Did you miss us? Well we're back with two weeks worth of updates for you!SOLARIS (1972)
: Certified Weird! "To watch a Tarkovsky movie is to be slowly absorbed into the director’s ponderous dreams, until his subconscious almost imperceptibly becomes your waking reality."THE GUATEMALAN HANDSHAKE (2006)
: "Although a Guatemalan Handshake
sounds like something you’d have to pay extra for at a massage parlor, it’s actually a strange little indie movie that takes the concept of 'quirky and stretches it way past the breaking point."PAT TREMBLAY'S TOP 10 WEIRD MOVIES LIST
: "Although it’s a TV series and not a film, I really dig “Xavier Renegade Angel”, completely mental material that’s extremely funny. Trippy, surreal, 2-cent philosophy striking down your brain with a hammer of retarded genius."-PTMEGA PYTHON VS. GATOROID (2011)
: With the assistance of guest reviewer Cleverbot! "366
:...the first one you see astounds you with its crazy uniqueness, but the concept wears thin quickly and gets less and less 'awesome' with each new entry you watch. Cleverbot
: Let’s talk about something else."BEDWAYS (2010)
: "Sure, there’s plenty of rutting in dingy Berlin locations—one brief bout of penetration and a much longer explicit female masturbation scene amidst tons of softcore posturing—but, this being an art film that feels the need to justify its prurient interests, the hot action is frequently interrupted by characters wondering about God’s existence, quoting Foucalt, and watching an industrial dance band with a lead singer who strikes bizarre poses that may make you spontaneously cry out, 'Now is the time on ‘Sprockets’ when we dance!'"DOCUMENTARY DOUBLE FEATURE: NIGHTMARES IN RED, WHITE AND BLUE (2009)/AMERICAN GRINDHOUSE (2010)
displays clear elements of fanservice (often beautifully arranged, as when the entire Friday the 13th series is cleverly compressed into a 90 second montage of beer, boobs and bloody punishment)."
And from Alfred Eaker's "M22" Avant-Garde Mozart Opera Series:DON GIOVANNI
: "Commercial 21st century preoccupation with self-gratification and hollow sexuality is a not-so-subtle symbolic point, manifested by multiple appearances of nebulous, underwear clad glamor models (Kusej refers to them as Greek fertility goddesses)."ZAIDE/ADAMA
: "The sets also emphasize contrasts: a normal size school desk is juxtaposed against a giant school desk, and a 4th dimension made up of projected video images enhance the tortured milieu."