Poultrygeist: Night of the Chicken Dead, is currently playing on select dates around the country. The next screening will take place on 21 September, 2007 at the Loft Cinema in Tuscon, AZ. More information can be found by clicking here Troma titan Lloyd Kaufman will be there, in person, and there’s a chance to “Win a Date” with the noted director (along with actress Elske McCain. Addition rules of the contest can be seen by clicking
It really is a shame that the once mighty Troma trademark has been tarnished as of late. Thanks to DVD, which brought film’s tempting technological reach to the greater unwashed, wannabe Toxic Avengers have tried their hand at mimicking the blood and guts mastery of Lloyd Kaufman and the gang. Usually unable to emulate the craven cartoon qualities and joyful junkiness of the indie icon, they go for the gross and the easy arterial spray. Missing is the message, the satiric overtones, the clear love of cinema, and the devotion to art that comes from the company. In its place is a subpar substitute that has out of touch critics referencing all horror comedy by a slanderous descriptive slam. Somewhere along the line, Troma has been turned into a tag for all that is dumb, dopey, schlocky, and stupid.
Frankly, nothing could be further from the truth – or perhaps a better way of saying it is that there is more to these Manhattan movie mavericks than gore and naked girlies. Perfect proof of this maxim arrives in the soon to be released fast food freak out Poultrygeist: Night of the Chicken Dead. Unlike their camcorder imitators, this is a real celluloid find, a middle finger kiss off to an industry undermining its public with questionable hygiene practices and ever more suspect health concerns. Created by company honcho Lloyd Kaufman after witnessing, first hand, the rat infested foulness of a noted neighborhood franchise, there is as much politics as pus in this whacked out working stiff spectacle. Using a combination of tried and true gruesomeness, a buttload (literally) of toilet humor, a collection of clever songs, and an acerbic insight into the raging corporate machine, he makes a sensational silk purse out of a skidmarked sow’s rear. Toss in some lesbian T&A and you’ve got an exercise in excess that’s a true crude classic.
Our sorted saga begins when Arbie and Wendy, two horny high school graduates, have sex in a local cemetery. They are interrupted by the restless spirits of a disgraced Native American tribe, and afterwards, vow to remain close even as life pulls them apart. Fast forward a few months and the American Chicken Bunker, run by recovering KKK member General Roy Lee, has set up a restaurant right on top of the Indian’s burial base camp. Even worse, the company’s noted livestock atrocities have members of C.L.A.M. (College Lesbians Against Mega-Conglomerates) up in arms. While Denny and the rest of the staff – Carl Jr., Humus, and Paco Bell – try to keep things under control for the grand opening, Arbie learns that Wendy has gone girl, hooking up with angry activist Micki. Joining the General’s team in hopes of winning back his babe, our hero comes face to beak with a collection of undead fouls, and the reanimated resolve of some pretty pissed off pullets.
Outrageous, insane, and borderline brilliant, Poultrygeist is one of the best things to come out of Troma since Kaufman gave birth to the Make Your Own Damn Movie parody Terror Firmer. It’s bloodier, ballsier, and bluerer than anything the company has ever done, and it is its first ever zombie flick. This is the kind of crackpot genre gem that gets its kicks out of wallowing in feces, tweaking Islamic terrorists, exploiting same sexiness, and undermining standard cinematic expectations. It’s a tasty throwback to the days when physical effects ruled repugnance, where gore-based gags were just as important as CGI spiked spurting. In the grand realm of grade-Z grooving, where bile and body parts match boobs and buttocks for cinematic sleazoid perfection, director Kaufman and his amiable cast of unknowns deliver on every sophomoric swipe, while drop kicking Colonel Sanders and Ray Kroc in the process. It also makes one thing crystal clear – once you’ve seen how the originators get it done, the imitators seem pretty pathetic, indeed.
No one really champions Troma’s take on terror, and that’s a shame. Certainly, it’s broad based and jocular, trying for as many snickers as scares, but there is something deeply satisfying about the way Kaufman and crew approach their projects. The scripts, usually collaborations between many motivated film geeks, tend to cut to the chase and amplify the anarchy. Smartly written and loaded with all kinds of cracks – puns, lampoons, and the proudly profane – they become the blueprints for the creation of an unmistakable horror hybrid. Poultrygeist definitely benefits the most from this brazen business model, since it has four decades to draw on. The results are like a glorified greatest hits package, an omnibus offering of everything that makes the Troma name terrific.
Some, however, have questioned the decision to include songs in this film, since the notion of a monster musical where characters constantly interrupt the flow of the fun to rev up and vocalize does have its questionable rewards. But Poultrygeist does a wonderful job of making the tunes feel like an effortless extension of the storyline. When Arbie and Wendy try to re-establish their romance during the evocative ballad “Fast Food Love”, Kaufman counterbalances the “Moon/June” sentiments with a full blown lesbian ho-down. As our paramours plead in 2/4 time, the sisters of Sappho go gonzo. Similarly, a fabulous duet between Arbie and his future self (played by a spectacularly goofy Kaufman) has the added amusement of seeing the Troma chief traipsing around in a too short skirt. Granted, many of the actors are tonally challenged, and a few of the lyrics are more wobbly than witty, but the combination really works. It’s reminiscent of another Kaufman supported entity – the brilliant Trey Parker/Matt Stone extravaganza Cannibal: The Musical.
Poultrygeist is indeed on par with the aforementioned farce, since it handles its consistently contradictory facets with fearlessness and finesse. In a mainstream dynamic that can’t conceive of how to technically go for broke, this amazing movie does so time and time again. Gorehounds, unable to get their daily recommended dose of disgusting via conservative Tinsel Town tripe, will practically plotz at the level of outstanding offal here. There are sluice soaked gags so innovative and memorable (the head omelet, death by diarrhea, implant evisceration) that they’re destined to go down in the annals of onscreen splatter. There’s hasn’t been this ludicrous level of Technicolor yawning in quite a while. Combined with the blatant bad taste witticism, the propagandized agenda, and Kaufman’s clear creative vision (mock him all your want – the man knows his audience and what makes them merry), you end up with the motion picture equivalent of punk rock – raw, dirty, and damn proud.
Of course, none of this would be possible without the dozens of volunteers and underpaid performers who give up their regular grind to provide Kaufman with a concrete talent pool. As our leads, Jason Yachanin and Wendy Graham turn Arbie and Wendy into a classic cornball couple, the kind of kids you root for as the entrails and body parts fly. Though he’s absent from the action most of the time, Joshua Olatunde’s Bunker manager Denny is a smart aleck delight. Every line he delivers sounds imported from Samuel L. Jackson’s high school resume. As with any latter day Troma movie, recognizing the occasional cameo is half the fun. One of the best here comes from porn pro Ron Jeremy. Not only is his mandatory “you’re all gonna die” diatribe a hoot, but the punchline provides a nice acknowledgement of the meat man’s late in life battle of the bulge.
All of this makes Troma’s current crisis of confidence all the more confusing. Kaufman will claim blacklisting, and without another cogent reason for his company’s exclusion within the otherwise omnivorous media, his point is well taken. Troma can apparently be copied, referenced, and blatantly stolen from, and yet a film like Poultrygeist has to scramble for any booking it can get. Instead of being a monster hit alongside similarly styled overhyped movie macabre, this incredibly effective circus has to take a backseat to PG-13 rated retardation. As the old song says, we frequently don’t know what we’ve got ‘til it’s gone. While he’s still around, capable of making movies as wonderfully weird and wholly entertaining as this, it’s time to give Lloyd Kaufman his due. He’s a filmmaker, not a fool, and this Night of the Chicken Dead is proof of his, and Troma’s lasting legacy. It’s simply amazing.