Bad-movie fans: The Capitol Theatre marquee beckons, Tuesday evening, with a promise of epically awful movie making. It's a one-night-only engagement of Neil Breen's Pass Thru, an inept metaphysical dram-com that fans of Tommy Wiseau's The Room might enjoy. It screens at 7:00.
The gist: An alien intelligence inhabits the body of a nameless overdose victim in what looks like the American southwest. This intelligence wanders the landscape, periodically touching rocks, communing with tigers from bygone eras, and eventually stumbling upon a couple of screaming escapees from a batch of trafficked humans.
This alien intelligence decides that he's going to eliminate hundreds of millions of people from the face of the earth — all the "harmful people," he says, which designation includes politicians, international bankers, soldiers, media moguls, and the worst criminals housed within the prisons of the world — and he does so, somehow. In the aftermath, he instructs the world's remaining population to revolt against whatever injustice might remain, repeating his thesis about corporate greed and political evil for what feels like 45 minutes from the comforts of a green screened "international media center."
Meanwhile, a trio of pre-teens who are hooked on outer space and a bedridden professor who's been amassing non-specific intergalactic intel, get closer to discovering... well, something, via a series of frantic phone calls.
As with former Breen enterprises, Pass Thru represents some of the very worst acting, incoherent scripting, nonsensical production and generally delusional filmmaking ever seen in amateur/low-budget movies that have managed to obtain a distributor. (And as with Breen's most recent film, Fateful Findings, Pass Thru is being distributed precisely because it's so terrible.)
Don't tell that to Breen, though. The Las Vegas architect who not only finances but writes, edits, directs, produces, and stars in all his films, is by all accounts sincere in his efforts. His films' cosmic meditations, "paranormal twists,"and anti-corporate themes, all conveyed with a flagrant unsubtlety, are by now deeply ingrained.
Even as Breen relishes his role as outsider — though it's not like he'd be welcome in the Hollywood mainstream — he resists the characterization of his films as "cult" or "late-night" productions. You can be the judge of that.
Here's the trailer, if your interest's not already piqued: