Brainfood: A JK Screenplay (synopsis)

Recently, I released a precious childhood amateur film of mine called Brains For Breakfast. If you haven’t seen it yet, feel free to check it out by clicking the icon below.

It’s still a dream of mine to one day expand this short horror-comedy into a full-length feature. To that end, I’ve developed a treatment for a screenplay. If you’re interested in getting involved in any way, I’d love to hear from you – just reach out at jeponline@hotmail.com.

BRAINFOOD — Treatment

Genre: Comedy / Horror / Science Fiction / Action
Setting: The Netherlands (alternative universe) – Bergen, Heiloo, Alkmaar, Schermer Region

Tagline: The ultimate drug in the galaxy has been found… and they want it.

LOGLINE
In an alternate Netherlands where alien encounters are routine, a disgraced psi-soldier must rejoin his disbanded elite unit to stop a violent race of interdimensional drug-hunters from stealing the most powerful psychedelic ever created.

SYNOPSIS

A Violent Return
In a parallel universe version of the Netherlands – an English-speaking, militarized, right-wing nation used to alien visitors – an aggressive alien race known as the Atomics breaches into Earth via a ‘Dimension Traveller’ device.

Primitive in appearance – some resemble lizards, some skeletons, some monkeys and the leader – Taurus – a bull –.the Atomics wear long dusters and wield antique-looking rifles. They land in the dunes near Bergen, killing a dune ranger and parasitizing another using a leech-like creature that implants a mind-controlling worm through the ear.

On their way to their concealed base, they murder a police officer, triggering a national military alert.

General Glorious, the army chief responsible for alien containment, recognizes the race instantly. The Atomics were here two years ago, on a drug-harvesting mission for Netherweed, and escaped with their stash despite heavy casualties inflicted by the elite Psychedelic Unit, a special-forces team of psi-sensitive soldiers.

A Broken Hero
One of the Psychedelic Unit’s finest, Max Crunch, has spent the past two years at home in the small rural village of Schermer, crippled by PTSD. He feels alienated, mocked by locals, and increasingly distant from his girlfriend Nina. His psychiatrist has given him an ‘anchor’ technique to keep him grounded during flashbacks, but his trauma remains unresolved.

When the government cuts off his benefits and Nina leaves him, Max reluctantly answers the army’s summons. General Glorious reveals that the Atomics have returned and the Psychedelic Unit must be reassembled. If Max helps, he’ll receive permanent paid leave afterward. Reluctantly, Max agrees.

Reforming the Psychedelic Unit
Max reunites with the scattered members of his old team:

• Captain Jimmie Lombardo – alpha-male, tough, impatient, the unit’s brash leader.
• Henry ‘Cowboy’ Waterman – laconic sharpshooter in a cowboy hat.
• Steve ‘Suicide Steve’ Hoskins – fearless, volatile, and racist and fascist tendencies.
• Thomas ‘Tank’ Larson – the team’s powerhouse
• Olaf ‘Bulldog’ Braat – sniper with perfect accuracy

The group once used the substance Daylyrium, enabling psychic attunement and interspecies telepathic tracking. But this time, Max can’t make a connection at the scene of the cop killing – the Atomics are clearly using psi-blockers.

With telepathy off the table, the squad turns to old-school detective work: Find the drugs, find the aliens.

The New Drug
They discover that eccentric chemist Dr. Schnobel has invented the ultimate psychedelic, dubbed Entheogen, a liquid that dissolves the ego and induces cosmic unity. Rejected by corporate drug monopolies, Schnobel distributed product through two major dealers, called Frans Hario and Teeg Brown.

Unbeknownst to humanity, Alien scouts monitoring Earth’s drug trade identified Entheogen as the most valuable substance in the galaxy. In response, the Atomics sent a forty-soldier strike team to harvest the drug and abduct its creator.

Two Raids
The Psychedelic Unit and the Atomics both converge on the dealers:
• At Hario’s home, a chaotic gunfight erupts. The squad kills all Atomics on site and captures Frans.

• At Teeg Brown’s, the Atomics strike first and abduct Brown without resistance.

Interrogation leads both sides to the same destination: Dr. Schnobel’s lab.

Ambush by the Terrifying Five
Taurus anticipates pursuit and dispatches the Atomics’ elite hunters – The Terrifying Five – to ambush the Psychedelic Unit. The squad barely survives the devastating encounter, but Schnobel is abducted and brought to the Atomics’ commandeered villa base in the forests of Heiloo.

There, Schnobel is forced to teach an Atomic chemist the formula for Entheogen, while the villa’s parasitized owner serves as a puppet caretaker.

The Oracle of Bergen
With leads running dry, Max suggests visiting The Oracle of Bergen, a powerful psychic buried waist-deep in a forest hill, clad in a Hawaiian shirt and aviator shades, flanked by two similarly dressed psychic companions.

The Oracle reveals:
• The Atomics are master chemists from Atom X, a devastated world stripped of natural resources.
• Another alien race gifted them the Dimension Traveller to scavenge resources from other worlds.
• The Atomics’ return, and the showdown to come, is part of a cosmic design.
• Their leader is Taurus, the same figure responsible for Max’s trauma.

Max’s PTSD surges at the mention of Taurus.

But the Oracle also gives the squad the Atomics’ exact location.

The Assault on the Villa
The team launches a coordinated three-front assault:
• Max and Steve attack through dense forest.
• Jimmie and Cowboy approach from a rear field.
• Tank and Bulldog hold the front to intercept escapees.

Fierce firefights rage as both teams carve their way toward the villa.

Schnobel completes the Entheogen formula, but Taurus prepares to flee. He releases the Terrifying Five once more. The squad manages to kill them, but Cowboy falls in battle, enraging Suicide Steve into a berserker and foreigner hating rampage.

Taurus escapes with the Entheogen sample and formula, fleeing in the same van the Atomics used upon arrival. Bulldog manages to plant a tracker before Taurus escapes.

Showdown in the Dunes
Max takes the tracker and pursues Taurus alone. In the dunes, Max is attacked by the mind-controlled dune ranger. Back at the villa, Jimmie kills the leech-creature controlling the ranger, and the ranger dies instantly. Max continues the chase.

Taurus reaches the Dimension Traveller, a lift-like mechanism atop a dune. Before he can signal home, Max confronts him and a traumatic flashback hits:

Two years earlier, during the first invasion, Max and the squad pursued Taurus to a similar base. Among the team then was Max’s younger brother Patrick Crunch. Patrick was parasitized and attacked Max, who was forced to shoot his own brother. Taurus laughed as he escaped with stolen Netherweed.

Back to the present. Both characters draw their guns and Max blows Taurus his brains out.

A Gift for Atom X
At the Atomics’ base on barren Atom X, Taurus appears to call home. But it’s actually Max holding up Taurus’s severed face to the camera, mimicking his grunt. The Atomics activate the teleportation system.

Instead of Taurus, the bag of C4 appears and detonates. The Atomic base is obliterated.

Enlightenment on the Lawn
Max returns to the villa. Dr. Schnobel lies dying, but hands Jimmie one final vial of Entheogen:

“Take it together. This is enlightenment in a bottle.”

Jimmie proposes sharing the drug with the last surviving Atomics they captured. Steve objects, but the others agree.

On the villa lawn, surrounded by the bodies of friends and foes alike, the five surviving members of the Psychedelic Unit sit with five captured Atomics. They ingest the Entheogen together.

As the purple sky stretches endlessly above them, they gaze upward, united in a moment of pure transcendence.

For the first time, they truly understand: they are all one.

Cult Radar: Part 12

FilmDungeon.com is glad to explore the video trenches to find that oddball treasure between the piles of crap out there. Of course, a treasure in this context can also be a film that’s so shockingly bad it’s worth a look, or something so bizarre that cult fans just have to see it. Join us on our quest and learn what we learn. Hopefully we’ll uncover some well-hidden cult gems.

Researched by: Jeppe Kleijngeld

Across 110th Street (USA, 1972)

Directed by: Barry Shear
Written by: Luther Davis, Wally Ferris
Cast: Anthony Quinn, Yaphet Kotto, Anthony Franciosa

Tarantino’s Jackie Brown opens to the same rip-roaring title song as this movie: ‘Across 110th Street’ by Bobby Womack. It’s a homage to an exploitation classic, a New York set crime thriller about a gang of black criminals who rob the mob, sparking a brutal chase involving both the Mafia and the police. The police duo in charge consists of the corrupt captain Frank Matteli (Anthony Quinn) and Lieutenant William Aylesworth Pope (Yaphet Kotto); a street guy versus a guy who wants to do it by the book. Their chemistry is electric, giving the movie an emotional and moral backbone amid the chaos. The film was slammed at the time for the extreme violence, and while the film is indeed gritty, it is generally well acted and executed. Beneath the grit lies a sharp commentary on race, corruption, and urban decay in 1970s America. Watching it now, it’s easy to see why Tarantino holds it in such high regard.

The Curse of Frankenstein (UK, 1957)

Directed by: Terence Fisher
Written by: Jimmy Sangster (screenplay), Mary Shelley (novel)
Cast: Peter Cushing, Hazel Court, Robert Urquhart, Christopher Lee

Peter Cushing stars as Dr. Frankenstein and Christopher Lee as the creature in Hammer Studios’ retelling of the Frankenstein legend. Directed by Terence Fisher, who would go on to make Horror of Dracula a year later, this film is often regarded as one of the finest adaptations of Mary Shelley’s novel, even rivaling the classic Universal versions. Told in flashback from a prison cell, Victor Frankenstein recounts the story of how his obsession with discovering the secret of life led him to commit unspeakable crimes. For a film made in 1957, the horror remains remarkably effective, due in large part to Lee’s chilling performance. As Hammer’s first color horror film, The Curse of Frankenstein was notable for its bold use of gore in color and its vivid gothic style. It marked the beginning of the studio’s signature brand of horror and launched a successful series of sequels, with Fisher directing several of them.

Dark Star (USA, 1974)

Directed by: John Carpenter
Written by: John Carpenter, Dan O’Bannon
Cast: Dan O’Bannon, Dre Pahich, Brian Narelle

John Carpenter’s debut film gives us a cynical look at outer space travel. Not the majestic kind Kubrick showed us in 2001: A Space Odyssey, but more like space travel as a monotonous, blue-collar grind. Dark Star is the name of the ship that looks like a surf board. The job of its crew is to destroy unstable planets. And while this may sound exciting, the five crew members – who have been on board Dark Star for twenty years – are mostly bored out of their minds and increasingly detached from reality. Co-writer and actor Dan O’Bannon originally conceived the idea of an alien aboard the ship, but budget limitations forced him to turn that concept into the film’s now-infamous beach-ball creature. His alien idea would later become Ridley Scott’s Alien (1979). Tarantino once called this movie a masterpiece. I don’t see it that way, but I like the 2001 parody concept and the execution, including the inventive special effects, is certainly well done.

Man Bites Dog | C’est arrivé près de chez vous (Belgium, 1992)

Directed by: Rémy Belvaux, André Bonzel, Benoît Poelvoorde
Written by: Rémy Belvaux, André Bonzel, Benoît Poelvoorde
Cast: Benoît Poelvoorde, Jacqueline Poelvoorde-Pappaert, Nelly Pappaert

In this notorious cult classic from the French part of Belgium, a three-headed camera crew follows the gleefully depraved serial killer Ben, as he spends his days gruesomely murdering people for sport and profit. During the shoot, the crew becomes more and more complicit in Ben’s crimes. The sheer amount of killings is not very realistic, but the profiling of the killer, chillingly portrayed by Benoît Poelvoorde, convinces in all its sickness. The mockumentary concept was pretty new at the time, and the approach – taking the viewer inside the mind of a horrible human being, who – when he’s not busy killing people against depressing urban backdrops – is offering his warped and racist views in interviews – makes for disturbing cinema. The filmmakers, who worked on a shoestring budget, wanted to make something different, and they have succeeded in this task. C’est arrivé près de chez vous (‘It Happened Near You’) became a unique, deeply unsettling, and darkly comic milestone of cult cinema.

The Lady in Red (USA, 1979)

Directed by: Lewis Teague
Written by: John Sayles
Cast: Pamela Sue Martin, Robert Conrad, Louise Fletcher

Farm girl Polly moves to Chicago, where she becomes romantically involved with gangster John Dillinger. The film is curious in that it’s not really about Dillinger, but about his girlfriend and the unwitting role she played in the gangster’s famous demise at a movie theater. It traces Polly’s own descent into crime: she starts out as a seamstress, tries her hand at prostitution, and eventually ends up in jail. After Dillinger’s death, she organizes a dangerous but lucrative armed robbery on her own. Written by John Sayles, directed by Lewis Teague, and produced by Julie Corman – indeed, Roger Corman’s wife – the film unmistakably feels like a Corman-style exploitation picture, complete with plenty of bloody, machine-gun action. In his 2021 book ‘Once Upon a Time in Hollywood‘, Quentin Tarantino mentioned that in an alternate Hollywood universe, he directed a remake of this film. It certainly sounds like something he’d do well. Who knows – maybe an idea for his tenth and final movie?

Cult Radar: Part 11

FilmDungeon.com is glad to explore the video trenches to find that oddball treasure between the piles of crap out there. Of course, a treasure in this context can also be a film that’s so shockingly bad it’s worth a look, or something so bizarre that cult fans just have to see it. Join us on our quest and learn what we learn. Hopefully we’ll uncover some well-hidden cult gems.

Researched by: Jeppe Kleijngeld

Q: The Winged Serpent (USA, 1982)

Directed by: Larry Cohen
Written by: Larry Cohen
Cast: David Carradine, Michael Moriarty, Candy Clark, Richard Roundtree

A series of unexplainable crimes occur in New York City: a girl sunbathing on a rooftop vanishes, and a window cleaner at the Empire State Building is decapitated. Two NYPD detectives (David Carradine and Richard Roundtree) investigate a ritualistic Aztec murder and soon discover that these crimes are connected. This entertaining supernatural fantasy-horror film by Larry Cohen (Black Caesar) was produced by legendary B-movie mogul Samuel Z. Arkoff and grew from a single idea by Cohen: what if the Chrysler Building housed the nest of a giant prehistoric bird? The special effects are mostly reserved for the film’s climax and they’re not even that bad. The characters are also surprisingly engaging. All in all, Q: The Winged Serpent is an enjoyable B-movie that will certainly appeal to fans of Arkoff’s cult film library.

A Lizard in a Woman’s Skin (Italy, France, Spain, 1971)

Directed by: Lucio Fulci
Written by: Lucio Fulci, Roberto Gianviti, José Luis Martínez Mollá
Cast: Florinda Bolkan, Stanley Baker, Jean Sorel

A Lizard in a Woman’s Skin is a strong example of the giallo genre – an Italian cinematic style that blends elements of slasher, thriller, psychological horror, and sexploitation, and that predates the later wave of American slasher films. The story follows the daughter of an influential politician (Florinda Bolkan), who dreams of an orgy at her ‘liberated’ neighbour’s house and of killing her after having sex with her. She recounts this dream to her psychiatrist, only to discover that the murder actually occurred exactly as she described. I initially took the film’s title literally and expected a Cronenberg-style body horror, but it turned out to be more of a lesson in Freudian dream analysis combined with a murder mystery set in London in the Swinging Sixties. One of the film’s most notorious moments is a dream sequence in which a dog is cut open so convincingly that director Lucio Fulci and his special effects artist were taken to court to prove it was fake. It’s a well-crafted film – stylish, atmospheric, and intriguing – though at times a bit slow and uneventful.

Street Trash (USA, 1987)

Directed by: J. Michael Muro
Written by: Roy Frumkes, J. Michael Muro
Cast: Mike Lackey, Vic Noto, Bill Chepil, Mark Sferrazza

Just how trashy is a movie called Street Trash? Renowned Steadicam operator J. Michael Muro directs this body-horror comedy about hobos – an often underrepresented group in movies. The story centers on a cheap liquor called Viper that causes anyone who drinks it to melt. This independent production is a prime example of the curious horror subgenre known as ‘melt movies’ (The Blob is another prime example). The film has little in the way of a traditional plot; instead, it’s a series of loosely connected vignettes linked by the effects of the Viper drink. Among the recurring characters are a psychopathic Vietnam veteran terrorizing hobos and a mobster played by Tony Darrow (GoodFellas, The Sopranos). Street Trash has understandably gained quite a cult following over the years, though I didn’t enjoy it much myself. The scene in which a bunch of hobos toss a severed penis around with the owner running after it was a bit too much for me.

Requiem for a Vampire (France, 1972)

Directed by: Jean Rollin
Written by: Jean Rollin
Cast: Marie-Pierre Castel, Mireille Dargent, Philippe Gasté

This French cult treasure begins intriguingly: two girls and a man dressed as clowns are chased by a car and shot at. They fire back. The man doesn’t survive the pursuit, but the two girls manage to escape, eventually hiding near an abandoned water tower. They’re clearly on the run, but from whom? No explanation is given. It feels like a deliberate play with mise-en-scène that nonetheless holds your attention. Only after a while does a plot emerge, when the girls stumble upon strange rituals taking place in a remote château. The film is captivating – almost like a silent movie. The two leads don’t speak until they’re hypnotized by a vampire, who commands them to lure in victims for the resurrection of an ancient race. To do so, however, they must first lose their virginity. The lead actresses are well cast, and the combination of eerie locations, sensual imagery, haunting music, and dreamlike camerawork creates a mood that never lets go.

Quatermass and the Pit (United Kingdom, 1967)

Directed by: Roy Ward Baker
Written by: Nigel Kneale
Cast: James Donald, Andrew Keir, Barbara Shelley, Julian Glover

This Hammer production is more of a sci-fi mystery than the studio’s typical brand of horror. During the excavation of a new subway tunnel, workers uncover skulls and skeletons of ancient apemen. Professor Bernard Quatermass, a space scientist, is called in to investigate. When a strange metallic object is found nearby, he begins to suspect an alien origin and searches for the missing link in human evolution. This Quatermass film, the third based on a BBC television serial, feels very much like an old Star Trek episode, complete with familiar sci-fi elements such as telekinesis, telepathy, and alien insects. Though the pacing is a bit slow, several production aspects – especially the sound design – are excellently executed. The film also presents some intriguing science-fiction ideas, including the notion of recording the memories of a susceptible brain, revealing visions of insect wars that once took place on Mars.

Streets of Fire


‘A Rock & Roll Fable’

Director: Walter Hill
Written by: Larry Gross, Walter Hill
Cast: Michael Paré, Diane Lane, Rick Moranis, Willem Dafoe

Year / Country: 1984, USA
Running Time: 90 mins.

Walter Hill, who brought us many cinematic treats during the 1980s, now delivers a rock & roll fable. Streets of Fire makes a fitting companion piece to Hill’s own cult classic The Warriors. It offers an unusual mix of action, musical, and romance. The idea behind it – from Hill, screenwriter Larry Gross, and producers Joel Silver and Lawrence Gordon – was to create ‘the perfect film for teenagers’. They only partially succeeded.

Tom Cody (Michael Paré) is a badass who once had a love affair with Ellen Aim (Diane Lane), a rock goddess. She’s kidnapped during a benefit concert by a biker gang led by the strange and menacing Raven (Willem Dafoe). Cody agrees to rescue her, but since he feels she abandoned him for her career, he demands a reward from her suave agent and current boyfriend, Billy Fish (Rick Moranis). Cody also brings along the tough, hard-drinking McCoy, played by Amy Madigan in a role that strongly resembles Holly Hunter.

What follows is a fairly enjoyable ride that – unfortunately – holds only a few surprises. The dialogue and art direction are pretty fantastic, but the film lacks intensity. Not one situation in the screenplay is fully exploited for drama or tension. Had more of these opportunities been seized, this could have been a dream of a movie. As it stands, it’s just an entertaining action flick – nothing more.

Streets of Fire was poorly received both commercially and critically. It was released as a major blockbuster but failed to turn a profit. Still, it retains a cult following, thanks in part to its soundtrack featuring original songs by Ry Cooder, Stevie Nicks, and Tom Petty. It was intended to be the first in a trilogy of action films starring Michael Paré as Tom Cody, but due to its disappointing box office performance, it never got to that.

Rating:

Biography: Walter Hill (1942, California) has been an active member of the Hollywood community since 1967 when he became a 2nd assistant director. Ever since, he has produced, written and directed a significant number of movies. He once said in an interview that he considers all the films that he directed as westerns. If you look closely, you can see western touches, such as revolvers, Winchester rifles and cowboy hats in all of his work. Hill frequently works with character actors James Remar, David Patrick Kelly, Brion James and Ed O’Ross.

Filmography (a selection): Hard Times (1975), The Driver (1978), The Warriors (1979), The Long Riders (1980), Southern Comfort (1981), 48 Hrs. (1982), Streets of Fire (1984), Brewster’s Millions (1985), Crossroads (1986), Extreme Prejudice (1987), Red Heat (1988), Johnny Handsome (1989), Another 48 Hrs. (1990), Tales from the Crypt (1989-91, TV-episodes), Trespass (1992), Geronimo: An American Legend (1993), Wild Bill (1995), Last Man Standing (1995), Deadwood (2004, TV-episode), Broken Trail (2006, TV), Dead for a Dollar (2022)