What a bottom-feeding pile of garbage. This reviewer has seen many bad movies — enough bad movies that I’ve ruined any arthouse bona fides I may have had — yet, sometimes, I’m still surprised that something so amateurish manages to get made. This is one of those shitty movies where no one involved, even the professionals, seemed able to capitalize on their work.
Alien Rising, from 2013, is a direct-to-video shitfest brought to viewers by screenwriters Michael Todd and Kenny Yakkel, and director Dana Schroeder. This was Schroeder’s second directing effort, and, if his IMDb page is any indication, it will be his last. Thank goodness. We shitty movie fans may be into flagellation, but everyone has limits. Continue reading “Shitty Movie Sundays: Alien Rising, aka Gemini Rising”
Point of Terror is the final film in a career cut short. Actor/producer Peter Carpenter only has four credits on his IMDb page, and this is the last. There are conflicting stories in the tubes, but what they all agree on is that Carpenter is dead. It happened at any time between 1971, not too long after this film was released, and the early 1980s. Either way, Carpenter was poised to have a fantastic career in shitty movies, akin to that of Andrew Stevens, but it wasn’t to be. Continue reading “Shitty Movie Sundays: Point of Terror”
The importance of the Italian contribution to Shitty Movie Sundays cannot be overstated. Many of the most outrageous and joyfully incompetent films featured in the Watchability Index hail from that land of ancient art and culture. I’m sure that way back in the day, before the miracle that is recorded media, there were countless shitty penny operas and circuses for the masses to enjoy. For all we know Verdi had a secret passion for sleaze. My point is, shitty Italian cinema didn’t just come from nowhere. The DNA had to be there already. For every master filmmaker such as Federico Fellini, there has been an Enzo G. Castellari. For every Lina Wertmuller, a Bruno Mattei. And for every Bernardo Bertolucci, there has been a Sergio Martino. Continue reading “Shitty Movie Sundays: Hands of Steel”
Saban Films is a clearing house for crap. I have yet to see anything bearing the Haim Saban imprimatur that wasn’t total garbage. From distributing low-rent Japanese television imports Dragon Quest and Power Rangers decades ago, to spreading Dolph Lundgren films the world over, Saban continues its quest to bore viewers to death. Such is the case with Armed Response, whose production companies include WWE Studios. Sometimes, viewers can know what they’re in for before all the pretentious opening logos have flashed past. Continue reading “Shitty Movie Sundays: Armed Response (2017)”
From the murky realms of Hollywood anonymity comes Double Exposure, the 1982 film by writer/director William Byron Hillman. Basically a remake of an earlier Hillman film called The Photographer, Double Exposure is a psychological thriller wherein a fashion photographer, Adrian Wilde (Michael Callan), is plagued by dreams of bloody murder. Not his murder, mind. Rather, the brutal slayings of young models in his employ.
Nicolas Cage returns to Shitty Movie Sundays with a flick that was released just this past month, although one would be hard-pressed to find a theater that’s shown it.
Primal comes to us from screenwriter Richard Leder and director Nick Powell. Cage stars as Frank Walsh, a selfish, world-weary wiseass who hunts and captures wild animals to sell to zoos.
Like in every shitty movie he’s been in, Cage overacts. He can’t seem to help himself, and that’s fine with this shitty movie fan. Often, especially in revenge flicks, Cage plays melancholy so deep its laughable. Not in this flick, though. His Frank Walsh character is just as damaged as any of the other characters he has played, but there’s no hint of a dead wife, or girlfriend, or kid — no hint he’s carrying a dark secret. In this flick, Cage is just an asshole. Continue reading “Shitty Movie Sundays: Primal (2019)”
What a strange movie. Usually, when a film tries to be too many genres at once, the result is a jumbled mess that takes too many shortcuts, and is difficult to follow. That’s a good description of Devil’s Express (released under a number of other titles), the 1976 blaxploitation/martial arts/street gang/monster flick from director Barry Rosen, and screenwriters Rosen and Niki Patton. But, we like jumbled messes here at Shitty Movie Sundays. The closer a film comes to flying apart at the seams, the better. Continue reading “Shitty Movie Sundays: Devil’s Express, aka Subway to Hell, aka Gang Wars”
Sometimes I curse The Blair Witch Project for loosing found footage horror flicks upon the movie-watching public. And I curse Rec, as well, for its creepy night-vision climax that has been used over and over again in just about every one of these ripoffs. There is now a whole pile of these films, and it’s hard to find one that doesn’t default to the techniques and gimmicks of these two films.
The Pyramid, from 2014, saves all of its originality for setting and place, while delivering a film identical in tone to any number of horror flicks where a group of people find themselves lost underground and are being stalked by…something. In fact, this is the fourth such film to be featured in this year’s Horrorshow, after Gonjiam, Derelict, and Creep. It’s a cheap way for filmmakers to use the same darkened hallway or tunnel set in many different shots and scenes, creating the illusion of a vast maze. The only problem with this is, these films very clearly use a small set, so it’s left up to the viewer to pretend that the filmmakers aren’t trying to fool us. Continue reading “October Horrorshow: The Pyramid”
I’ve seen C.H.U.D., the 1984 mutant monster flick, a number of times since its release. Each time, its objective quality, in my estimation, continues to fall. Each time, whatever spark and flare the movie had when I was young fades even more, and it becomes a more disappointing watch. But that’s only because in that old memory of my first viewing from was when I young, this was a good movie. Oh, boy, was I wrong. It’s not a good movie, but, it sure is shitty. Continue reading “October Horrorshow: C.H.U.D.”
Belzebuth, the 2017 horror flick from Mexico, stakes its claims early on. In the first scene, we see police officer Emmanuel Ritter (Joaquín Cosio) and his wife, Marina (Aurora Gil), at the hospital following the birth of their child. The two are consumed by happiness, as are all the other new parents in the maternity ward. But, not long after, a neonatal nurse starts her shift by stabbing all of the babies in the newborn nursery with a scalpel. Viewers are treated to the nurse’s increasingly bloody arm going up and down, clutching the scalpel like, well, a knife. Ritter’s baby is one of the victims. It’s a hard bit of film to watch, even though the death is one-hundred percent implied. Director Emilio Portes decided to open his film with a shock, but he was still wise enough not to show we viewers any actual dead babies. Thank goodness, really. Continue reading “October Horrorshow: Belzebuth”