This shitty flick is a bit of a throwback. If it had not been for the bargain basement CGI, this flick could be mistaken by the shitty movie fan for something from the 1980s or the early 1990s. It has that feel.
From writer/director Kevin King, Cyborg X takes place in the aftermath of a war in which a sentient AI has wiped out most of the people on the planet. Think the Terminator movies, if all the scenes took place in the future and there was none of that time travel nonsense. In fact, this movie lives and dies on the ideas that it ripped from James Cameron, and that’s just fine. The first shot of this film is of such low-quality CGI that it lets the viewer know to dismiss any positive expectations they might have had. Who cares if the rest of it is a ripoff? Continue reading “Shitty Movie Sundays: Cyborg X, or, Press the Damn Button Already!”
“Lock Up is a strange lesson in how Hollywood movies are made…[W]e have a star, a theme, a shooting date, a budget, a studio, but…no script.” — John Flynn, director of Lock Up
I don’t know how often films are made on the fly, but in putting together Stallone Month, it seems that it was common for projects Sly worked on to barely make it to completion. Another commonality in these films is that Sly worked very hard to keep the projects together. Whether it’s Eye See You (later this month), or Tango & Cash (tomorrow), or today’s film, the people who worked with Sly are effusive in praising him for the efforts he made to make sure a movie came off. Still, production troubles rarely bode well for a film. Continue reading “Stallone Month: Lock Up”
When Attorney General Jeff Sessions pictures what life is like in American cities, I think he might be picturing the world of Death Wish 4: The Crackdown. From 1987, this movie plays as both nightmare and caricature of urban America in the 1980s. It’s a place where anyone, at any time, can be the victim of a brutal crime. It’s a good thing that Charles Bronson was still alive and kicking at the time, otherwise none of us would have made it out of that decade alive. Continue reading “Shitty Movie Sundays: Death Wish 4: The Crackdown”
A viewer can tell what writer/director Craig Moss was trying to accomplish with Bad Ass, but the execution just wasn’t there. Inspired by the Epic Beard Man viral video, so much so that one of the production companies for this flick is listed as Amber Lamps, LLC, Bad Ass follows Danny Trejo as Frank Vega, a down on his luck Vietnam vet who kicks the shit out of a couple of skinheads on a Los Angeles bus. Continue reading “Shitty Movie Sundays: Bad Ass”
What a putrid mess. In truth, the only reason I watched xXx at all is because I noticed that there were no films under ‘X’ in the Empty Balcony database. Every other letter in the English alphabet is represented, but in the many years I’ve been pounding out these reviews I’ve never once reviewed a film whose title began with the letter X. Now that I’ve seen xXx, I never have to watch it again. Continue reading “Shitty Movie Sundays: xXx”
It seems that, for this year’s Horrorshow, I can’t get enough of the Alien and Predator franchises. Maybe I should slow down. It’s not like these things grow on trees. Aliens and predators are a finite resource.
Predators, from 2010, is the first standalone Predator flick since Predator 2 in 1990. In between were the two Alien vs. Predator movies, but I have a hard time fathoming how the flagship title was dormant for so long. There weren’t even any straight to video entries or bad SyFy productions. The predators are excellent horror/sci-fi antagonists. In the right circumstances, they can even be the good guys.
The predators look mean, what with their large stature and menacing mask, and that’s before viewers see the horrible countenance hidden therein. The fact they are aliens who traveled here from the stars just to hunt us is unsettling. We’re supposed to be the top of the food chain. Check that. The predators aren’t here for food. They’re hunting us for sport. That’s an upsetting of the current order that is hard to contemplate outside the realm of fiction. Continue reading “October Horrorshow: Predators”
What a gloriously stupid movie. It makes me happy to write that sentence again; something I have not done since way back in May. But, this flick deserves it. If I had not already named another film the official film of this year’s Horrorshow (revealed at a later date), then Anaconda would have won the distinction running away. Anaconda is a fantastic example of the heights to which a shitty movie can soar. It features a soon to be breakout superstar, a fading has-been whose Oscar is gathering substantial amounts of dust, and a rapper in the midst of crossing over into movie stardom. It hails from a time when CGI was in its infancy, yet relies on these effects too much. It’s self-aware and amateurish at the same time. It’s a piece of shit, and I love it. Continue reading “October Horrorshow: Anaconda”
1985’s Runaway Train is a very unique film. It’s American made, filmed in the white wastes of Alaska, but in a blind taste test, cinephiles would swear it was a Russian film. The film stock, the cinematography, set designs, costumes, etc., all scream that the film was made on the other side of the Iron Curtain. That’s not by design, but a result of the film being helmed by Andrei Konchalovsky, who, until the 1980s, was a Soviet filmmaker. Continue reading “The Empty Balcony: Runaway Train”