Infinity Pool (2023)

Who knew Brandon Cronenberg’s feature-length bonus episode of The White Lotus — aka Infinity Pool — would get so weird? Probably most us familiar with the director’s father. After all, the fleshy apple doesn’t fall far from the mind-warping tree. Brandon’s last film, the 2020 sleeper hit Possessor, more than proved it. But his balancing act of striking imagery, purposeful violence and a compelling conflict starts to teeter in the sands of this sunny vacation.

Alexander Skarsgård (The Northman) plays James Foster, a one-trick novelist who can’t find a thrill at a beachside resort in Latoka, an ambiguous country featuring a festival of stereotypes. While his wife (Cleopatra Coleman, Fear Clinic) begs for any reaction beyond disconnected grunts, James is drawn to Gabi (Mia Goth, Pearl), a British actress and his writing’s “No. 1” fan. After plowing over an unassuming farmer following a drunken picnic outside the resort, Lakota’s authorities deliver a simple punishment: execution.

But Lakota enjoys tourists. Specifically, the stupid-rich kind. For a fee, any foreigner on death row can infinity-clone themselves to endure as many deaths as possible — hence, Gabi and her gang of insufferable “zombies.” Yet the more James destroys himself, the more the island paradise morphs into purgatory.

Infinity Pool’s effects and snap editing are great in the cloning sequences, but they soon wane as film stalls at its halfway mark. This was a fantastic way to illustrate the (literally) internal struggle of Possessor, but it was also used sparingly. Cronenberg lacks that refrain here — maybe because he didn’t have much of a story to fill it with. That’s not to say the ideas he proposes aren’t intriguing or worthwhile; he just spends so much time identifying them without saying anything deeper. It’s excruciating similar to how Alex Garland approached toxic masculinity — one of this film’s many subjects — in 2022’s Men.

Perhaps by accident, Infinity Pool also follows last year’s trilogy of eat-the-wealthy flicks, including Glass Onion, Triangle of Sadness and The Menu. The film feels imitative in the wake of these, all the way down to the “consensual cuckoldry.” It definitely has the most interesting sex scene — an orgy that feels like it was pulled from Phil Tippett’s Mad God — but that does little to make up for the movie’s weaknesses.

What the film has in spades, however, is an unhinged Goth. Her part alone carries the overarching insanity. Gabi is as much of a siren and nurturer as she is a sadistic matriarch. Goth is perfectly cast, and the image of her cradling an infantile Skarsgård might be Infinity Pool’s most telling frame.

The movie isn’t an utter misfire, but it is a disappointing mark on li’l Cronenberg’s otherwise spotless filmography. Maybe the extra creamy NC-17 cut will fix that. Maybe. —Daniel Bokemper

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Ghastlies (2016)

A good quarter-century after the Gremlins knockoffs had run their course, prolific Canadian filmmaker Brett Kelly (Konga TNT) unleashed Ghastlies. Regardless of time period, it’s consistently unamusing and unimaginative.

A UFO drops the Ghastlies (aka thrift-store puppets) in the woods, near a cabin rented for the weekend by some sorority girls (aka four women in their late 20s to mid-30s). Before too terribly long, Ghastlies gotta Ghastly (aka positioned stationary or moved by someone out of frame).

They number a scant three, but at least each is unique: a five-eyed purple dragon, a green gator with a Mohawk and an orange rectangle with downturned horn. (By comparison, they make the hobgoblins of Rick Sloane’s wretched Hobgoblins look like frickin’ Jim Henson.) They murder the bitchiest woman with a plastic spoon. Also killed are a pizza delivery guy, two bicycle cops and other things (aka your valuable time). —Rod Lott

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Bad Girls (2021)

If Christopher Bickel’s Bad Girls fails to hook you in its first five minutes, here’s a list of things you must despise seeing in movies: attractive women in their underwear, attractive women out of their underwear, violent strip club robberies, car chases, car crashes, coke trips, acid trips, violent convenience store robberies, violent bar fights and violent deer collisions.

After murdering their instantly former employer and taking “a shitload of money and drugs,” three exotic dancers make a run for the Mexico border: the blonde Carolyn (Shelby Lois Guinn), the Black Mitzi Anne (Sanethia Dresch) and brunette leader Val (Morgan Shaley Renew), she of the double-height eyebrows. As one citizen tells the TV news, “They’re just like Bonnie and Clyde, but they’re all Bonnie and there’s three of ’em!”

With Bah-stun accents, bad puns and broken beer bottles galore, the ladies go from one brutal encounter to another. No male is spared, at least of humiliation, from a blue-balled frat boy to a white supremacist running a 24-hour donut and ammo shop. Stops are made for shows by bands like Christmas Tits and Poltergasm, if only to kidnap their members. The movie is one long chase, with two federal agents (Dove Dupree and Mike Amason) on their tails. “We’re gonna find ’em, fuck ’em, fry ’em and forget ’em!” vows the nasal spray-addicted agent to his partner. “Figuratively!”

Obviously influenced by Russ Meyer’s Faster, Pussycat! Kill! Kill!, Bickel (The Theta Girl) moves his sophomore film at a jet-propulsion pace, rarely slowing to take a breath. Although stocked with music I wouldn’t listen to, the soundtrack matches the girls’ spring-loaded antics by going into Dexedrine-aggro mode, as does Bickle’s Natural Born Killers-styled editing of excess and overlays. The overall energy he conjures help mitigate deficiencies in a repetitive story and the purposely campy performances. It’s a ride, for sure, and one that dares to kill its babies. Not figuratively! —Rod Lott

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Legion of Fire: Killer Ants! (1998)

Who better to help resurrect the nature-run-amok film in the late 1990s than Fox, the television network behind all those glorious When Animals Attack specials? In Legion of Fire: Killer Ants!, the exclamatory bastards in question are feisty and man-eating. When an underground volcano starts rumbling and tumbling, the six-legged South American menaces are forced to the surface. Popping up in the sleepy Alaskan town of Burly Pines, they’re like, “Sweet, this’ll do. Let’s prey.”

Following the telefilm’s docu-shock foreword, a young couple in the forest for an impromptu photoshoot find a heap of trouble when the woman hops atop a giant anthill to vogue. She gets dragged through the hole to die, as does her shutterbug boyfriend while trying to save her.

It becomes painfully obvious to the locals that sinister insect forces are at work, stripping their moose population to the bone in a matter of minutes. Bug expert Dr. Jim Conrad (Eric Lutes, Bram Stoker’s The Mummy) rushes to the rescue. With the aid of a cute, frizzy-haired schoolteacher (Julia Campbell, Opportunity Knocks) and a widowed police chief (Mitch Pileggi, Shocker), Conrad wages war against the largely computer-animated rascals, which are seen at one point walking across a yard while carrying the body parts of their latest victim.

Also known as Marabunta, Legion of Fire sports dirt-cheap effects and leads thrown into one preposterous, predictable situation after another. However, any movie — especially one made for TV — that dares to snuff out so many living things (kids included) in such laughable methods deserves a couple hours of your time. And so does the weeping deputy who shoots at the ants with his gun. —Rod Lott

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Zero Budget Heroes: The Legend of Chris Seaver & Low Budget Pictures (2022)

To enjoy the documentary about Rochester-based moviemaker Chris Seaver, you don’t have to be a fan, assuming you’ve even heard of the guy. You need not have seen Anal Paprika or Scrotal Vengeance or even Anal Paprika 2.

Just know he’s made upward of 75 flicks now, and, as one of his regular cast members notes, “most of them have come out.” My sole exposure to his work was a tasteless segment he contributed to the Hi-8 shot-on-video horror anthology. His backyard epics may be hard to like for the average viewer, but Zero Budget Heroes: The Legend of Chris Seaver & Low Budget Pictures is easy to love.

For this introspective retrospective, first-time director Zach Olivares captures the shooting days (all three of ’em!) of the ska-obsessed, rarely not ball-capped Seaver’s then-latest crass comedic opus, A Stoinkmare on Halloween Street. His titles — and penchant for terminology like “clam flaps” — suggest a juvenile approach to cinema. Proud yet humble, Seaver doubles down on this risk-free theory, telling Olivares’ camera, “I am a very immature human being.”

And he doesn’t apologize for it. (Well, except for playing the role of Bonejack in blackface. But hey, when an actor doesn’t show, it’s the director’s job to make lemonade.)

A modern-day Andy Hardy, Seaver enjoys a loyal band of repertory players eager to debase and deride themselves in the likes of Filthy McNasty, Moist Fury and Taintlight — barely scripted vehicles for “boobs and cum and poop jokes” — for no monetary reward.

And you know what? Now I kinda get it.

The more Seaver and company revisit his relative hits, affectionate misses and never-weres, the more you see the appeal — foremost for them; the audience, second. That’s by design, as no one is more surprised than Seaver at the level of success he’s enjoyed in the DIY realm. He and his friends make the movies to amuse themselves; that anyone devotes attention or time after that is pure bonus. One would think the enemy of this real-life story would be monetary deficiencies, but the Low Budget Pictures gang has turned that into an asset. (Also, the true enemy is Troma.)

I didn’t expect this doc to move me. But, like Seaver responding to the magnetic pull of making movies, I couldn’t help it. By the end, Olivares has done an excellent job of getting to the heart of the man’s work and why he and his comrades even bother. You’ll be glad they do, even if Sexquatch and Terror at Blood Fart Lake never, ever land in your queue. —Rod Lott

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