
Notorious Bay Area kino-renegade Craig Baldwin tops his earlier found-footage operas SPECTRES OF THE SPECTRUM and SONIC OUTLAWS with the rapid-fire pulp serial-cum-political-tract piss-take on California's major industrial complexes: military, entertainment and religious. Hitting upon everything from Satanism to Scientology, the Beats to the jets (propulsion, that is), Baldwin revs-up his characteristic stock footage reappropriations with some live-action scenes of his own, a... (Full plot summary below)
Enjoy FREE movies and series with your Prime (USA) subscription or when you start a 30-day free trial!
Links compiled using automated software. Availability of offers subject to change / might be region specific / out of date.
Notorious Bay Area kino-renegade Craig Baldwin tops his earlier found-footage operas SPECTRES OF THE SPECTRUM and SONIC OUTLAWS with the rapid-fire pulp serial-cum-political-tract piss-take on California's major industrial complexes: military, entertainment and religious. Hitting upon everything from Satanism to Scientology, the Beats to the jets (propulsion, that is), Baldwin revs-up his characteristic stock footage reappropriations with some live-action scenes of his own, adding an over-the-top pulp flair to the proceedings. The film focuses on three seemingly disparate characters to fuel this secret history of California: Jack Parsons, inventor of solid rocket fuel, founder of the Jet Propulsion Laboratory and Aleister Crowley acolyte; Marjorie Cameron, artist, beatnik and occultist; and L. Ron Hubbard, the science fiction writer turned Scientology founder. Rather than offering straightforward profiles, Baldwin mashes up their histories with archival footage drawn from his vast collection of educational and governmental films, subverting their original narratives (and intent) to his own purposes. His live-action scenes and audio montages blend with these "seized histories," creating a bizarre new form of cinema, a collage narrative where the documentary images of yesteryear lend not truth but poetry, paranoia and fantasy. Arising with demonic force from the twentieth century's accumulated detritus of symbols, the film surveys "the repurposing of the popular imagination in postwar California," according to Baldwin, tracing the "simultaneous rise and convergence of New Age religious cults, the military/aerospace industrial complex and modern-day myths from Disney to certain sci-fi overlords.
Leave your thoughts about Mock Up on Mu.
| Movie MetropolisChristopher LongPacks in a hard-core lesson in film history along with its ingeniously deranged story of science, sex magick, and corporate conspiracy. |
| Village VoiceJ. HobermanBaldwin's narrative is not easy to followâ"the tone is simultaneously hysterical and uninflectedâ"but, as with any religion or conspiracy theory, his method is characterized by a logic beyond logic. |
| Boxoffice MagazineSara Maria VizcarrondoReads like the love child of Jean-Luc Godard's Histoire du Cinema and Carl Reiner's Dead Men Don't Wear Plaid. |
| Combustible CelluloidJeffrey M. AndersonAnother amazing, amusing sociopolitical rant, disguised as a cheesy science fiction film. |
| User ReviewBryn CAn experiment in Collage Narrative. Some chapters really worked and I hope Craig keeps honing the format. |
| User ReviewMaureen Heither this film was utter genius or a huge pile of self-indulgent crap...i'm still undecided, all i can say is that it is one of the strangest films i've ever seen (and that's saying a bit) that made absolutely no sense and inspired 9 people to walk out of the screening i was working at. maybe best left for the sci-fi geeks, but 2 stars for quirkiness and devil-may-care "filmmaking" |