August in the Water (1995)

My introduction to Sogo Ishii came in the form of his voltaic cyber-punk films. Between Crazy Thunder Road, Burst City and later Electric Dragon 80,000V I thought I had Ishii pretty well figured out. Not until last year when I stumbled upon August in the Water, did I make the shocking revelation that in addition to his kinetic rebellious wastelands, he has the temperament to make something truly nuanced and cosmic.

Ever since her recent move, Izumi has felt a change in her body. Her senses have made her aware of impending danger on a planetary scale. A star diver, she feels psychically linked to dolphins. The film opens with her impetuously jumping in a tank with them, which catches the eyes of fellow students Kyushu and Ukiya. Kyushu is clearly smitten with her but Ukiya is more curious than anything. He contacts a computer savvy friend who discovers that the date of a big diving competition coincides with a serious impending astrological disaster. This alone may seem like a coincidence but other strange things have been happening. A massive heatwave is in effect and a mysterious disease that turns your organs to stone has plagued the city.

At the diving tournament Izumi begins to feel disoriented and uncomfortable. When confronted by her angry coach for her poor performance, she explains that the water feels "hard" but she'll do her best. In a final attempt to redeem herself she dives and the water temporarily turns to stone, something no one can see, but she can feel. She clumsily falls into the water and sinks. Kyushu immediately knows something is wrong and jumps in to save her. She falls into a coma and initially the doctors fear the worse.

Miraculously a few days later she regains consciousness. This near death experience becomes an awakening of the metaphysical kind. Every detail comes into focus. Molecules in leaves, particles in the air. She can see things that others can't. She doesn't care about school anymore, and her budding romance with Kyushu fades into the background. She has gained the knowledge of what her role in the Universe will be.

She's drawn to a particular spot in the forest where UFO's have been spotted. There's a giant meteorite with etchings, it's like a magnet for her. The crisis that is effecting the city, and possibly one day the entire world, is alien in nature and Izumi is the only one with the cognizance to do something about it - though the force driving her is much larger than human actions.

What makes this film so special is how softly it steps on very big subjects. When dealing with the universe, aliens, mysterious illnesses and ecological concerns, it could so easily be schlocky and ineffectual. Ishii captured the essence of a Pure Moods tape and transforms it into an engaging tranquil science fiction narrative. It tells a story mostly in the form of sounds, textures and a dream-like atmosphere. Giving details only when completely necessary; truly an immersive film experience. He creates a magical environment using only visuals present in reality. No crazy effects, just the transcendental cosmic beautify of what exists in nature.

The soundtrack is possibly the most perfect auditory experience I've ever had watching a film. Hiroyuki Onogawa creates an eerie minimal soundscape that reflects an alien language, singing water drops, dolphin speak and the somber echoes of a dying planet. The marriage of sight and sound are nothing short of masterful.

August in the Water takes new age principles/pataphsyics and makes a film that is even more relevant today than it was twenty years ago. Both in theme and Proto-Vaporwave/Seapunk aesthetic. This film lives and breathes in it's own realm. I feel as though August in the Water is existing even after I've turned it off. It's presence lingers in those little microscopic molecules Izumi was talking about. Like the smell of water evaporating into air.

Because it's fairly obscure and I was lucky enough to track it down I'm making Hiroyuki Onogawa's serene experimental score available to download.


Enjoy.

Belated Schlocktober Rundown

I can't believe it's already December! More so, I can't believe I let all of October, and then November pass without writing about my Halloween marathon. That which is so dear to me. The one thing that's been a constant on this blog since I started it in 2009. Something hasn't felt quite right these past few months as I've been swamped with work. I always feel a little empty when I can't make time for Atomic Caravan but missing all of October sent me to new depths. So even though December is here and I should be working on my Crappy Christmas marathon and drafting my 'Top 50 First Time Views of 2015' list, I feel I would be getting ahead of myself if I didn't take a moment to reflect on the highlights of October's annual marathon.


5. Freddy's Dead: The Final Nightmare (1991)

I always try to focus on a director or revisit a series throughout the month of October. Last year it was the Ju-on films, this year my attention was on the Nightmare on Elm Street series. These aren't really films I've felt much of a need to discuss, not because they aren't great because I would just be echoing an already well covered area. Wes Craven's New Nightmare is my favorite, followed by the original; 2-5 are fairly equal in my opinion. I know a lot of people aren't crazy about Dream Child, but I find Dream Master to be the lesser of the series, but really who's counting? They're all Freddy movies and that makes for good times. The one unpredictable moment in the marathon was Freddy's Dead:The Final Nightmare, because somehow in my 30 years of existence I'd never watched it. Shocking, I know. I missed it somehow and by the time I realized, I decided to hold off until I was re-watching the rest all at once. What's interesting about it, and about the fact that it somehow evaded me, is how strikingly different it is from the rest of the series. The other sequels seem united by a collective theme, this one is peculiar from the onset. The tone has changed and the characters are totally unfamiliar. At first, I was off-put by how far it strayed from the formula but after a while I embraced it. There is something very "final" and empty about it. It's the 'Silent Night, Deadly Night III' of the series - bizarre and slightly Lynch-ian. I believe director Rachel Talalay even stated that Twin Peaks had influenced her in the making of Freddy's Dead. I appreciate the risks the film took, and I don't begrudge it's failure. It added interesting if not unneeded dimension to Freddy Kreuger's mythos, and really....would the BEST film in the series have happened after if Wes Craven hadn't stepped in to say enough is enough.




4. Maleficia (1998)

This one was an, um, "experience". It's the goriest movie I've endured in a while. I watched it in French with no english subtitles but it didn't matter much. 95% of the dialog is guttural screaming and Satanic incantations. Senseless, never-ending, ritual-like forest murder from the get go. On paper it's not something that would normally be in my wheelhouse, but the tenacity of Murderdrone pioneer Antoine Pellissier makes is the horror equivalent to watching one of those ambient fireplace screen savers. The violence exceeds a level of normalcy where it almost becomes zen. Red Jammy Jams and purple polyester. Druid-eque Satanists, Satan-Heads, Vampiric Crypt An Daemons, Pastoral Zombies, Goth Girls with Perms. The Works.

I posted lots of pics on Tender Moments.




3. Bloody Moon (1981)

Jess Franco is probably my favorite director that I have such hot and cold feelings for. There's are handfuls of films I dislike or have no feelings toward whatsoever, but there are also canonical masterpieces that I'm thankful exist. You never really know which kind of Franco film you're in for, though after a little experience you start to get a sense of his "eras". My knowledge going into this one was that it was of his German period and that it was his attempt to jump on the slasher band wagon. In my mind this didn't seem like such a far reach, but he is clearly out of his element and it is awesome. As far as I've seen, this is the apex of his career. It seems oddly more naive than his previous work. Usually when I watch his films I feel like he knows something I don't, but in is case he brought himself down to our human level and it is just beaming with weird. He may have gone through the motions but cannot be limited to the confines of a formula. While it indeed is a slasher, there's something more interesting happening just below the surface. It's almost feels as if the players are aliens pretending to be human. There has never been a more beautiful marriage of colors. Pinks, golds and just the right shade of blue through a soft lens. Shadows that don't make sense. This film truly took me to an alternate reality, and has the most amazing wardrobe I've ever seen in my life. It's the kind of film I instantly want to watch again to make sure I didn't miss a single frame. And there's incest. In December I finally caught "Blue Rita" which had the same Alien Transmission vibe, and the most hilarious youtube worthy fight scene I've ever seen. I feel that I've finally tapped into MY Franco Era.

2. Skullduggery (1983)

I wasn't really sure what I was in for with Skullduggery, the census seems to be of a general confusion. It is indeed a "what the hell did I just watch" kind of experience. It's drawing from so many different places, the end result can barely contain the sum of it's parts. Literally overflowing with the elements of five movies, Skullduggery crams them all into one little bizarre mish-mosh. Let's break it down.

1. Role Playing Games. A Dungeons and Dragons inspired slasher? One of the least successful sub-genres of horror (Throw some titles at me if I'm forgetting but Mazes and Monsters is the only to come to mind). What makes it work so well in this movie is that, I sincerely don't understand these games and especially something as vast as Dungeons and Dragons. It's as complex as finding any coherence in this movie. So they're united both in theme and in being unattainable.

2. It's set in a Costume House. Not only does this appeal to me on a personal level because I'm a costumer but it opens a lot of  doors for great and senseless characters. A Wizard of Gore-ish Magician, King Arthur or something, Eve; as in Adam and..., A Gorilla, A Tic Tac Toe Janitor, Bunny Killer, Various Ren Fair looking folks as well as masked Greek orgy types.

3. Dungeon Synth. This discovery is relatively new to me. While the film has been on my watchlist for a while, this inspirational list on Letterboxd by Gregory Joseph propelled to high priority. Dungeon Synth is a musical genre that sounds exactly like it's description. Evocative, atmospheric, visceral, setting the soundscape for a film like Skullduggery with a poetic coldness.

And for your viewing pleasure, I posted pics on Tender Moments.



1. Communion (1989)

Let's face it, Aliens are cool. This movie starts out with a totally sincere and terrifying aura. I'll never un-see the infamous Alien peaking from behind the armoire. Then after the first encounter, it enters pure schizophrenia. In an interview director Philippe Mora said that Walken was the kind of actor that works best with freedom, so he gave him that freedom. I'm sure a lot of people think this was to the film's detriment. His approach certainly does turn would be terrifying moments into something that's more like a joke, but a really hilarious joke you want him to expand upon. I'm sure Author Whitley Strieber was appalled to see his traumatic life changing experience basically mocked by deez nuts. My favorite moment, THEE best moment is when Walken is about to get probed and he looks at the little dude holding the phallus and says "...Can we talk this over?"...and if that's not enough, as the alien draws the dong shaped device close to his face he says "You look like you're about to sing White Christmas." My friends, THIS is a movie. You're removed from the horror elements but instead given this beautiful character study on the epileptic personality of Christopher Walken. I dare say I never truly appreciated him until this moment. He ad-libbed his way into my heart. In the end there's a New Age resolve that totally delights my balls. A few years ago I watched the incredible "The Suns of Easter Island" and my afterthought was that I desperately need more New Age Metaphysical Alien movies in my life, Communion is the only one that's come close since. Strange Science with an ample dose of anal probing.



That's it kiddos, sorry for the belatedness as per usual. Trying to mend fences 'round these parts. I have another movie lined up that I know for sure will be my next full review, I just hope I can deliver before the New Year! Either way I PROMISE to post my Holiday Horrible-thon in a timely manner.

Later!

Mark of the Astro-Zombies (2002)

I've written on my love for Post-2000's Ted V. Mikels on other online forums. His shot on video aesthetic and attention/lack-of attention to detail has become something I celebrate. In The Corpse Grinders II  there was the amazing self-styling of Shanti the Catwoman and lots of weird supermarket exposition and strange shot on video interiors. In  Cauldron: Baptism of Blood I was won over by the novelty lights and bizarre coven of strangely clad women. That one had tinges of a Nollywood horror movie (think 666: The End is Near) if that gives you an idea of what level of other-worldly-ness these films extend. There is a sameness about them, a collective consciousness,  which I enjoy.

In Mark of the Astro-Zombies - the vibe is unchanged, though slightly more ambitious. He brings in not just one aging actress but FOUR. First and foremost there is of course, Shanti. His resident leading lady since the 80's and my personal favorite. Then there's Liz Renay, Brinke Stevens AND the late Tura Satana reprising her role as Malvira from the original Astro-Zombies. I know that I've seen pictures over the years but I must admit her appearance was some what shocking to me since I hadn't actually watched a movie featuring her made after 1973. It made me a little sad, not because the sands of time caught up with her (as they do/will for all of us) but she struck me as being unhealthy and her being gone now doesn't alleviate that. However, she still owned the role. As best as this script would allow, her cadence and eyes still scream Malvira.

Liz Renay's Alien Tit-hickey

Brinke Stevens, being cute and boring.

Forever obsessed with Shanti's ability to accessorize.

Liz Renay seemed to be mostly improvising her lines, which was fine by me. She's just as adorable as ever. I just want to point out how Edith Massey-esque her delivery is. Or even just generic John Waters-speak. Brinke Stevens doesn't bring much to the table as a character except just looking great for her age, but I already knew that. Now bring on the aliens...

The aliens and astro-zombies are where it's at. The effects are about as great as it gets in this era 'Mikels'. Thought apparently the Astro-Zombies can only kill by machete and conveniently lacerates the same spot on the shoulder of every victim. At one point you can even see the dummy machete with the gap cut out to appear as if it's penetrated flesh.

The one image I captured of an Astro-Zombie killing was of the one head injury. I guess this lady's head was just the right fit.

What I love about Ted V. Mikels and his Proto-Grandpa Gothic Universe is that no matter the restrictions, he goes through the motions. He uses tiny local outdated sound stages, he films in people's homes when necessary, he gets recognizable past-their-prime b-actors and actresses. There is "production value" despite it being extremely low. He's an old pro, and it shines through. Most of all, they're FUN and not to be taken seriously. Hell, even his early movies were made with a smirk and twist of the mustache. But this world fascinates me more. There's less restraint and a weird mixture of freedom an acceptance that this is it.

If you want to see more screen grabs, I'll be posting them all week on Tender Moments.
 And of course the Atomic Caravan facebook.