Mr. Mike's Mondo Video
The film is largely plotless; a series of vignettes linked together by interstitial pieces featuring Mr. Mike discussing how upsetting and odd the sequences are. He introduces some of the pieces via voice-over, and some open with no introduction.
Sequences include:
Aykroyd displaying his webbed toes which he prodded with a screwdriver to prove they were not make-up.
A church that worships Jack Lord as the one true god (also featuring Dan Aykroyd).
A French restaurant that prides itself on how poorly it treats American patrons.
"Dream Sequence" — a series of surreal film pieces bracketed by large light-up signs reading "Dream Sequence" and "End Dream Sequence" that track towards and away from the camera. One of these is merely performance footage of Klaus Nomi, while another features home movie footage shot by Emily Prager intercut with stop-motion animation.
Jo Jo, The Human Hot Plate — a quick cutaway to performance artist Robert Delford Brown, smiling, undulating and dressed only in a pair of briefs while holding canned spaghetti in his cupped hands.
The presentation of a classified government weapons project, "Laserbra 2000". This piece is the last of a triptych of sequences that chronicle attempts to obtain the classified footage. In the first, the film (secreted in a violin case) is in fact someone's home movies; in the second, the violin case contains a violin. National Lampoon writer Brian McConnachie appears in the footage as a scientist.
Short films made by other directors:
"Cleavage" by Mitchell Kriegman — closeup of a hand working its way out from (what is implied to be) between a large pair of breasts, feeling around gently, realizing where it was, and working its way back in.
"Crowd Scene Take One", by Andy Aaron and Ernie Fosselius — purports to be a director guiding background actors for a disaster movie scene.
"Uncle Si and the Sirens" — anonymously-directed silent-era "nudie-cutie" short found by SNL alumnus Tom Schiller.
comedy, cult, violence, psychedelic, absurd, humor, satire