The Theatre Bizarre (2011)
★ / ★★★★
Enola Penny (Virginia Newcomb) curiously entered a dilapidated movie theatre and was welcomed by Peg Poett (Udo Kier) and his colleagues, a group of performers who moved like marionettes. She was presented six movies of varying strangeness, from a couple (Shane Woodward, Victoria Maurette) who met a suspicious old lady (Catriona MacColl) while vacationing in France to a party of gluttony where guests vomiting on each other seemed to be the norm. While “The Theatre Bizarre” featured about two or three segments with solid ideas, the rest failed to measure up either due to a lack of energy or originality. “The Accident,” directed by Douglas Buck, stood out, arguably the best of the bunch, because although its premise was simple, it had emotional resonance. After a mother (Lena Kleine) and daughter (Mélodie Simard) witnessed an accident while driving through a forested highway, the daughter kept asking questions about mortality and what it meant to die. The script was involving because the mother had to struggle in terms of whether or not to fully disclose the finality of death to her child in order to prevent further trauma. The segment was bathed in a yellow-reddish glow, quite beautiful because it captured the feeling of innocence through the little girl’s eyes. When the dead bodies were shown on that highway, it didn’t feel exploitative. There was meaning behind showing a dead or dying body: one minute with life, the next an empty shell. There was human drama underneath the horrific images. Another segment worth watching, “Vision Stains,” directed by Karim Hussain, involved a woman (Kaniehtiio Horn) who specifically killed junkies and homeless persons, all of whom were women. As her victims were on the verge of death, she injected a needle into their eyeballs and extracted the fluid from them. She was convinced that the liquid contained memories. The killer’s motivation held my interest because she saw herself as some sort of savior. She claimed that by killing those who “wanted” to die, she freed them by granting them a voice. That is, she jotted down the women’s memories as she experienced a high after she injected their eyeball fluid into her left eye. Unfortunately, despite its fascinating premise, the resolution failed to make sense. I was given the impression that its potential was short-circuited by a limited running time. The story would’ve been stronger if it had the time to construct a proper arc since it was all about internal motivations. Strangely enough, I found myself having a mediocre amount of fun with “I Love You,” directed by Buddy Giovinazzo, because it was marriage drama with terrible acting. It was a good decision to keep the horror at a minimum and placed only toward the end. I was uneasy throughout because I suspected that the horror would arrive any second. The segment involved a wife (Suzan Anbeh) confessing to her husband (André Hennicke) that she was leaving with another man. The broken couple sat in the living room as the wife went through a list of things she didn’t like about her husband, from his bad habits to how bad he was at sex. I found the cruelty darkly amusing and I wanted to hear more juicy punches to the gut. However, like “Vision Stains,” it suffered from an underwhelming ending that appeared without context. It felt out of place. “The Mother of Toads,” “Wet Dreams,” and “Sweets,” directed by Richard Stanley, Tom Savini, and David Gregory, respectively, were fat that needed to be trimmed. If they were excised and the remaining three were expanded, “The Theatre Bizarre,” framing segments directed by Jeremy Kasten, would most likely have been bizarre and worthwhile instead of just bizarre and overlong.