I went to this
middle tych of her Italian thing
do Critters regression-taste big screen, bleed out green IQ?
are Basket Case femme?
Femme and Demme
[Unbeknownst to them, Critter eggs can be seen in the barn inside a chicken’s nest, apparently ready to hatch]
sewer verisimilitude gum important to working class krites
but also skew Tron
can’t think in this yukata
trying ho hard to Heinrich
box of cartoon rage man coat in Kristeva lair
vivid giant O
thought same barn teeth cum skeleton head but
[Ug departs in a new spacecraft, still wearing the guise of Charlie]
all auxiliary Nadja
weird as syntax allowed
new old / old new A
Breton riffing on Charlie X
could die face down in toilet at all times
and Bataille couldn’t
pure psychic ultimatism
femme and Lem?
Uncle Pork among heavens best
sinking with collage
aroused by kidnap glove
giallo ooze out nebbish wetsuit sex
could / would melt in 3 second flat
NOT at all his real forehead
Data still Dada but ya
gum neon Data
[Charlie is about to destroy two Critter eggs, but is ordered not to as a containment pod sent from the Intergalactic Council crashes into the basement]
turn right if cauterised
put Yeshua pin on what you’re told is neighbour’s clit
make hymn of him
Iglesias that Iglesias
one last poke before the leopard comes
Is your holographic lunch box half krite?
dark as fuck
dark as fuck
[With the critters now extinct, Charlie, Fran and Ethan depart on their continuing voyage to Earth, with Charlie contemplating how the future will look bright for him]
Casio face down in Freddy pool
on brink of
never being that wet again
Honestly Mark 2
Glamour Shots is something I did not like back then
Cut-offs gum colonial
An entire section of ridiculous murders
eaten out to high standard
in some morgues it works, others barely
brains behind the pendulum pack
slip on fuzzy ethic
land Magyar in spike pharmacy
April glowing argh in lupus
You’ll try to patch up the peeces
Pity plebby piece
Piece in our time
mop up milk fetal gunk cum ecstasy patch
Gum real you la
[A Way In]
Turmoil, uncertainty and separation define everything; when Critter 1 returns in the first scene, it picks up and puts down its bags three times, as if it no longer knows whether it is home or not.
The farm itself stands as a statement of agricultural decline, enticing Critters 2, 3, 4 and 5 to over-feed not on its produce but its producers.
Critter 1 and Depressed Critter consistently appear on opposing sides of the frame, proceeding to attack each other’s physical space. They begin their early confrontation at Café Gremlin sat in mirrored poses but each facing away from the other at a sharp right angle, trapped behind their tables, linked by posture but pulling apart. Their meeting descends into a bitter, physical quarrel, Critter 1 hurling tables and chairs aside as it pursues Depressed Critter, their violent personal rupture spilling out into the claustrophobic environment.
A child and a conspiracy nut analogise Americanised salvation, at once outside and a part of the fightback against the alien threat, each progressive entry into the film accompanied by increasingly Homeric angles. In stark opposition, Critters 2, 3, 4 and 5 grow more isolated as the narrative uncoils, eventually left static on their own ship, framed together yet brutally distinct, the initial comradeship of the group sublimated.
The film takes a cathartic glee in the violence the couple inflict on each other, particularly the way it assaults the order of their surroundings. In response, the puppets abuse and destabilise the frame, entering from unexpected angles and assaulting its boundaries with wild, kinetic movements. Critter 1 repeatedly swings into demented close-up from its rocking chair, and throws barely directed punches and slaps. Depressed Critter hurls clothing and shopping around, and flails in uncontrollable spasms, most notably in the infamous U-Bahn tunnel scene, with Depressed Critter Puppet giving an astoundingly committed, terrifyingly physical performance.
If Critter 1 and Depressed Critter almost embrace the physical disorder, Depressed Critter’s former lover, Void Critter, spirals in the opposite direction. It begins the film as an insinuatingly tactile, posing figure, believing itself enlightened and spiritual. As the bizarre truth emerges, its poise crumbles and it crashes into walls, staggers as if blinded, and finally ends up face down in a toilet bowl.
Void Critter’s shallow mystical pretensions highlight the unrequited yearning for deliverance which permeates the film. Critter 1 describes God as a “disease,” prompting Void Critter’s retort: “Through the disease, we can reach God.” The characters long for meaning, but the philosophies they create are perverted and ridiculous.
The final shot, seemingly foreboding, in fact reveals a fresh batch of critters to be atomised and butchered, in ritualistic subservience to the American God of cod-righteous Manicheanism.
fail ALLOSAURUS grave-fucks low cope union drive
silhouette gum sinister on digital microfiche
[In despair, the critters inject her with West’s reagent]
LOST SERIAL KILLER FINDS WAY BACK
MISMANAGES E-BOOK CAMPAIGN STRANGLES ANT
Soak in sacrifice bullshit expenditure dupe second hometown
erect nightclub on cripple sanatorium
sorry for amenities inside cold shriek cold feel
[Post-funeral, the critters return to Planet Krite with a red neckerchief full of Spanish earth]
dark as Dark Wing Duck
shot by whitey
dragged avuncular to rap-in-tux Voigt farm
if you tunnel like a Flagler stan
under aromantic picket line
bald socialist everywhere
coherent me than more
flay is evisceration or evisceration is flay?
Devour or demure?
[After the surviving critter settles into the passenger seat, the Malibu lifts straight up into the air and flies away, first through the city’s skyline and later into space]
Scare lobster that is lady from yuppie handbook
ossify on stage, in stages
our very own dinette
Bex as Bex gets
[The silhouette of Critter 1’s doppelganger is seen through the frosted glass door. Depressed Critter stares, eyes shining]
Ah To is an artist and anarchist based in Taichung, where he [and friends] renovates abandoned properties and turns them into zine/art/anarchist spaces.