Blood, gore, low production values, a little gratuitous nudity, and charm out the wazoo. That’s Nightbeast, the 1982 sci-fi/horror flick from b-movie filmmaker Don Dohler. It’s a simple film with a simple idea: an alien passing by Earth runs into a stray asteroid and crashes in rural Maryland. It’s an angry beast, and it wastes no time slaughtering the locals with its laser gun.
Trying to stop the massacre are the cops and the good citizens of Perry Hall, led by Sheriff Cinder (Tom Griffith). That’s all the plot one really needs to know. There’s very little setup to this flick, and very little character development. That’s a good thing, as Dohler didn’t round up the best talent for his opus. Besides Griffith, there’s Karin Kardian as Deputy Lisa Kent, Jamie Zemarel as local Jamie Lambert, and Don Leifert as local tough guy and murderer Drago (it’s a subplot). None of these performers, or the others listed in the credits, had much work outside of Don Dohler films, and none of them seemed like professionals. But, their lack of acting chops only adds to the appeal. Continue reading “October Horrorshow: Nightbeast”
If one is looking for a realistic World War Two movie, look elsewhere. Overlord takes all of its war visuals and scenarios from Saving Private Ryan and Band of Brothers, to the point of thievery, but all that is just backdrop to the story. What this movie is really about are Nazi monster super-soldier experiments, and the small squad of American paratroopers who put a stop to it. It’s bloody, full of gore, and, somehow, works as a serious tale with no absurdity. Continue reading “October Horrorshow: Overlord”
So, how does a production company follow up a financially successful creature feature that surprised audiences and critics alike with its absurd watchability? By doing it all over again, but with less than half the budget. It’s almost criminal.
Anaconda, the 1997 giant snake flick starring future superstar Jennifer Lopez, ranks very high in the Shitty Movie Sundays Watchability Index. It was shocking how so stupid a movie ended up being so entertaining. It was also something of a surprise that it took another seven years for there to be a sequel, as Hollywood is not known for passing up free money. Continue reading “October Horrorshow: Anacondas: The Hunt for the Blood Orchid”
What a gloriously stupid movie. It has it all. Barely sensible plot, bad dialogue, bad acting, cheap filmstock, gratuitous nudity, and all the other accoutrements that make shitty cinema great. Every time the flick threatens to drag, directors Michael Mazo and Lloyd A. Simandi throw in a gunfight and some explosions, and all is well with the world once again. Empire of Ash III is no rare gem, but we shitty movie fans love it when filmmakers just throw shit at the wall to see what sticks. Continue reading “Shitty Movie Sundays: Empire of Ash III, aka Last of the Warriors”
Let’s hear it for the Italian shitty movie industry. Decades-long and still going strong, when one has a yen for a ripoff of one’s favorite Hollywood action flicks, look no further than Italy.
Today’s shitty Italian ripoff is Hard Night Falling, from 2019. Dolph Lundgren plays Michael Anderson, an Interpol agent who is meeting his wife and daughter (Sinne Mutsaers and Chiara Arrigoni) at a villa owned by businessman Frank (Andrea Scarduzio), during a swanky dinner party. Things are a bit rocky in the Anderson household, and it has been many years since Michael has seen his daughter. Continue reading “Shitty Movie Sundays: Hard Night Falling, or, Die Hard at a Villa”
Sylvester Stallone has been dipping into the China market, of late. This isn’t anything new, really. For years now, Hollywood has been tweaking their films to satisfy the demands of the Chinese government and gain access to their huge market, with mixed results. There’s no tweaking in the latest Escape Plan flick, however. This film looks made for the Chinese market, and if anything comes of it in other markets, that’s just gravy for this film’s 48 credited producers. Seriously, 48! I counted nine production company logos at the start, eating up 1:45 of this flick’s 96-minute running time. Major League Baseball has shorter commercial breaks between innings. Continue reading “Shitty Movie Sundays: Escape Plan: The Extractors”
Sondra Currie stars as Lacy Bond, and the last name is no coincidence. As much as Policewomen, the 1974 flick from writers Lee Frost and Wes Bishop, and also directed by Frost, is an exploitation buddy cop crime women in prison gangster martial arts LA story, it’s also a James Bond ripoff. And, unlike all the Bond films, the camera keeps rolling during the naughty bits in this shitty gem.
Policewomen opens with a jailbreak. Despite the ass-kicking efforts of Lacy Bond, two inmates, Pam and Janette (Jeannie Bell and Laurie Rose) stage a spectacular escape. They get naked while they’re doing it, too, staking this flick’s gratuitous nudity claims early (this film actually has much less skin than I expected). For her above and beyond efforts, Lacy is recruited to do some plainclothes work. The squad she joins is investigating a gang led by Maude (Elizabeth Stuart, in her only appearance), an aged, foul-mouthed, dried up, wrinkly old prune of a godfather. Before we get to Maude and her gang, though, I need to write about Lacy Bond’s new colleagues. Continue reading “Shitty Movie Sundays: Policewomen, or, Misogyny: The Movie”
The early 1990s were very much a weird time. It was an extended hangover from our experience of the ’80s, and movies reflected that. As important as music was in redefining style, and giving the younger Gen-X slackers senseless purposelessness, there was still a fair amount of big hair and mullets out there alongside the flannels and unkempt coiffures. In shitty cinema, sharp suits, tight skirts, and cocaine were still the rage, while out in the real world, alternative rock had rediscovered heroin. Movies were playing a game of catch-up when it came to popular culture, resulting in some films looking like anachronisms.
1993 saw the release of No Escape No Return, a cheap buddy cop flick that takes all the well-worn clichés of the last decade-plus and stirs them into a shitty mush. Charles T. Kanganis handled writing and directing. More importantly, Joseph Merhi, a Shitty Movie Sundays Hall of Fame inductee, was one of the producers, adding this film to an impressive list of subpar accomplishments. Continue reading “Shitty Movie Sundays: No Escape No Return, or, Three Riggses and No Murtaughs”
Amazon Prime has a problem with dates on some movies. For films that have been re-released with a restored print or new cut, it’s not uncommon for them to use the date when the new print was released, rather than the year the film originally premiered. This caught me out with The Aftermath, which, according to Amazon, was released in 2018.
The print on Prime is close to pristine. Other than occasional pops and scratches, the picture is sharp and the colors are vibrant. Because of this, and the 2018 date attached to the film, I at first thought I was watching something fairly new. And it was a riot. From the cheap model work, the period costumes, the color reminiscent of a retro digital filter, the analog technology used in the sets, to the music and the cinematography, I thought I was watching a very clever recreation of a 1970s cheapie sci-fi flick or tv movie. Something inspired by Dark Star or any random Italian ripoff. Then I noticed Sid Haig, who plays the bad guy, and realized there was no way this movie was made in 2018. Continue reading “Shitty Movie Sundays: The Aftermath (1982)”
What a gloriously stupid movie. I loved just about every minute of it. Writer/director David A. Prior made a shitty movie, but in giving it a solid pace and an absurd amount of violence, he made something entertaining and watchable. I defy anyone who watches not to laugh during multiple parts of this film, usually when the star, David’s beefcake brother Ted, stabs someone with a Halloween store plastic knife, or spouts out one-liners that would have left Sylvester Stallone blushing.
From way back in 1987, Deadly Prey is a direct-to-video Rambo ripoff. Ted Prior stars as Mike Danton, a Vietnam vet whom David places into an arena and allows to go kill crazy. Danton’s antagonist is Colonel Hogan (David Campbell), his former commanding officer, who has set up a mercenary training camp outside of Los Angeles. Ted Prior may play the main character, but he doesn’t get top billing. That goes to Cameron ‘Discount Shatner’ Mitchell and Troy Donahue, who were slumming it for an easy paycheck. Their scenes in this film looked as if they were filmed in a day. Continue reading “Shitty Movie Sundays: Deadly Prey”