Turbo Kid Will Put A Bloody Smile On Your Face.


A post apocalyptic future deprived of water and automobiles is the setting for Turbo Kid, which may be playing at an independent/ art house cinema near you. A young male scavenger who goes by the name of The Kid, spends his days trading artifacts and tools for questionable water and his favorite comic books. It’s not lost on the rough looking locals on how the Kid is able to survive in these times, as he doesn’t have the frame nor the temperament to do much much beyond hole up in his dwelling and munch on ancient candy.

While rummaging about, the Kid meets up with an enthusiastic young lady named Apple, who’s just looking for friendship. Although this wasteland is somewhat portrayed as tongue and cheek, true friendship may be as hard to come by as clean water. On the opposite end of the spectrum, is the maniacal water baron, played by veteran bad guy Michael Ironside, complete with an eye patch and menacing duster.

In this version of a junior league Mad Max, bicycles are substituted for burly vehicles, and although that doesn’t lead to as many bike related stunts as one might hope, you’re not likely to complain about the end result. Turbo Kid is a fun, poppy, and surprising gory event to take in. It’s unusual innocence at times in comparison to the harsh background that the story takes place in, provides for a rich and touching piece of entertainment.

Judging by the trailer alone, Turbo Kid is far too fun and weird to miss out on


Wrong Cops Is Bluntly Bohemian


The psychotically lovable cops from the movie Wrong are the star of Quentin Dupieux’s dopey comedic  2013 release, Wrong Cops. Where as the movie Wrong has a sort of serene and steady weirdness to it, the comedic scope of Wrong Cops ranges from dry avant-garde, to a vivid surrealness that has it’s own rhythm.

Mark Burham puts in some over time in playing the grubby, skeevy, spits while he’s talking, Officer Duke. Steven Little, who last time out played a very effective and persistent dog shit detective, is Officer Sunshine. The officers have developed a taste for low end corruptivity and harassment, and they really ought to do something or other about that fella who’s bleeding to death in the back of their patrol car. Although these actors aren’t the most experienced out there resume’ wise, they do an excellent job carrying the load here. There is sort of a fierce naivety to there performances, as if they both watched Training Day, and said ” Yeah I can do that”.

Quentin Dupieux effectively uses his bag of tricks with the linear narrative and tone of this movie, more so than in the previous installment of the characters in this movie universe, because this one is mostly playing for laughs. Veteran help is liberally employed  throughout the cast of actors, with most notably, Marilyn Manson playing the funniest sex crime victim you’ve ever likely to see.

Wrong Cops is worth the time a day more so than it’s predecessor in the sense that it’s not only a lot more intriguing to watch where these louts end up, it also just might leave you grinning from ear to ear in the end.



Quentin Dupieux wrote and directed a movie we praised some time ago called Rubber, featuring a killer tire as it’s lead. This time around, his 2012 film Wrong has a cast that is human in name only, because their actions and character are clearly something out of a dream world.

Wrong is the story of Dolph Springer, his lost dog, his new found guru Master Chang,( a cringe worthy William Fichtner) and, of course, a dogshit detective. As Quentin Duplex is quite possibly the only director with ability to make a killer tire entertaining, and this time around he painted a very sublime picture of determined oddballs in impossible situations,

It would sell the humor short to lump it into any one category. Throughout the film the presentation of absurdity shifts from dry, to broad, to over the top, and there will be an occasion or two where you’ll question if the joke is on you for watching it. The main surprise of this story is the fact that anything could happen, and it’s presented in such a matter of fact way, as if we’ve all been there and done that. That is just the sort of charm you don’t stumble upon to every day.

With as much as this film has going for it idea wise, there is an overall feeling of a missing ingredient. Perhaps a more consistent tone could have been achieved, as there aren’t many laugh out loud moments, this one is more of the ‘my goodness this is some kind of weird’ variety. Wrong would never be confused with Anchorman’s style of humor, as the biggest laugh are sure to come when the movie is over and you’re attempting to tot tell your friends just what you’ve watched.

Give Wrong a try,  and at the very least, you wont find it boring.

Like A Reverse Flash Gordon


When a comet is set to collide with the planet Hondo, the citizens decide to send their most decorated solider, General Trius, on a mission to find a new home their people. Crash landing on Earth, Trius is all but ready to obliterate the natives until his actions are thwarted by the powerful essence of…music.

There are two things that the planet Hondo does not have, well, two things that we are made aware of, music and buckets. Upon discovering a passion he did not know he had, General Trius gives himself the Earth name of Bill, picks up the banjo, places a bucket upon his head, and starts himself a family. The days go by and Bill is content to entertain his young daughter with fairy tales of the far away planet of Hondo and it’s odd customs.

The one day Bill’s life is punctuated by the drama of the inevitable.

What we’re talking about here is The History of Future Folk, a charming sci-fi tale of music and passion. While this feature is low budget, it never feels cheap, and deftly uses it’s sci-fi elements more as enduring qualities than a reliance on the spectacle.  Nils d’Aulaire plays General Trius/Bill with a refined balance that you just don’t see everyday. He’s detached and cool, not to cool for school, just cool enough to get a competent job done.

Tight direction, a pace that is never dull and yet allows for the characters to exist a little in each moment, and music that, if we’re being honest, is scene stealing material. One could easily surmise that all of these elements, in the hands of any other director, with production from any other studio, could have led lead to a misfire at best, or a just plain bad idea come to life at worst. However, at this particular time, with this precise group of individuals involved, the underdog of all underdogs  have just produced the sort of crowing achievement that every artist dreams of.

I won’t lie to you here, I had seen this movie advertised for some months on my Netlfix, and it seemed interesting enough that I would get around to watching it. Life experience will teach that not every quirky idea come to light is pulled off as well as it could have been. Reading a description involving a banjo playing alien folk duo certainly teases the old pleasure center of the brain, just not entirely enough to drop what one is doing, throw it all the chance, and brace for the potential disappointment. Rest assured, you’re not going to have a bad time with this movie, additionally, you’re not going to want to keep quiet about it either.

With only 14 total reviews on IMDB for this 2012 release, and less than 600 likes on Facebook, it will seem unfathomable, if not unconscionable that a larger audience has not been garnered for this fine piece of work.

So now it’s in your hands.

This is your baby.

You tell the world about your baby.

Spring Breakers Was On Point


Even if Spring Breakers wasn’t the story you asked for, it was certainly the story you deserved.  This applies film goers across the board, one size fits, or, does not fit and never will fit, all.

This is that once in a generation occasion where a movie is allowed to breathe and evolve into an art film, while getting a bigger mainstream push than good financial sense ought to allow for.

Spring Breakers is not the delicate and intimate piece of work that Upstream Color is. The fact that director Harmony Korine was able to put together such a coherent, linear piece of work right after his last film, the abstract and absurd Trash Humpers, is a testament to his film making, his story telling, his artistic focus, and his spiritual currency.

If you wanted a naughty T & A heist flick, you go it. If you wanted an emotional piece of artistic achievement that kept you on your feet, you got that too.

To complain about Spring Breakers is to not take yes for answer.