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Still, there’s a sick beauty in all the madness, from the painstaking effort of Tippett’s work to the bizarre clarity of his mission.
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WATCH FREE ON TUBI: Cult horror classic " The Evil Dead " If Tippett is the titular "Mad God," then this project is his means of processing his frustration, delighting in the destruction of his creations. The film opens with a passage from Leviticus, a particularly gruesome book of the Bible, with all its talk of "godly ruin" should the world reject its creator. In interviews, Tippett has said that "Mad God" was actually a project he "hated working on " and yet, here it is, 30 years of sweat and blood and clay later, a testament to the exquisite pain of artistic endeavor. If Smell-O-Vision were still a thing, "Mad God" would be the most putrid, odorous motion picture in recent memory. The movement of every single being in this world looks like it causes immense pain. Life exists only to kill and eat other life, mimicking the consumptive nature of capitalism. Light and hope are rarities nothing is grand, nothing beautiful stays. It’s maybe one of the most purely terrifying movies this critic has ever seen, simply by virtue of its commitment to nihilism. That’s really the overriding feeling "Mad God" instills in its audience: abject despair. RELATED: The 11 best movies of the year so far: ‘Top Gun 2,’ ‘Turning Red’ and more Lumpy maggot-eaters, spindly black spiders and featureless, mass-produced humanoids made of excrement roam each level of this hellscape - all meat for the grinder, instruments in the filmmaker’s symphony of suffering. WATCH FREE ON TUBI: Brothers Quay feature "Institute Benjamenta, or This Dream People Call Human Life" - get the appĬontrasting that ugliness is Dan Wool’s hauntingly beautiful score, a rousing prog-rock mix of guitars and synthetic sounds framing the horrible majesty on screen.Īnd then there are the creature and set designs themselves, which seem to have leapt straight out of whatever notebook Tippett’s been scribbling in for the last three decades. Chris Morley’s cinematography cloaks any possible imperfections in Tippett’s expert animation with darkness and texture everything looks as if you could reach out and touch it, though you might not like the sound it makes when you do. Romero’s "Season of the Witch" - get the app See "Mad God" for: Some really messed-up puppetryĪesthetically, "Mad God" sits somewhere between the animation of directing duo the Brothers Quay and a Nine Inch Nails music video.
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Before long, it’s clear that "Mad God" is less about charting a path through the darkness than simply reveling in it. A nurse (Niketa Roman) finds herself caring for an odd, tentacled robo-baby that would make even Rob Bottin, another VFX master and the prosthetics whiz behind "RoboCop" and "Total Recall," wince. There’s the Last Man (played by "Repo Man" director Alex Cox), who seems to be in control of the various Assassins he sends down into the abyss. This is a place of abject ruin, a world feeding off itself in the most gruesome, grotesque ways: Rows of men strapped to electric chairs are constantly jolted, their bowels streaming down into the mouth of a giant bio-mechanical creature, in one of the film’s most shocking visuals.)īut it’s not long before we leave The Assassin and encounter other denizens of this Lovecraftian inferno. The audience walks alongside The Assassin from one haunting visual to another, sneaking past creature after gloopy creature as they kill, die and consume (or are consumed by their nightmare landscape).
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RELATED: Tubi Original documentary " Scariest Monsters in America " - get the app His mission, it seems, is to set off a bomb in the middle of the place whether he’ll get there, or if the rules of the world will even honor the tick-tock of the bomb’s timed detonator, is another question. What story there is centers on a few major figures - most notably a character called The Assassin (credited to three different voice actors), a gas-masked observer who descends via capsule into a hellish, post-apocalyptic world. Don’t expect a straightforward narrative, or even dialogue, in Tippett’s mostly-animated "Mad God." This is pure visual storytelling, conveyed through a wordless mix of stop-motion animation, puppetry and a few select moments of live-action.