Critters // Ah To


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

purchase fur



trying ho hard to Heinrich



imposed upon


box of cartoon rage man coat in Kristeva lair

vivid giant O


thought same barn teeth cum skeleton head but


is M



[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

Barbara Kingsolver

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

fumble daughter


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

Colon better


An entire section of ridiculous murders

eaten out to high standard

leered at

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

Petty peece

Pity plebby piece

Piece in our time

Piece Brosna-


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]






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

[ ]

hospital UNO?

[ ]

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?

Autobahn or


[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

Fall Bolshevik



truly as

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.

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