Tag Archives: 366 weird movies

Juxtaposition Blogathon: Day 5

And with this, the blogathon comes to a spectacular end!

This has been an incredible week. It’s been amazing to see the kind of high-quality writing that our contributors have put together for this little digital soirée. And, no lie, it’s also been pretty emotional: we held a blogathon, and people wanted to participate! What better validation of our blogging endeavors could there be? (All in all, 22 authors submitted 37 posts.) To every single person who’s submitted, read, linked, or been involved with the blogathon in any capacity, we extend our sincerest “thank you.” You are part of the reason Pussy Goes Grrr exists.

And now, on to the final round of submissions! If the Juxtaposition Blogathon was a fireworks display, this would be the grand finale. Imagine these links as red, white, and blue explosions lighting up the sky.

  • First, we’ve got Christine from Paracinema with “The Birds versus Birdemic.” It’s always great/awful when an incompetent young director wants to pay homage to a classic—see, for example, Tommy Wiseau’s allusions to Citizen Kane and Rebel Without a Cause in The Room. Christine’s description of James Nguyen’s Birds-rehashing disaster movie Birdemic makes me wonder, “Why in tarnation haven’t I seen this yet?!”
    • Oh, and while we’re on the subject of Paracinema: 1) the greatest thanks of all go to Christine’s co-editor Dylan for designing our glorious Juxtaposition Blogathon banners and 2) buy a copy of Issue #13 if you haven’t already! Ashley’s article is on the cover, and I wrote about Bela Lugosi!
  • Next up: Thomas Duke from Cinema Gonzo took a fairly unusual approach by writing about the ’80s slashers The House on Sorority Row and The Prowler through the lens of Rush’s music. Alas, due to my minimal experience with Rush, I didn’t get the full effect of this post… but it’s still very entertaining and full of odd trivia.
  • Friend-of-PGG G. Smalley from 366 Weird Movies did a “Documentary Double Feature,” simultaneously reviewing Nightmares in Red, White and Blue (a history of American horror) and American Grindhouse (a more focused account of grindhouse/exploitation filmmaking). Both sound like fun, educational viewing.
  • Chris from Recently Viewed Movies juxtaposed two classics of German Expressionist cinema from director Robert Wiene, The Cabinet of Dr. Caligari and The Hands of Orlac. Most people (myself included) have never seen the latter, though you may be familiar with the remake Mad Love; as such, Chris’s write-up is a useful peek at another part of Wiene’s filmography (which, like Cabinet, stars Conrad Veidt).
  • Kevyn Knox from The Most Beautiful Fraud in the World went in a very cool direction with his post, “On the Portrayal of Movie Projectionists.” He traces the history of the profession through films like Sherlock Jr. Cinema Paradiso, Fight Club, Hellzapoppin’, and Inglourious Basterds, and his own personal experience as a projectionist.
  • Ivan G. Shreve, Jr. from Thrilling Days of Yesteryear wrote a pair of detailed reviews on The Fuller Brush Man and The Fuller Brush Girl, starring Red Skelton and Lucille Ball respectively. I’ve never seen either, so it’s handy to get Ivan’s perspective on both.
  • My friend Anna from The Semioptician set two trailers side by side in order to analyze the representations of gender and sexuality in the marketing materials for Pariah and Gun Hill Road. She really knows how to pick apart tiny textual/sexual details and the conventions of indie cinema, making her thoughts on the subject a joy to read.
  • And last but certainly not least, we have Joanna from Reel Feminist with “The Philadelphia Story vs. High Society.” Because sucky remakes are not confined to the 21st century! Joanna’s blog is fairly new, but she’s a damn fine writer and really knows her Philadelphia Story. So go read her stuff!

I guess that’s it. If you have any more blogathon posts, though, feel free to email us and they’ll still get linked to. We hope you’ve had fun! Thanks for reading!

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Updates from Another World

By Andreas

First, I want to share Patton Oswalt’s reaction to the Obama birth certificate bullshit:

With that out of the way, I’ve got two fun pieces of vaguely me-related blogging news! First off, The Mike of From Midnight, With Love recently wrapped up his very fun, drawn-out “MARCH MIDNIGHT MADNESS” competition; you can go there to read all about how 64 movies went in and only 1 came out. I participated in the voting for most rounds, and can happily say that the ultimate winner, The Thing, was my pick to win pretty much ever since Carnival of Souls was eliminated.

Second, you (yes, that’s right, YOU) can buy the 366 Weird Movies 2010 Yearbook for only $7 or so on Amazon! It’s bursting with a wide range of short, cool reviews by the 366 Weird Movies crew (myself included, talking about Splice and Peacock), covering 2010 theatrical, DVD, and Blu-ray releases. Plus it has an index of Certified Weird movies! Really, what’s not to love? So if you want to read about recent weird movies in solid book form—you know, in case the Internet dies or something—this is definitely your best bet!

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Hungry Hungry Death Beds

Was ever a film as inexplicably weird and bad as George Barry’s Death Bed: The Bed That Eats (1977)? It’s a gory, no-budget venture that never got a proper theatrical release, but lay in obscurity until its DVD release just a few years ago. It has a narrative, but only in the loosest sense of the word; it’s really a stream-of-consciousness series of vignettes about how and who the titular bed eats. Did I mention that it has constant, monotonous voiceover, much of it done by an undead British painter? And that he tells us all about the bed’s ridiculous, demonic origin story?

Yeah, that’s Death Bed for you. Can you see why I was briefly obsessed with this movie in December? During that obsession, I wrote a detailed review, which has just been published at 366 Weird Movies. It’s just so deeply strange in how it’s written, shot, and acted. Strange, and bad. But very, very strange. It has lines like, “She can’t appreciate your clumsy sadism,” and they’re directed at the bed. It has a gangster shooting at the bed in his frantic escape attempt. It has a child’s teddy bear getting digested by the bed, and bleeding. I don’t understand, but I still can’t help loving it. All I can really say is this: what the fuck, George Barry?

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Images of Danger: Diabolik

I recently wrote a review of Mario Bava’s swinging ’60s super-thief romp Danger: Diabolik for 366 Weird Movies. Go check it out! And in the meantime, here’s some equally groovy images of John Phillip Law having the romp of his life in wacky costumes, wielding gadgets that would put Q to shame.

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Images of Southland Tales

Since I’m slowly at work on like 3 different reviews and other writing projects, I don’t have any actual new content today. But I did recently review Richard Kelly’s Southland Tales (2007) for 366 Weird Movies, so you should go read that instead. And in the meantime, he’s some images from the trailer of The Little Epic That Couldn’t. Enjoy!

Yeah, Southland Tales is that kind of movie.

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Images of Wild, Wild Planet

I recently entered the 366 Weird Movies June review writing contest; you can check out my review here. However, if you’re more visually-inclined, I have a treat for you: more screenshots from this bastion of Italian sci-fi weirdness, Wild, Wild Planet. Enjoy!

This last image might be my favorite, if only because of the dialogue that immediately follows it:

[The officer on Mike’s right tries to touch the mutant.]

Scientist: No, don’t touch it!

Officer: Why not?

Scientist: I’m not certain, but… don’t touch it.

All this after Mike and the scientist both touch it repeatedly. That planet sure is wild, wild.

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