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Among the greatest cinematic mysteries of our time, when it’s harder than ever to make movies, is the fact that David and NathanZellner continue to realize their uncompromisingly DIY, endearingly childlike vision through
an indie filmography that only seems to grow in scale and purpose. It’s a welcome miracle that the duo who once captured the rhythms of childhood in their own idiosyncratic way (“Kid-Thing”), channeled compassion for those who might think the buried “Fargo” treasure is real (“Kumiko the Treasure Hunter”), and made a goofily unhinged groom out of Robert Pattinson nearly a decade before “The Drama” got there (“Damsel”), continue to play in their lovable sandbox.
For most audiences, the Zellners’ rhythms and textures are an acquired taste of sorts, like oysters or Marmite, that some would swear by, and others couldn’t fathom. Thankfully, many of the finest actors out there seem to revere them. In fact, quite a few of them — including Léa Seydoux, Cate Blanchett (also a producer), Chris Pine and Kelvin Harrison Jr. — turn up and gleefully let loose in the brothers’ latest indie oddity “Alpha Gang,” about a group of isolated, leather-clad space aliens aiming to conquer the earth while donned in ‘50s biker gear. Because, well, why not?
The story’s time period is purposely indistinct: We might be somewhere in the mid-20th century if the gang’s romantically fitted greaser outfits, meticulously sculpted hairdos, and disarming doo-wop musical tastes — played out of an old-timey jukebox — are any indication. Then again, who knows where and when any of this is happening, given that many earthlings also turn up throughout “Alpha Gang.” They represent figures of various real-world wars throughout history, tasked to eradicate the blue-blooded aliens: sometimes in tanks, with bazookas and hand grenades, sometimes in carriages and with vintage weapons. Still with me?
Trying to kill them first are the group of Alphas One to Six, played by Seydoux and Harrison Jr., as well as Doona Bae, Riley Keough, Dave Bautista and Lily-Rose Depp. Most of the time, they keep a straight, frozen face while dancing to ‘50s love songs with robotic moves. And they are all alarmed about this fast-spreading human disease called emotions. What if they catch it and regretfully display joy, sadness, anger and so on, slowly losing their powers? Late to the party, Keough’s Alpha Six, who appears on earth in a playful scene out of a vintage sci-fi, gets warned about these dangerous things called feelings by Seydoux’s Alpha One. But Six has bigger things to worry about, like the explosive diarrhea attack all Alphas have to endure when they enter Earth.
Yes, there are toilet jokes throughout “Alpha Gang,” and the funniest one is a running gag about the mystery Alpha who consistently leaves the seat up and pees all over it. Still, the most appealing quality of this film — directed jointly by the Zellners, but written by David only — is how much undeniable fun the cast seems to having delivering truly ridiculous lines with a straight face, like when a love-hungry Alpha Three (Harrison Jr.) asks a little bird to go steady with him.
He isn’t the only one losing himself in feelings. Alphas Two (Bautista), Four (Depp) and Five (Bae) also secretly harbor awakenings, with One and Six projecting anger and frustration in excess. While this construct, where emotions soften the aliens’ stiff edges, especially recalls Gary Ross’ “Pleasantville,” the already colorful Alphas don’t turn even more Technicolor. Instead, they tear up, they fear each other and they get blue periods. Again, why not?
A turning point arrives with Chris Pine’s entry as the latest Alpha, who is consistently the film’s funniest presence as soon as he joins it. The whole cast commits to the bit, having undoubtedly shown up to play— still, there is something about Pine’s overdone mannerisms that land with the most uproarious laughter. When a rival, ‘80s-style gang called Beta shows up with an eye-patched and hilarious Cate Blanchett in their ranks (wait until you hear her accent), the mayhem only escalates from there. It’s evident that the Zellners have conceived the Alphas and Betas with a “Terminator”-like logic: Betas are the more advanced aliens, refusing to join forces with the relatively naïve Alphas.
There will be body parts severed, much (blue) blood spilled, and extreme violence erupting in every corner of the Zellners’ brutalist designs and impressively immersive world-building that needs to be seen to be believed. And viewers’ mileage will certainly vary with this peculiar, fun little concoction on seclusion, connection and the need to belong that can’t hide its undercurrent of melancholy about the sorry state of a divided world. Shortly after it begins to overstay its welcome, yielding diminishing returns, the film thankfully concludes — reminding us that cinema can afford to make more room for uncompromising visions and kooky little artworks with something to say and some fun to spare.
