What a pair of movies this turned out to be. Day the World Ended is an early Roger Corman flick from 1955, while In the Year 2889 is a made-for-TV remake from 1969 that used an almost identical script. Only the names were changed to protect the innocent.
Written by Lou Rusoff, that script tells the story of a small group that survives a nuclear apocalypse. World War Three has ravaged the world, silencing the cities of Earth and bathing the planet in radioactive fallout. But not in an isolated patch of rugged Southwestern landscape. Former Navy officer Jim Maddison (Paul Birch) has spent the last decade preparing for nuclear war. He has built his house nestled in between hills containing lead ore, which helps block radiation. Winds sweep through nearby canyons, creating a cushion of air that fallout can’t penetrate. I don’t know if any of this holds up to scientific scrutiny, but considering this is a 1950s sci-fi b-movie, I doubt it. It doesn’t matter, anyway. Continue reading “Shitty Movie Sundays: Day the World Ended & In the Year 2889″
According to the internet, so it must be true, Post Impact, the 2004 joint US/German production, had a budget of around 3.2 million bucks, and it’s fair to wonder where it all went. It wasn’t in casting. Dean Cain doesn’t cost that much. And it certainly didn’t all go into digital effects, which are among the worst a shitty movie fan is likely to see.
The poor, awful, dreadful quality of this film is nothing new for producers Alan Latham and T.J. Sakasegawa, who have produced dozens of bad films between them. It was nothing new for star Dean Cain, either, who was in a career wasteland for a while after Lois & Clark wrapped in 1997, appearing in many films so poor they would make the folks over at The Asylum blush. Continue reading “Shitty Movie Sundays: Post Impact”
This is exactly the kind of cheese I look for from a television movie in the days before prestige TV. Cheap production values, a bad script, and an ‘all-star’ cast slumming it for an easy paycheck. Also, it helps to rip off a popular cinematic film series — in this case, the Airport franchise.
It was something of a minor industrial embarrassment for the United States that the only supersonic transport (SST) planes ever in passenger service were run by France and the UK. In this film’s fictional universe, that oversight has been rectified, in the form of the Cutlass Aircraft Maiden 1, an SST whose special effects miniature looks to have been cobbled together from two or three different Revell model kits (the effects in this flick are bad, bad, bad).
After a final shakedown flight, it is time to take passengers onboard, for a trip from New York to Paris that will only take a little over two hours. It’s a big day for Cutlass, as future purchase orders for the plane hinge on its performance during this flight. As such, Cutlass has entrusted the plane to a very serious pilot, in Captain Jim Walsh (a post-Brady Bunch Robert Reed, still rocking the perm). Continue reading “Shitty Movie Sundays: SST: Death Flight, aka Death Flight”
Forget everything one might know about the lore of the Halloween franchise. Forget the events of Halloween II, wherein it is revealed that series icon Laurie Strode is series bad guy Michael Myer’s sister. Forget that Jamie Lloyd, the child protagonist of a number of the sequels, is Laurie Strode’s daughter. Forget that Jamie Lloyd was retconned and Laurie Strode had an entirely different family in Halloween H20. Forget that Laurie Strode was killed off in the next film. And for goodness sake, forget everything about the ‘man in black’ subplots. Then, forget the Rob Zombie remakes. Forget it all, because the people behind the Halloween franchise have thrown everything out but the first film. It’s a retcon on a grand scale, erasing 39 years of bad movies so the original Halloween, John Carpenter’s master slasher flick, could get a proper sequel.
It’s forty years to the day since the tragic events depicted in Halloween. The murders of so many of her friends, and her narrow escape from Michael Myers, has left Laurie Strode (Jamie Lee Curtis) something of a shattered person. Her adult life has been dominated by a combination of PTSD, paranoia, and doomsday prepping. Somewhere in there she managed to have a daughter, Karen (Judy Greer), who has a daughter of her own, Allyson (Andi Matichak). Karen and Allyson aren’t exactly estranged from Laurie, but there is a lot of tension. Continue reading “Attack of the Franchise Sequels: Halloween (2018)”
Here’s a movie so nice I had to watch it twice; so uproarious it’s glorious; so shitty I had to go and be witty.
Hailing from the Great White North, The Brain, screenwriter Barry Pearson and director Ed Hunt’s 1988 horror flick, is shitty gold. Let’s get that out of the way, first. This is a quality shitty movie. It’s cheap schlock — outrageous, ridiculous, hilarious, and very, very watchable. It’s the rare horror flick where the creature is shown at the very beginning, but this movie suffers nothing for it. Building tension through the unseen? Nope. None of that. That takes a back seat to sharing such an absurd cinematic creation with audiences right away, and it works. It’s a gigantic brain, with a face and huge teeth, and it eats people. Let me emphasize this. The monster in this movie is a brain the size of a mastiff that eats people.
Tom Bresnahan stars as Jim Majelewski. He’s a typical rebellious Canadian teenager, in that while he may blow up toilets with pure sodium and glue teachers’ pants to chairs, he doesn’t smoke, doesn’t drink, and gets straight A’s. But, the school has had enough of his shenanigans, and he is forced to undergo treatment at the Psychological Research Institute (exteriors were played by the Xerox Research Centre of Canada), run by the evil Dr. Blakely (David Gale) and his assistant, Verna (George Buza). Continue reading “October Horrorshow: The Brain (1988)”
Here we go again. Dimension Films, the neglectful owners of the cinematic rights to Hellraiser, waited until the last minute to renew the rights by making another Hellraiser flick. Unlike the last time, some folks involved knew it was coming, and decided to prepare.
Once upon a time, the moviegoing public wasn’t assaulted by an endless stream of comic book movies from Marvel and DC. Back in the dark days of 1999, the Batman cinematic franchise was on life support after Joel Schumacher finished with it, and Marvel’s properties had been farmed out to Sony. The only two movies of any significance based on comics that year was Mystery Men, which was a big budget flop, and Virus, which was an even bigger big budget flop. Both of these titles came from Dark Horse Entertainment, and may have a lot to do with the slow pace of further adaptations from the Dark Horse stable, when compared with what Marvel and DC are doing. Continue reading “October Horrorshow: Virus (1999)”