From Zombos Closet

August 25, 2023

The Weird Kidz (2023)

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Zombos Says: Crude, Rude, and Good

Watching The Weird Kidz, an animated horror tale from Zach Passero (writer, director, animator) and Hannah Passero (background artist), you get a vibe like this film is fresh out of a VHS cassette cover that was gotten from a mom and pop video store, from that section in back of the store, separated by a beaded curtain, making those videos mysterious, potentially naughty, and usually in need of a little extra kick (just saying) to enjoy with friends; you know, where only the true die hards would venture in search of a change-up from the usual mainstream glossy stuff. So yes, crude, rude, and definitely with hints of 70s and 80s growing up pains, The Weird Kidz can grow on you. It is like watching an X-Files episode done in a Robert Crumb underground comics kind of way, if Crumb was plastered to the walls and did not know what day it was.

The Weird Kidz in cave
It definitely looks like it took 8 years for Passero to draw it, which is not to say that is a bad thing. The lines, the motion, and backgrounds (thanks to his wife) are basic and a bit short of  the word "style," but paired with the story it all works. And given the personalities of his characters, the simple art meshes well with them.

Their dialog delivery and relationship chemistry is much like what you would find in King of the Hill or Beavis and Butt-head. Not the smartest bunch, just simple but earnest and working through the awkward growing-up bits of life.

The most awkward of the bunch is Dug ( Tess Passero), being overweight, not athletic, and pretty good at arcade games. Flashbacks give us his rough connections with meeting everybody else's expectations, but he turns out to be determined in his actions and even-tempered when the monster shows up with It's family. Mel (Glenn Bolton) and Fatt (Brian Ceely) are his closest friends. Fatt isn't, and Mel, like Wyatt (Ellar Coltrane), has more adult stuff on his mind.

That more adult stuff comes into focus when Mary (Sydney O-Donnell) joins the group for a camping trip to Jerusalem Park. Of course, the local legend of the Night Child cryptid munching on people just adds to the campfire spook story effect; until Dug goes missing, Wyatt and Mary almost do it and suffer cryptid-interruptus, and Mel and Fatt get an eyeful of adult stuff with lots of fireworks.

Cue the cryptid  and an unwelcomed spelunking, and the horror takes off from there. More terrifying are the sheriff (Sean Bridgers) and the only-store-for-miles lady (Angela Bettis), once they get involved. That's because they were already involved. Sneaky bastards.

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As the voices go, they work well, but Mary's a bit too copacetic sounding at the worst times, and I would have expected Grumbles the bloodhound to have a lower voice given the balls he carries around (Passero is definitely not a Disney animator). It is also a bit funny watching anyone walk as the motion is abbreviated, but the overall direction keeps the story moving even if the characters are not. Also, either Wyatt is more stoned than he appears or he can take it on the chin much more than one would expect, given he gives one for the cryptid team. And Dug goes one better too, given the circumstances. 

The Weird Kidz is a throwback to the life is hard, then you run from monsters making it even harder period of the 1970s and the growing-pains-suck-but-figure-it-out period of the 1980s. Taking us back to that section of the video store is always iffy at best, but this time around, it is a worthwhile trip.

What is a Radio Spot?

GrannyCreechPortraitThis article was sent by bmail (that's batmail) from Granny Creech. A note that said Read it or Else was attached to it by a rusty paper clip. So…

What is a radio spot?

Well, back in the day when Granny Creech was just a young little thing, movie studios used to offer to movie theaters a vinyl record containing advertisements for the movie they were exhibiting. They first were issued on 10” 78 rpm records, then later 12” 33 1/3 rpm records or 7” 45 rpm records. The advertisements, or “spots”, usually varied in length, from 10 seconds up to one minute, leaving time at the end for a local announcer to “tag” the spot: “Now showing at the Rialto Theater.” Some records contained multiples of each time length.

When the theater manager received the record, they contacted their sales representative at the local radio station. The rep then designed a “package” of airplay. For example, they might sell the theater a package of 50 time slots over the course of a few days or a week for “x” amount of dollars.  The spots would be played throughout the days, in between songs and other commercials, on a predetermined schedule, with emphasis placed on “drive time” (when motorists were in their car going to and from work), and weekends.  The number of spots played per day usually increased as the start date of the movie drew near.

Spots produced for the movie varied greatly in terms of production value and complexity.  Often, as was the case in the city where your Granny grew up, the local radio station produced original spots based on info provided by the theater manager.  In some instances, the locally-produced spots were better than the studio-issued spots. Locally produced spots were the norm for drive-ins that showed three or more features per night.

Sadly, most spot records were discarded after the movie left the area. There was no longer any need for them.  Some were saved by disc jockeys or theater personnel, but for the most part, that unique segment of movie promotion history was lost forever. However, some Monsterkids had the foresight to use their reel-to-reel tape recorders to record the spots live off the air.

The spots presented here in Granny Creech’s Radio Spot Crypt are some of my favorites. Some are better than others, but they all take me back to a simpler time, a time when listening to your favorite Top 40 radio station allowed you to hear of an exciting movie coming to your favorite theater. I’ve collected them from many places over many years.  The names of the sites and the contributors have long-since been forgotten, but my thanks go out to those who shared my interest in them and preserved them for us to enjoy today.

Listen…