Jerry falls in love with a stripper he meets at a carnival. Little does he know that she is the sister of a gypsy fortune teller whose predictions he had scoffed at earlier. The gypsy turns him into a zombie and he goes on a killing spree.
A marine biologist, a dolphin trainer, a research scientist, and a local sheriff try to hunt down a large sea monster, a shark/octopus hybrid, that is devouring swimmers and fishermen off a south Florida coast.
It starts off seriously enough, with three thugs robbing an innocent young woman at night in the city, but then switches to Vin Saxon and Carolyn Brandt doing a goofy Elvis-like rock 'n ... See full summary »
Beatnick Jerry takes his girl, Angie to the carnival. Angie wants to go see the gypsy fortune teller, Jerry does not but relents. After visiting the fortune teller and hearing bad news, Jerry goes alone to see Carmelita, the dancer (the fortune teller's sister). He is invited backstage and is mesmerized into becoming a psychotic killer. Angie, and Jerry's best friend Harold realize something is amiss when Jerry tries to kill Angie. Written by
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SEE: the dancing girls of the carnival murdered by the incredible night creatures of the midway! SEE: the hunchback of the midway fight a duel of death with the mixed up zombies! SEE: the world's first monster musical! See more »
Proof again that the only bad film is a boring one!
I recommend this film for those of you who, like me, work out of the home and enjoy having warm, harmless, unimposing movies playing quietly in the background during the workday. Many critics have commented negatively about this movie's novel title, confusing plot (or lack thereof), queerly dated characters, unintelligible dialogue, garish color, inferior sound, etc. But in this connection, I can think of no other film that keeps on simultaneously garnering so much praise, while incurring an exactly proportionate censure, over precisely the same agreed "shortcomings." For example, some viewers balk that the film's dance numbers are both irrelevant and amateurish, therefore doubly unendurable. Others, like myself, find them so deliciously preposterous and unaccountably charming in their dated foolishness as to be worthy of repeated viewings. And this dualism just may be "Incredibly Weird. . ."s real strong suit. There's so much I could say in defense of this poorly-made film from a nicer, nostalgic time, when even Hollywood's low-rent district seemed sunny and safe- but much of it has already been said in these reviews, and very well at that. Let me confine my recommendation to this: if you're shopping to buy or rent a notoriously "bad" film, don't choose a jaded, overblown, written-by-committee, painfully self-conscious finger-wagger made c.1994 at a cost of over 50 million, and which was panned as a 1/2-star flop by every critic and moviegoer, yet managed to not only recoup its investment but launched three big-name careers in the process. No, friend, go with a stinker such as this fetid little endeavor, made on a shoestring, enlisting the dubious cooperation of an uninspired carnival sideshow troupe, and which best of all bears the boisterous but distinctive thumb-print of an overly-ambitious director/lead actor/ out-of-his-depth galoot like Ray Dennis Steckler. I couldn't explain it properly here in the space allowed, but "Incredibly Weird" seems to unintentionally exude a charmingly flatulent air biscuit of Americana; and if a film must have warts, this one has the ones that are best had. "Incredibly Weird . . ." - a pleasingly inept offering from the days when a film could be bizarre without giving in completely to the perverse, and could gain an audience with no visible means of sustaining one but its overwrought title and its hopelessly inept charm.
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