral instincts are being kept in check, because she finds herself falling in love with the bass player (it’s always the goddam bass player). As we’ve learned from many mermaid tales, bassists and mermaids are always star-crossed as lovers.

To label this film as “over the top” is an understatement. I’m not sure what to tell you. If you’re expecting something along the lines of The Rocky Horror Picture Show…this one’s several leagues below (no pun intended). There are a couple of jaunty numbers, and the splashes of bold color are suitably garish in a 80s retro kind of way, but for a film being billed as a “new wave rock musical”, I found the production lackadaisical in both music and choreography departments.

Still, those who lean toward midnight movies might find more to love. With its deadpan performances, 1980s vibe, cheesy horror elements and overall weirdness, I found the film reminiscent of Slava Tsukerman’s 1982 punk rock sci-fi horror cult item, Liquid Sky (only in passing; Tskerman’s film is a genuine underground classic). Feel free to jump in at your own risk.