In Serbia, Baron Frankenstein lives with the Baroness and their two children. He dreams of a super-race, returning Serbia to its grand connections to ancient Greece. In his laboratory, assisted by Otto, he builds a desirable female body, but needs a male who will be superbody and superlover. He thinks he has found just the right brain to go with a body he’s built, but he’s made an error, taking the head of a gay aesthete. Meanwhile, the Baroness has her lusts, and she fastens on Nicholas, a friend of the dead lad. Can the Baron pull off his grand plan? He brings the two zombies together to mate. Meanwhile, Nicholas tries to free his dead friend. What about the Baron’s children? Read More »
Who needs a description, it’s a Kuchar film Read More »
The first Estonian wide-screen feature film directed by Juli Kun and Kaljo Kiisk is a pure situation comedy where twin sisters (both roles played by Terje Luik) are in the middle of passionate adventures during a motorbike competition.
Vaike, a student and a motorbike racer, arrives at the racetrack where the bikes are already racing at full speed. She gets involved in adventures while getting acquainted with Raivo, successful biker and womanizer, and Heino, another big league biker who offers Vaike his help in preparing for the competition. Vaike finds it hard to face all that alone. Her twin sister Maret will helped her with this complicated situation. Only that this time Maret’s new husband Ants will join the game. He is convinced that he can make the difference between Maret and Vaike. Read More »
Two blue-collar Easter Bunnies get fired and try their hand at an assortment of odd jobs, failing at each. Fighting depression, debt and eventually each other, their lives start to unravel until they realize that without their job they are nothing. Read More »
Does the prolonged gestation period account for the bulging-valise feel of Alejandro Jodorowsky’s seething, gore-drenched carnivale? Not really — all of his pictures seem deliberately shaped to let the fantasies spill over once poured in, and this lushly scabrous murkfest, made after nearly a decade of inactivity, is true to the molten-lava of Jodorowsky’s imagination. As in his ’70s freakouts, the movie follows the trajectory of the subconscious, namely Fenix’s (as in “rising from the ashes,” and played at different ages by the filmmaker’s sons, Axel and Adan), first spotted perched nekkid atop a tree in the asylum. Cue flashback, and the parade of candy-colored melodrama surging out of the “Circo del Gringo,” traumas piling up on little Fenix’s innocence via his bloated, randy cowboy dad (Guy Stockwell) and his fervid-eyed mom (Blanca Guerra), who, when not dangling from a trapeze by her hair, presides over an order of fanatics worshipping an armless martyr. Read More »
Director Robert Altman, famous for his ability to turn any genre inside out, takes aim at film noir with this evocative adaptation of Raymond Chandler’s novel. Altman’s Philip Marlowe (Elliott Gould) is a relatively unsuccessful private eye living and working in 1970s Los Angeles. Stepping into the shoes of the notorious detective, Gould delivers a captivating performance that is the definition of ’70s hip: he spends the entire film mumbling to himself, smoking cigarettes, and making wisecracks to everyone he encounters. This time around, Marlowe decides to investigate the supposed suicide of his friend Terry Lennox (Jim Bouton). Read More »
This violent and allegorical Mexican western attracted a cult following in its day. It is the story of El Topo, a gunslinger who sets out for revenge against the outlaws who slew his wife. He ends up getting his revenge and saving the life of a woman who is being terrorized by bandits. She leads El Topo (which means “the Mole” in English) on a search for the region’s top four gunfighters. But before they set off, Topo leaves his young son in a monastery. Read More »