WILLIAM GREFE WEEK: The Psychedelic Priest (2001, but really 1971)

Also known as Electric Shades of Grey and Jesus Freak, The Psychedelic Priest wasn’t really directed by Stewart “Terry” Merrill, but instead William Gréfe, who was paid for this movie in trading stamps, which he described in Brian Albright’s Regional Horror Films, 1958-1990: A State-by-State Guide with Interviews as “Instead of cash, if you owned a TV store and I owned a garage, and you needed your transmission fixed, you’d give me trading stamps. When I needed a TV, I could go get a TV from you.”

Gréfe got paid $100,000 in trading stamps to make this movie that was never released until thirty years later because everyone felt it would be a bomb. As for Gréfe, he was now the president of Ivan Tors Films, making family movies, so he realized that “I didn’t want some wild hippie drug movie with my name as writer and director.”

The cast and the crew were non-actors, mostly real hippies, and the story is rambling at best, as Father John realizes that he can no longer preach to the young people, so he goes on some sort of quest to learn how to fit into a world that doesn’t need religion any longer. He almost leaves the cloth for a woman named Sunny, but by the end of the movie, he’s come back to his commitment to the church.

This was shot on the fly, with scenes mainly being improvised, as well as a soundtrack that is really solid. It’s a great experiment and whether or not it works for you is, well, up to you. I dug what it was trying to do, even if it’s not always successful.

Originally released by Something Weird, Arrow Video has put this on their new He Came from the Swamp box set. Diabolik DVD has it for sale now.

Slasher Month: The Red Right Hand (2001)

As I write this, Boston’s iconic, trendsetting alternative rock station, WFNX 101.7 FM, is no more.

When the station went on the air in 1947 as WLYN, it broadcast a programming palate of simulcasting its sister AM station with the same callsign on AM 1360, then originated its own programming at night after the AM went off the air at sundown (an AM-FM combo broadcast standard until the mid-70s). Upon the convergence-birth of Los Angeles’ alternative rock station KROQ (the home of Rodney Bingenheimer; his career chronicled in The Mayor of the Sunset Strip) and MTV in the early ’80s, the station came to drop its variety-ethnic programming in 1981 and began experimenting with new wave music in the evenings.

By 1982, WLYN became known as “Y-102,” one of the first full-time new-wave rock stations in the country; a station sale in 1983 resulted in the format remaining, but birthing a new set of call letters — WFNX — until another station sale in 2012 to Clear Channel Communications (now iHeartMedia) resulted in an automated format flip to an “Adult Hits” and a new set of call letters: WBWL (a common practice — live to automation — in these digital times).

The first song WFNX played under its new, full-time alt-rock format was the Cure’s “Let’s Go to Bed.” In August of 1991, with buzz on the group in full effect, DJ Kurt St. Thomas gave the then commercially unknown Nirvana their world broadcast premiere of their new album, Nevermind, from start to finish — and we all know how that album turned out.

At that point, WFNX became a trendsetter of the alt-rock community, giving the first national airplay to the top-selling bands The Darkness, Franz Ferdinand, Florence and the Machine, Hawthorne Heights, and Jet, just to name a few. When the station when off the air in 2012, they went off with the song that started it all: the Cure’s “Let’s Go to Bed.” Nirvana’s first major, mainstream concert appearance beyond the college-rock club scene was for WFNX’s annual anniversary party in August 28, 1991.

To call St. Thomas — as do Beatles historians with New York DJ Murray the K as “The Fifth Beatle” — the “fourth Nirvana member” (or fifth, if you count the late addition of Pat Smear of the Germs as a second guitarist during the In Utero years), is no understatement.

VHS image courtesy of sweesus-smasher/Paul Zamerelli of VHS Collector.com

By 1996 Kurt St. Thomas transitioned into filmmaking. Along with fellow WFNX DJ Mike Gioscia, they made the 1999 black and white film noir Captive Audience. The film dealt with the odd, symbiotic relationship between an overnight DJ and a gun-toting intruder at the station. Winning several international and domestic film awards, St. Thomas and Gioscia were encouraged to shoot a more adventurous feature production.

Recruiting John Doe of X (Border Radio) as their star, The Red Right Hand is a horror film that begins in 1963 as it follows five high school friends forced to relive a terrifying secret at their 15th high school reunion in 1978. Also released to video under the titles Above and Below and Jon’s Good Wife, the original title was taken from a Nick Cave song. 

As with most of the Troma Entertainment catalog, don’t let the logos from The Asylum deter you from spinning the DVD, as the studio only distributed the film; they were not involved in its production.

Is it “The Creepiest movie since Rosemary Baby!” as the DVD box claims? No. And The Asylum marketing department has a lot of balls making us thing we’re getting a film that matches the majesty of Roman Polanski. However, St. Thomas and Mike Gioscia have crafted a solid mystery drama rife with blackmail, murder, private demons, and rattling bones: all the plot points you expect in a noir.

St. Thomas would later work at the KROQ, the L.A. rock station responsible for birthing WFNX; while there, he came to produce the long-running specialty show “Jonesy Jukebox” for Steve Jones of the Sex Pistols (The Great Rock ‘n’ Roll Swindle). He and John Doe are currently in post-production stages on their latest effort — and St. Thomas third feature film overall — D.O.A: The Movie, with co-star Lucinda Jenney, who we last saw in Rob Zombie’s 3 from Hell. A noir homage, it concerns Frank Bigelow (John Doe), a Florida private detective hired to follow the ne’er-do-well husband of a St. Augustine socialite. The spiraling double-crosses ensue.

Even though The Asylum made the VHS and DVD widely available in the marketplace — I’ve seen it numerous times on rental and retail shelves, cut-out bins and second hand stores — they’ve opted not to offer it as an online stream. There’s not even an online trailer or clips to share. But if you Google it, you’ll readily find VHS and DVD copies in the online marketplace.

About the Author: You can learn more about the writings of R.D Francis on Facebook. He also writes for B&S About Movies.


We’ve since done a “John Doe Week” tribute in December! You can visit this recap/round up for those film reviews.

Strange Frequency (2001)

Mary Lambert (Pet Semetary) and Bryan Spicer (McHale’s Navy) came up with this VH1 series, of which this movie was the pilot and also provided four episodes. Unlike Tales from the Crypt, which used the old comic books for inspiration or the morality plays of The Twilight Zone or Night Gallery, this show turned to rock and roll to create its stories.

The Who’s Roger Daltry serves as the narrator for this first go-round, which originally aired on January 24, 2001.

The first story, “Disco Inferno,” finds two rockers stuck within their own personal hell — a disco that never stops playing the music they hate. Penthouse 1992 Pet of the Year Brandy Ledford appears, as does That 70’s Show actor Danny Masterson.

“My Generation” has Danny’s brother Chris matching wits with Eric Roberts (here he is again) as two serial killers with deadly taste in music.

“Room Service” has a real rock star, Duran Duran bassist John Taylor, who is trying to destroy his hotel room but the maid always fixes it.

“More Than A Feeling” has Judd Nelson as a music producer who keeps breaking new artists who sadly die right after they find their success.

Sadly, the follow-up series only lasted ten episode, with “Daydream Believer” never airing. It was a good concept, if you ask me. But then again, I love anthologies, so put another dime in the Mystic Seer, baby.

Soul Survivors (2001)

Get ready for a drunk driving PSA that lasts 84 minutes, as Cassie (Melissa Sagemiller) gets in an accident that kills her boyfriend Sean (Casey Affleck) after a night of clubbing in a potentially haunted bar and a misunderstanding with her ex-boyfriend Matt (Wes Bentley). Oh yeah, Eliza Dushku is in this as well.

It all ends up being a dream in which the evil Deathmask, a scarred up dancer and a girl named Raven try to keep her from coming back to the world of the living. Luke Wilson also is in this as a priest who tries to help.

Writer and director Stephen Carpenter was also behind the movies The Dorm That Dripped BloodThe KindredThe Power and the TV series Grimm. I’d watch the first one of those before this, which Affleck has mentioned as one of the worst films he’s been in. Or watch Sole Survivor instead, which is the same idea done much better.

In the wake of Scream and Final Destination, I can see why this movie was made. The fact that I found myself compelled to watch it — I blame the gimmick-filled DVD — is an issue that I’ll have to deal with, hopefully with the help of dancing ghosts, a booming soundtrack with the Deftones on it and a kindly clergyman.

You can watch this on Tubi.

Brotherhood of the Wolf (2001)

It’s pretty amazing that this French-language film played cineplexes in the United States, but I saw it twice in theaters during its run and bought the DVD as soon as it came out. This is a film that I am evangelical about, purchasing numerous copies for people and recommending it to countless more.

How many other movies do you know that have incestual werewolves battling the martial arts of a royal naturalist and his Native American companion while Monica Belucci plays a courtesan who is really an assassin for the Pope?

Grégoire de Fronsac, a knight of King Louis XV of France, and his Iroquois friend Mani (Mark Dacascos) have come to the French village of Gévaudan. A mysterious beast has been killing people and seems to be controlled by a human master.

The truth is that the town — in fact the entire country — is consumed in a conspiracy to undermine the king of France. Somehow, this beast will help their cause, as the Brotherhood of the Wolf wants to restore God through blood and chaos.

Not many period pieces combine horror, martial arts and mystery all in one movie, but I’ve always found this combination to be perfect. There’s also an audacious shot of Belucci’s cleavage that transforms into a mountain range that is so ridiculous that I cheered in the theater.

This was based on a true story, as the Beast of Gévaudan was a wolf-like creature that killed 100 people in the Auvergne and South Dordogne regions of France from 1764 to 1767. Also, all od the primary characters, with the exception of Mani, actually were real people who lived during the time of King Louis XV.

Director Christopher Gans also made Crying Freeman, a Japanese anime adaption also with Dacascos, a 2014 reimagination of Beauty and the Beast (starring Vincent Cassel as The Beast, who — spoiler — is a member of The Brotherhood of the Wolf) and video game adaption Silent Hill.

There’s really no other movie like this. I’ve barely scratched the surface of it in my explanation, but that’s because I want you to discover it for yourself.

The Fast and the Furious (2001)

Twenty years ago — has it been that long? — Paul Walker and director Rob Cohen made The Skulls together. Cohen got a deal with producer Neal H. Moritz and Universal Pictures. Looking for ideas, he asked Walker what his dream action movie would be. The answer? A mix of Days of Thunder and Donnie Brasco. After a May 1998 issue of Vibe detailed New York City’s street racing scene, they had their film. All they needed was a co-star.

After Gone In 60 Seconds, Universal wanted Timothy Olyphant but they got Moritz’s pick instead: Vin Diesel, hot off the success of Pitch Black. And then, seventy-eight wrecked cars later, we had a movie. Any similarity to the D.B. Sweeney and Charlie Sheen film No Man’s Land — which came out thirteen years before — is surely coincidental.

LAPD officer Brian O’Conner (Walker) has gone undercover to infiltrate the gang that has been stealing from trucks and disappearing. He soon makes it into the gang led by Dominic Toretto (Vin Diesel), who has been banned from pro racing after attacking the man who accidentally killed his father, but complicating matters is that he soon falls for Dominic’s sister Letty (Jordanna Brewster).

This movie was originally entitled Racer X (the name of the Vibe article), Race Wars and Redline, but then someone had the brilliant idea to ask Roger Corman if they could use the title of his 1955 film The Fast and the Furious. Getting paid again for a movie he already made? I can only imagine how delighted Corman had to be at the prospect.

This movie made stars of both Walker and Diesel. Waker would work with Ted Levine again — he plays one of his bosses here — in Joyride, while Diesel would refuse to be in the next few sequels to this movie.

This was a movie decimated by the critics. Actually it wasn’t until the last few movies that anyone would even admit they liked these. How times have changed.

Josie and the Pussycats (2001)

Who would expect that a big budget movie based on an Archie Comic and Hanna-Barbera cartoon would end up being a movie so willing to bite the hand that feeds and presents a world where the world of pop music is all one giant conspiracy to sell you things? While it’s selling you things, of course.

Yet despite being savaged by critics back and bombing at the box office at the start of this century, this movie feels more relevant today than nearly anything else that played theaters in 2001. It’s skewering of consumerism is, if anything, even more relevant today. And man, the songs are catchy.

Josie McCoy (Rachael Leigh Cook), Melody Valentine (Tara Reid) and Valerie Brown (Rosario Dawson) are the Pussycats, who have been selected to replace DuJour, the latest and hottest band, but also one who have learned that this is all a big scam on the kids. They pay the price when their plane goes down over Riverdale.

Now, Wyatt Frame (Alan Cumming) and Fiona (Parker Posey) have promised the one world government that her new band won’t need to be killed via drug overdose and will get the job done — or else Carson Daly will wipe them out on the set of Total Request Live.

There are so many products placed in this movie that it becomes virtual overload, yet none of them were paid for by the actual companies. They were all placed there by the filmmakers and there are around 73 different products in this movie.

Those songs I mentioned — that’s Kay Hanley from Letters to Cleo singing — make this movie even better.

Deborah Kaplan (who is married to Breckin Meyer, who has a cameo in this movie) and Harry Elfont wrote and directed this movie. They’ve worked together on plenty of other films, including A Very Brady SequelCan’t Hardly WaitThe Flintstones in Viva Rock VegasSurviving ChristmasMade of Honor and Leap Year. However, this would be the last movie they’d direct.

Box Office Failures Week: Freddy Got Fingered (2001)

Most of the time when I discuss movies on this site, I share how many Razzies the movie won. The celebrities who win these awards rarely show up and never dignify this honor. But not tom Green. When Freddy Got Fingered won Worst Screenplay, Worst Actor, Worst Film, Worst Director and Worst Screen Couple, Green rolled up on his own red carpet, wearing a tuxedo and riding in a white Cadillac. He said, “When we set out to make this film we wanted to win a Razzie, so this is a dream come true for me”. Then he played the harmonica until security dragged him offstage.

Nathan Rabin’s columns at the AV Club and his book My Year of Flops are a big reason that I began to write about movies. And if you read his review of Freddy Got Fingered, you’ll see some line — I hope — to what I try to accomplish here. There are some movies that got unfavorably mauled. And there are some movies that are just messes. But sometimes, a glorious mess is way more entertaining than a vanilla romcom.

Rabin refers to this movie as “both one of the worst films ever made and a movie so doggedly, singularly bizarre that it’s hard to believe it ever got green-lit. Studios exist precisely to keep films this audacious, original, and transgressive from ever hitting theaters.”

He also referred to it as “less as a conventional comedy than as a borderline Dadaist provocation, a $15 million prank at the studio’s expense.”

Bingo.

There was an NC-17 version of this movie that Green described as “porn with murder,” ending with a child being torn apart by a propeller. There was also a three-minute long PG version, as that’s all that made the cuts.

Yes, this is not a movie for everyone. Also, it’s nearly not a movie for anyone.

28-year-old cartoonist Gordon “Gord” Brody (Green) leaves his parents Jim and Julie (a manic Rip Torn and the always wonderful to see Julie Hagerty) behind to head off to Hollywood, leaving in the Le Baron that they give him and finding a job in a cheese sandwich factory. Literally, this Hollywood dream of being an animator lasts at least five minutes of the film, which is mostly a series of rapid-fire gross outs and go nowhere non sequiturs that redefine the word non sequitur.

Gord convinces the secretary (Drew Barrymore, one-time wife of Green) of animation CEO Dave Davidson (Anthony Michael Hall, now the inverse of his nerd personna) to give him a job. He doesn’t understand anything Gord shows him, like a bag of bloody eyes holding a balloon. In fact, he tells him, “It doesn’t make any sense. It’s fucking stupid. What you need here is elevation. There has to be something happening here that’s actually funny.”

I can only assume that these were actual studio notes on this film turned into some meta commentary on the nature of art.

Gord gives up on life, quits his job and returns to live with his parents. One day, while skating with his friend Darren (Harland Williams, who also made some movies that no one understood either like RocketMan), who breaks his leg while skating. At the hospital, Gord meets his dream girl, Betty (Marisa Coughlan, Super Troopers), a wheelchair-bound scientist nurse who yearns to create a rocket-powered wheelchair when she isn’t begging to have a bamboo cane smashed against her non-working legs and indulging in her love of fellatio. Yes, I just wrote that sentence.

As a result of Gord’s dad insulting Betty in a restaurant and the ensuing brawl, a family therapy session leads to Gord falsely accusing his father of fingering his adult brother Freddy (Eddie Kaye Thomas from the American Pie films). This ends up sending Freddy to a home for abused boys — despite him being in his mid-20’s — and Julie leaving Jim for Shaq.

Still with me?

Somehow, Gord goes back to Hollywood and pitches a show based on his relationship with his father called Zebras In America. It gets picked up after his father bursts into the office and tries to kill our protagonist. The million dollar payday is used to thank Betty with an elaborate romantic gesture — a speech set to “When A Man Loves A Woman” while a helicopter drowns out any noise — and moving his parents to Pakistan, where father and son are kidnapped for over a year.

Despite supposedly ruining Green’s career — cancer took him out of commission soon after the film* and he still does well as a stand-up to this day — this movie wasn’t a commercial failure. It earned $14,254,993 domestically — and $78,259 overseas, which is hilarious to me — and $24,300,000 from DVD sales. Green opined that his under 17 year old audience probably snuck into the film, so the real box office may have been even higher.

That said, the critics absolutely savaged this movie.

Roger Ebert gave the film a zero-star rating, as it was one of his most hated films of all time. He said, “This movie doesn’t scrape the bottom of the barrel. This movie isn’t the bottom of the barrel. This movie isn’t below the bottom of the barrel. This movie doesn’t deserve to be mentioned in the same sentence with barrels.”

But wait — what happened over the next few years to make Ebert reflect and say, “I remember Freddy Got Fingered more than a year later. I refer to it sometimes. It is a milestone. And for all its sins, it was at least an ambitious movie, a go-for-broke attempt to accomplish something. It failed, but it has not left me convinced that Tom Green doesn’t have good work in him. Anyone with his nerve and total lack of taste is sooner or later going to make a movie worth seeing.”

How many movies are you going to see where the lead cuts open roadkill to get inside it as if it were a tauntaun or delivers a baby by twirling it over his head? Not many.

To me, this movie is really an absurdist send-up of 2000’s gross out comedies. It’s a prank — a way to spend $14 million on something completely surreal. I can’t even imagine what the studio thought when they saw this. And yet it predates the Adult Swim and blip viral humor that the world of 2020 enjoys.

I love the names this movie enjoyed around the world, such as Freddy Leaves Home (Chile), I’m Eating Freddy (Hungary), Freddy Realized (Argentina), Fingers Playing (Finland, obviously taken from the “Daddy Do You Want Some Sausages” piano scene), Freddy’s Obscene Relationship (Japan), A Loose Guy (Poland), Freddy In Trouble (Portugal), Freddy You Go! (Russia), Extremely Fat Movie (Serbia), Freddy the Stupid (Spain) and — best of all — France’s Va Te Faire Foutre Freddy! (Go and Fuck Yourself Freddy!). This is only topped by Bulgaria’s Fucked Freddy.

For some reason, I love this movie. Maybe because it’s so bad. Perhaps because it was a middle finger from Green to the entertainment industry that suddenly had embraced him. Who knows — I think it’s because this movie simply was made, despite every reason in the world that it never could or should.

I also just realized that I wrote so many words about this movie and didn’t mention how many animal genitals are touched, fondled and played with in it. It’s gross the first time, repetitive the next few times and then becomes charming, if it can be, after that.

*The surgery Freddy watches is actual footage of Green getting a lymph node taken out due to testicular cancer.

Box Office Failures Week: Glitter (2001)

Mariah Carey went into this movie as probably the biggest diva on the planet, having emancipated herself from her first marriage to Tommy Mottola and her contract with Columbia Records to become exactly who she wanted to be.

She also pretty much lost her mind.

As she started the publicity tour for this movie, she’d leave long and rambling voicemails to her fans — her lambs, as she called them — on her website. And then there were the TV appearances. On BET’s 106 & Park, she hid behind pillows and claimed that she was living “one day that was continuous.” There was also the infamous TRL appearance on MTV,  where she emerged in a nightshirt giving away ice cream to the audience before discussing therapy and stripping on stage, ending with her yelling, “Mariah Carey has lost her mind!”

See — I told you.

By the end of the month, Carey was hospitalized for extreme exhaustion and had both a physical and emotional breakdown. The movie and soundtrack were delayed for a few weeks, then the attacks on September 11, 2001 happened. And no one wanted to think about music or fun or Mariah Carey going bonkers for a while.

I’m lying. I was ready for this trainwreck the whole time.

Carey herself said, “Here’s the thing that a lot of people don’t know, that movie was released on September 11, 2001 – could there be a worse day for that movie to come out? … I don’t even know that many people even saw the movie.” She’s since referred to the movie as the biggest mistake of her life.

Mariah is Billie Frank, the daughter of a 1970’s nightclub singer who once set their house on fire. She grew up in an orphanage with her two best friends, Louise and Roxanne (Da Brat and Tia Texada), but now all three girls are the backup singers to the host of Top Chef (Padma Lakshmi, the only person in this movie to probably has read The Satanic Diaries, much less be married at one point to its author).

Billie falls for Dice, a DJ who gets her out of her contract with Timothy (Terence Howard) for $100,000, an action that ends up costing him his life just as Billie is about to finally play Madison Square Garden. Man, I fast-forwarded the plot, but that’s pretty much it. Think A Star Is Born without all the crying in bathtubs.

As amazing a singer as Carey is, her five-octave voice does not translate to her ability to emote or carry the lead role. No one else is ready, willing or able to carry her. And look, I may be writing this in my sweatpants, but even I know that some of the fashions in this movie do anything but glitter.

Director Vondie Curtis-Hall — he’s also an actor, you may have seen him on Chicago Hope as Dr. Dennis Hancock — has mostly moved into TV movies about celebrities. Here’s hoping he goes meta and makes a Mariah film.

This movie has left me with so many questions. How old is Billie’s cat? It has to be at least twenty years old or longer. How did she and Dice learn how to telepathically write songs together? Why is no one interesting in this movie? Why did Ann Magnuson sign up for this? Why has the two-and-a-half hour length original cut never surfaced? Could Dice’s pants be any tighter? Are they perhaps his skin? And what’s up with that bicycle outfit that Mariah wears?

Glitter made $5.3 million on a $22 million dollar budget and the soundtrack album ended up being the worst selling record Carey released up until that point, so she was dropped from her Virgin contract, losing around $100 million dollars. Man — I can’t sleep and my total debt is so insignificant next to that amount. And I’ve never showed up and thrown ice cream sandwiches to Carson Daly yet. Maybe there’s hope for all of us. Thanks for showing us the way, Mariah.

Ape Week: Planet of the Apes (2001)

Mark Rosenthal and Lawrence Konner (The Legend of Billie JeanSuperman IV: A Quest for PeaceSometimes They Come BackThe Beverly Hillbillies and more) worked with The Polar Express and Cast Away writer William Broyles Jr.

After decades of trying to reboot the franchise, Tim Burton was able to get this script to the screen, even if nearly nobody was happy with the end results. Sure, it made money, but even the ending – spoiler, the Lincoln Memorial is now dedicated to General Thade and everyone on Earth is an ape — is the most nonsensical surprise ending of nearly all time.

Mark Wahlberg — the man who potentially could have stopped 9/11 — plays Captain Leo Davidson, a United States Air Force astronaut who opens a portal to another world and ends up captured by the apes sometime in the future of 5021.

After being captured, Leo and a female slave named Daena (Estella Warren) are bought by female chimpanzee Ari (Helena Bonham Carter), who brings them to work as servants in the house of her father, Senator Sandar (David Warner). Of course, Leo is destined to free the slaves and battle for freedom against Thade (Tim Roth, who turned down the role of Snape in the Harry Potter films to be in this movie) and Colonel Attar (Michael Clarke Duncan).

This is a movie packed with actor spotting opportunities, from Paul Giamatti as slave trader Limbo to Kris Kristofferson as Daena’s father Karubiv, Cary-Hiroyuki Tagawa (Shang Tsung!) as General Krull, Lisa Marie as Nova, Erick Avari (who has portrayed 24 different ethnicities in his career) as Tival, Glenn Shadix (who was the voice of the Mayor of Halloween Town in The Nightmare Before Christmas) as Senator Nado, Freda Foh Shen (the voice of the Chinese takeout in Hey Dude, Where’s My Car?) as Bon and cameo appearances by the two actors most associated with the human side of the original films. Charlton Heston plays Thade’s father Zaius and Linda Harrison appears as a slave.

The films looks great, the Rick Baker effects are amazing, but sadly the film has no soul. There was plenty of studio overinvolvement in the film and Burton was in the midst of ending his relationship with Lisa Marie and beginning a new one with Helena Bonham-Carter. When asked if he’d make a sequel, Burton replied, “I’d rather jump out a window.”

Planet of the Apes won Worst Remake at the 22nd Golden Raspberry Awards, while Heston (Worst Supporting Actor) and Estella Warren (Worst Supporting Actress) also won awards. For what it’s worth, Tim Roth had major issues with Heston and had no idea that the NRA spokesperson would be in the film with him.

Wahlberg would later say to MTV News, when the next series of reboots was released, “I haven’t seen it yet, but I heard it was pretty damn good. Well, ours wasn’t. It is what it is. Ours wasn’t. They didn’t have the script right. Fox Studios had a release date before Tim Burton had shot a foot of film. They were pushing him and pushing him in the wrong direction. You have to let Tim do his thing.”

One last weird thing: Two apes in fill makeup appeared on the August 6, 2001 of WWE Raw. They entered the building to the theme song of Kamala and brought gifts for Stephanie McMahon before helping Chris Jericho throw a pie in her face. However, the apes were presented as real and not actors, which made the whole thing appear even more ridiculous.