Samurai Cop, the 1991 stinker from writer/director/producer/editor Amir Shervan, has more shitty filmmaking moments than are possible to recount in any review of reasonable length. Here’s a sample:
Fight scenes and car chases have sped up footage to simulate quickness. It’s not subtle, either — approaching Benny Hill Show levels of speed.
A great deal of dialogue was recorded in post. That’s not unusual. But Shervan did many of the voices himself, dubbing the voices of stars and bit players, alike. That is unusual.
There are a lot of cops in this flick. Many of them wear uniforms. Some of those uniforms don’t have badges.
Star Mathew Karedas cut his glorious locks after principal shooting wrapped, but was called back months later for reshoots. Shervan put a ridiculous wig on his head with little regard to whether or not it looked right. It does not look right. In at least one scene, it briefly popped off of Karedas’s head.
Project Moonbase, the 1953 film from Lippert Pictures, is among the worst movies I’ve ever seen. That wouldn’t be surprising considering it’s from the Lippert stable, but this flick was written by Robert A. Heinlein, who used to hoover up Hugo Awards for his writing. Indeed, Heinlein threw in some smart stuff, but I’m not letting him off the hook for the rest of the garbage in this screenplay. Lest Heinlein take all the blame, Richard Talmadge was in the director’s chair, and he contributed much to this film’s failure. Continue reading “Shitty Movie Sundays: Project Moonbase”
Despite having seen countless horror films, it’s still rare that I come across something vile. Well, maybe not all that rare. After all, Castle Freak is one of the films that made the cut for this year’s Horrorshow. Anyway! Just because a horror flick features vileness as a core element, does not mean that it is a bad flick. The rest of the film can speak to that. Continue reading “October Horrorshow: The Suckling, aka Sewage Baby”
The October Horrorshow Giant Monstershow continues on with a putrid mess of a movie. From 1975, The Giant Spider Invasion comes to us via screenwriters Robert Easton and Richard L. Huff (who also produced). Bill Rebane handled the directing. According to the internet, so it must be true, this stupid movie, despite its low budget and general incompetence, was a moneymaker for Huff and company. How a movie this bad, starring a disguised Volkswagen as a giant spider, ended up being profitable is beyond me. It feels something of a crime against the art of film that this movie found success. Continue reading “Giant Monstershow: The Giant Spider Invasion”
The October Horrorshow Giant Monstershow carries on! After spending nineteen straight films in the 1950s, we have our first feature from after that defining decade of the monster flick, but all that’s changed is that today’s movie was filmed in color.
Reptilicus, from 1961, is a joint Danish-American monster flick that was filmed in two versions. One was shot in Danish, directed by Poul Bang, and that’s the version Danish audiences saw. The other version was directed by Sidney Pink, used most of the same performers, but was shot in English, for distribution in the United States. But, American International Pictures, which distributed the film in the US, didn’t like the English cut, and ordered substantial changes. The changes were enough for Pink, who was also the film’s producer and a credited screenwriter, to take AIP to court. It was a brief dispute, but an indication of divergence between the two versions of this film. I’m curious just how different the Danish version is from the English, but not curious enough to sit through this dog again, at least for now. Continue reading “Giant Monstershow: Reptilicus”
Ray Kellogg returns! Just a day after the October Horrorshow Giant Monstershow featured Kellogg’s magnum opus, an ode to Bert I. Gordon entitled The Giant Gila Monster, we feature The Killer Shrews, also directed by Kellogg. In fact, it was filmed either immediately before, or immediately after The Giant Gila Monster (the internet is unclear on which, and I won’t be digging deeper to find out), and was released on the same day in 1959. This film is sibling to The Giant Gila Monster, but that doesn’t mean the two are identical. Well, they’re almost identical. Continue reading “Giant Monstershow: The Killer Shrews”
Exactly one month after Beginning of the End was released in 1957, another epic Bert I. Gordon schlock-fest hit theaters. Both written and directed by Gordon, The Cyclops is about as worthless a film as this terrible filmmaker ever made…for half of its Spartan 65-minute running time. But then the titular cyclops finally appears onscreen, and all is forgiven. Continue reading “Giant Monstershow: The Cyclops”
I knew nothing about this film when I began watching it. I found it on a YouTube channel that collects old grindhouse and drive-in movies that have fallen into the public domain. That copy was crap, but being in the public domain meant that the film could be found elsewhere. Amazon Prime has a much better quality copy, so should one actually want to seek out and watch this turd, I recommend doing so on Amazon. Continue reading “Shitty Movie Sundays: Best Friends”
This flick is a bad one. This is one of those zero-budget plodding messes that would have found a ready home on Mystery Science Theater 3000. It’s one of those flicks that lacks most endearing characteristics, and only survives because it featured a future Hollywood star.
Summer City, from way back in 1977, is the first feature film on Mel Gibson’s IMDb page. He’s one of four main characters, all friends, who head out from 1950s Sydney for some fun and sun at an Australian beach.
How do I know the movie takes place in the 1950s? Director Christopher Fraser and producer/writer Phil Avalon helped us viewers with that, by providing an opening credits stock footage montage of scenes from the 1950s. This extensive sequence is amazing, because so much of the footage seems to have been chosen at random — the only prerequisite being that it looks like it was shot in the ’50s. How else to explain the repeated use of footage of a long-distance runner in training? It has nothing to do with the plot. This movie is about surfing blokes. Continue reading “Shitty Movie Sundays: Summer City”
Films like Birdemic: Shock and Terror exist on a rare plain where traditional criticism and traditional standards of film quality no longer apply. There is no way possible that I could point out, any more effectively than the film itself, just how God-awful it is. This is, without a doubt, the single worst movie I have ever seen. There is nothing in it, at any point, that appears to be the result of a professional film production. It has a staggering amount of ineptness in everything — from pacing, plot, dialogue, cinematography, editing, sound, direction, acting, or anything else I can’t be bothered to name. Possibly the costumes were passable, but I’m not going back to double check. Continue reading “October Horrorshow: Birdemic: Shock and Terror”