Last week Missile Test heaped praise upon William Shatner, for his lifetime contribution to shitty cinema. This week features a different flavor of shitty movie actor — one whose star shined brightly in Hollywood, but whose latter career has been spent in direct-to-video schlock. Who could it be? Bruce Willis? Mel Gibson? Samuel L. Jackson? Morgan Freeman? Denzel Washington? All of those men, some with Academy hardware, have seen their careers drift away from the type of blockbusters that made them famous, but they are not the star of today’s reviewed film. Today’s film stars John Travolta, the one and only 21st century shitty movie actor who can give Nicolas Cage a run for his money. Continue reading “Shitty Movie Sundays: Speed Kills”
I’m thankful for William Shatner. Among the thousands, if not tens of thousands, of shitty movies ever made, he stands out. When a production hired William Shatner to play a role, they could be sure that no matter the budget, no matter the subject matter, they were going to get Shatner’s best effort. Not once did he ever take a scene off. And, much to the consternation of many involved, he did it his way every time. There is a lot less Shatner ahead of us in this world than there is behind us, and I’m telling you, we will miss him when he’s gone. Continue reading “Shitty Movie Sundays: The Kidnapping of the President”
The Asylum is shameless. When they’re not churning out giant monster flicks starring washed-up TV stars for SyFy, they’re taking advantage of blockbuster movies, attaching themselves like remora and feeding off scraps. They have taken the idea of the mockbuster, cinema’s short con, and elevated it. Not to art, but it’s definitely something they’ve honed.
I like that The Asylum has no shame. It’s different than what a filmmaker like Roger Corman has done throughout his career. Corman was a filmmaker with talent, and he threw it all away to chase the cheap buck. The Asylum, by contrast, has always been a house of shit.
Road Wars was in the can and ready to release direct-to-video early in May of 2015, timed to match the upcoming release of Mad Max: Fury Road. That’s the film Road Wars is ripping off. From the mishmash black leather outfits and shoulder pads (my favorite accoutrement was a bicycle reflector attached to an epaulette), to old muscle cars with all sorts of metal shit welded on to them, to the desert setting (California City, take a bow), to the derivative title, this is almost enough of a ripoff for the rights holders of Mad Max to sue. That makes this shitty flick a proper mockbuster. Continue reading “Shitty Movie Sundays: Road Wars”
We here at Missile Test love a big budget flop. We love it when A-list stars and up-and-comers bound for greatness show up in a film that has big ideas and tiny payoff. We love it when Hollywood pretensions and conceits come back to bite them in the ass. It’s even better when the whole package is absurd — when a film makes a viewer wonder, “what were they thinking?”
Virtuosity is one of Hollywood’s earlier attempts to parse the Information Age, and its effects on the wider world. Released in 1995, its assumptions about the future can be laughable at times. What doomed this movie in 1995 was that its vision was somewhat laughable back then, as well. Continue reading “Shitty Movie Sundays: Virtuosity”