A dangerous mission reunites STINGRAY SAM with his long lost accomplice, The Quasar Kid. Follow these two space convicts as their earn their freedom in exchange for the rescue of a young ... See full summary »
Somewhere in the future there is a computer project called Simulacron one of which is able to simulate a full featured reality, when suddenly project leader Henry Vollmer dies. His ... See full summary »
Rainer Werner Fassbinder
Guy Maddin reluctantly returns to his childhood home, an abandoned Canadian island, where his parents ran an orphanage. As Guy fulfills his dying mother's request to paint the lighthouse ... See full summary »
The discovery of life on Mars places a robotic expedition and a manned mission in a race to the Red Planet. On the way we discover that love - biological, spiritual, and even mechanical - can flourish in all kinds of ways.
A post-apocalyptic tale based on a novella by Harlan Ellison. A boy communicates telepathically with his dog as they scavenge for food and sex, and they stumble into an underground society ... See full summary »
During the Prussian army's invasion to Poland in 1793, a young Polish nobleman Jakub is saved from the imprisonment by a stranger who wants in return to obtain a list of Jakub's fellow ... See full summary »
Space travel has become a dirty way of life dominated by derelicts, grease monkeys, thieves, and hard-boiled interplanetary traders such as Samuel Curtis, an astronaut from Earth who deals in a rare goods, living or otherwise. His mission begins with the unlikely delivery of a cat to a small outer-belt asteroid saloon where he meets his former dance partner, and renowned interplanetary fruit thief, the Blueberry Pirate. As payment for his delivery of the cat, Curtis receives a homemade cloning device already in the process of creating a creature most rare in this space quadrant... a Real Live Girl. At the suggestion of the Blueberry Pirate, Curtis takes the Real Live Girl to Jupiter where women have long been a mystery. There, he proposes a trade with the owner of Jupiter: the Real Live Girl clone for the Boy Who Actually Saw A Woman's Breast. The Boy Who Actually Saw A Woman's Breast is regarded as royalty on the all-male mining planet of Jupiter because of his unique and exotic ... Written by
When the alarm goes off: "What did your father teach you?", Curtis has to answer "My father taught me to kill the sunflower," which was something Cory McAbee once mistakenly thought someone said to him. See more »
[Samuel is sleeping]
What did your father teach you? What did your father teach you? What did your father teach you? What did your father teach you? What did your father teach you?
[Samuel wakes up, hits a switch, and speaks into a receiver]
My father taught me to kill the sunflower.
Congratulations, Mr. Curtis. You are now awake. Two hours to Jupiter.
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... you'd have got something like The American Astronaut.
Writer/actor/director/musician Cory McAbee's ultra-low-budget indie The American Astronaut is something that almost defies description. Shot in black-and-white, it hearkens back to the science fiction of the 1900s and its description of the universe as consisting of a series of 'themed' worlds. Venus is inhabited solely by Southern Belles; Saturn by lonely miners; and there's a bar with an all-male dancing contest in the asteroid belt. Space cowboy Samuel Curtis wends his way through this dreamlike universe with a blase charm, like Han Solo if he'd suggested to Greedo that they don't fight, but instead go bass fishing. Pursued by a deranged Pee-Wee Herman-esque mad scientist (played by noted character actor and HBO regular Rocco Sisto), he has to take The Boy Who Once Saw A Woman's Breast and exchange him for a corpse, which he can then take back to Earth, along with the stinking hydraulic gimp that he picks up along the way.
If this all sounds confusing, that's because you're over-thinking it. McAbee's fourth movie and his full-length debut is a collection of oddball moments and weird incidents, told with a certain sweetness of tone. Early David Lynch is a good sign post, but then so are the Quay brothers. Yet neither has McAbee's well-intentioned sense of humor. There are no overt jokes, but somehow he catches that mood of security that pervades the oddest of dreams. No matter how bizarre, it never becomes terrifying. This is, of course, helped by the occasional song and dance number, with music provided by the director's day job in his band The Billy Nayer Show.
If McAbee has made any mistake, it's that this is almost too relentlessly and resiliently oddball. Conventional audiences will have no truck with this, and those looking for subversive cinema may find that it almost tries too hard to be off-kilter. However, while McAbee does feel like he's pushing his own personal envelope, it's undeniable that he is has unique and perverse cinematic vision. Most importantly, his vision allows him to make a true creative virtue of his low-to-zero budget. Primitive space cowboys who managed to launch their barn into the solar void use tin cans as oxygen filters: space travel is represented through flash cards: and bizarre alien cultures are summed up by raiding the prop cupboard of the local amateur dramatics society. In less talented hands, this would be abortive. Yet McAbee thinks around all the problems out of which so many other directors just buy themselves.
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