Connect with us
Mad God movie review Shudder
Image: Shudder


Mad God Is A Challenging, Transgressive Spectacle

A Journey Beyond your Wildest Nightmares

Fantasia 2021: Mad God

While Phil Tippett may be best known for his stop-motion and creature effects on the original Star Wars trilogy, his first feature film is not something you’re likely to see spawn a merchandising empire or an inter-generational franchise. Mad God is a dark, dirty, experimental, transgressive and deeply uncommercial film, a raw, expressionist cry of outrage and despair. Tippett’s mastery of visual effects is on full display, making his bleak vision beautiful in its profanity and technically breathtaking even while it tests the limits of your squeamishness. Because make no mistake, this is not a film for the faint of heart or weak of stomach. It’s also not a film for those who demand an in-depth narrative or characterizations. That isn’t a failing on the movie, but rather a point where the intent of the film and the tastes of the audience may not meet up. But for those with the constitution for the film’s visuals and the patience and perception for its storytelling will find something quite special in Mad God, a work of singular vision and incredible talent that is, cliche as it may sound, unlike anything you have seen before.

To call Mad God “non-narrative” wouldn’t quite be right, but it would be close. The audience follows “The Assassin”, a hulking figure who emerges from a diving bell into a hellish subterranean world on a mission to deliver a mysterious briefcase. He never speaks, and indeed the film has no real dialogue. As this ambiguous figure treks through the world of the film, we’re essentially taken on a walking tour of the depraved, soul-churning landscape of Tippett’s vision. It’s not a fun place, to put it mildly. Massive, churning machines belch smoke and fire. Lumpy, misshapen abominations of flesh and rusty metal grunt, scream, excrete and die. Massive tanks battle on barren battlefields, crushing bystanders and exploding into balls of fire as they fight on in the name of who-knows-what. It’s an ugly world, full of profanity and pain and cruelty. 

Mad God

To what end, though? In the tradition of the expressionists or punk rock, Mad God isn’t so much about communicating ideas or commentary as it is emotions. There’s plenty to be read into the film’s imagery about exploitation, cruelty, industry. But this isn’t a coherent piece of nuanced assessment or rhetoric. This is a cry of anger, of anguish and frustration at the ugliness and injustice of the world, and a peek into the darkest recesses of a mind that has grappled with depression. There is a narrative, albeit one that is told non-verbally and in fragments, occasionally looping back on itself and going on tangents. But that thread that pulls us through the world of Mad God isn’t the main feature here. It isn’t about the story, it’s about the world, the visuals, the atmosphere and the emotions behind it all. Don’t fall into the trap of expecting anything as pat as character arcs, a three-act structure, or any of the narrative trappings you’ve come to expect. This isn’t that kind of film, and in many ways is better for it.

In addition to Tippett’s emotional turmoil and ideological outrage, his years of experience working in special effects is also fully on display in Mad God. While stop-motion definitely takes the spotlight, the film also makes extensive use of more conventional techniques, with live actors (including an appearance by auteur director Alex Cox) occasionally appearing to seamlessly integrate into the landscape of the film thanks to impeccable sets and costuming. Technically, the film is a marvel, the models are impeccably detailed and realized, animated, and presented with incredible flair.

Mad God

It must be noted though, that the film’s technical mastery is bent towards realizing a vision that will challenge the squeamish. Mad God is a deeply unsettling spectacle to behold, practically painted with gore, viscera, bodily fluids and a near limitless supply of gross distortions of the flesh. A brief shot of what could only be real footage of an unsimulated sex act can briefly be glimpsed, and if you miss it there’s plenty else to see that verges on the pornographic, although this is as far from erotic as one could ever possibly get. It’s beautiful in this depravity, the effects once again masterful and the presentation continually striking in its choices of composition. It presents the hideous and haunting with a true flair, captivating you at the same time that it repulses you.

Thematically and visually, Mad God is challenging. It confronts the viewer with appalling ugliness, less in the name of exploration or commentary than raw expression. This is one of those pieces of art that was made in part because the artist -needed- to make it, to put to canvas some inner torment or trauma lest it eats them alive from within. It’s a bare, ugly, raw expression, brought to life by someone with uttery mastery of their craft. See it for the spectacle of it, for the sheer magnitude of the gruesome tableau. See it for the story behind it, to see what the culmination of decades of work looks like. See it for the experience of watching someone bear what is doubtlessly a very dark part of themselves for all the world to see. See it because you love the gross stuff. See it because you know that sometimes it’s healthy to see something very upsetting. Whatever the reason, just see it. There’s nothing else like it.

The 25th edition of the Fantasia International Film Festival will run from August 5 – 25, 2021. Check out our full coverage here.

Written By

Beginning as a co-host on a Concordia TV film show before moving on to chief film nerd at, Thomas is now bringing his knowledge of pop-culture nerdery to Sordid Cinema. Thomas is a Montrealer born and raised, and an avid consumer of all things pop-cultural and nerdy. While his first love is film, he has also been known to dabble in comics, videogames, television, anime and more. You can support his various works on his Patreon, at You can also like the Tom Watches Movies Facebook page to see all his work on Goombastomp and elsewhere.

Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *



2001: A Space Odyssey 2001: A Space Odyssey

2001: Clarke and Kubrick’s Odyssey of Discovery


The Best Movies of 1973 The Best Movies of 1973

The Golden Year of Movies: 1973



Spider-Man: Across the Spider-Verse Is a Dazzling Web of Unbridled Creativity


The Zone of Interest The Zone of Interest

Cannes 2023: Jonathan Glazer’s The Zone of Interest is a Manicured Vision of Hell


Jeanne Du Barry review Jeanne Du Barry review

Cannes 2023: Maïwenn’s Great Hair Goes to Great Lengths in Jeanne Du Barry


Asteroid City: A Gimmicky Vanity Project Asteroid City: A Gimmicky Vanity Project

Cannes 2023: Wes Anderson’s Asteroid City is a Gimmicky Vanity Project


Black Flies Gripping Black Flies Gripping

Cannes 2023: Black Flies— Gripping Descent into the Underbelly of New York’s Urban Misery 


Four Daughters Four Daughters

Cannes 2023: Four Daughters: A Family’s Journey From Goth to Niqab


La Passion de Dodin Bouffant: La Passion de Dodin Bouffant:

La Passion de Dodin Bouffant: Surfeit Cooking Drama Most Inane Film at Cannes


BlackBerry movie review BlackBerry movie review

BlackBerry Is a Wonderfully Canadian Account of a Dying Tech Dream


Godzilla 1998 Godzilla 1998

Godzilla at 25: When Hollywood Made a Manhattan Monster Movie, with Disastrous Results


The Mother Jennifer Lopez and Lucy Paez The Mother Jennifer Lopez and Lucy Paez

Jennifer Lopez’s The Mother is Eerily Similar to Enough, But That’s Not a Bad Thing


The Matrix Reloaded The Matrix Reloaded

20 Years Later: The Matrix Reloaded was Underwhelming, but Still Underrated


Discovery channel Discovery channel

The Head-Scratching Moves Discovery Has Been Making


Starling Girl Starling Girl

The Starling Girl is a fine exploration of love, religion, and coming of age


Le Retour: Controversially Mediocre French Contender Director: Catherine Corsini Le Retour: Controversially Mediocre French Contender Director: Catherine Corsini

Cannes 2023: Le Retour is a Controversially Mediocre French Contender