Author: capcom

Road House (2024)

Road House, the original from 1989, occupies hallowed ground here at Shitty Movie Sundays, in the top spot of the Watchability Index. It’s an unassailable movie, the embodiment of SMS’s informal slogan, “All bad movies are shitty, but not all shitty movies are bad.” From beginning to end, it’s an absurdist romp into the excesses of contemporary Hollywood action, the purest expression of the golden age of the genre that was the 1980s. There was little possibility that the 2024 remake would be better or more engaging, so I’m not going to hold it to the original’s standards.

Released just a couple of weeks ago after a decade of development hell, Road House comes to us from screenwriters Anthony Bagarozzi and Chuck Mondry, and was helmed by Doug Liman. Continue reading “Road House (2024)”

The Hellcats (1968), or, The Heck Kittens

“You’ve seen the guys. Now here are the psycho mad mamas who ride with them. They’re The Hellcats!”

So says the trailer to The Hellcats, the 1968 film from writer (with Tony Huston) and director Robert F. Slatzer. The trailer promises a biker gang flick along the lines of The Wild Angels, only with ladies in the lead. Well, that’s a lie, invented to trick unsuspecting would-be viewers into seeing this dog. There are women bikers in this movie, sure, but it’s an equitable relationship with the men in the biker gang. That makes it unique in this subgenre, where women are usually relegated to the role of property, but a lie, nevertheless. It’s not the first misleading trailer for a film ever made, and it won’t be the last. Continue reading “The Hellcats (1968), or, The Heck Kittens”

Missionary Man

What joy for Missile Test, as today we feature another film that b-movie action hero extraordinaire Dolph Lundgren not only starred in, but also wrote (with Frank Valdez), and directed. The writing couldn’t have been too taxing, though, as Missionary Man is a contemporary retelling of Pale Rider, the 1985 Clint Eastwood western.

Lundgren stars as Ryder, a mysterious biker who has a penchant for tequila and bible verses. He rides into a small town in southern Texas (played to effect by the city of Waxahachie) in time for the funeral of JJ (never seen on screen), a Native American tribal council member who was killed by the dastardly John Reno (Matthew Tompkins). Continue reading “Missionary Man”

Blue Money (1972)

Self-described cult cinema preservation and releasing company Vinegar Syndrome, on their sales page for Blue Money, describes the film as “a powerful, Cassavetes-esque examination of LA’s burgeoning hardcore [i.e., pornography] film scene.” I don’t agree with the ‘powerful’ part, which is one reason this flick makes the Shitty Movie Sundays cut, but describing the film as Cassavetes-esque is great shorthand. The way this film was written, shot, paced, and acted, is very much akin to one of the films of John Cassavetes, in particular Opening Night, with its look behind the scenes of a theater production. Continue reading “Blue Money (1972)”

Bushwick, or, Ridgewood

I can picture an evening, sometime back in 2015 or so, when filmmakers Cary Murnion and Jonathan Milott could have been enjoying some drinks at Pearl’s on St. Nicholas in Bushwick, Brooklyn. They’ve been talking politics and batting ideas around for their next feature film and, in a moment of rampant creativity, one says to the other, “What if, like, there was a war…in this neighborhood…and we, like, filmed it right outside.”

I don’t know if that’s how it happened. The genesis of ideas is often random, with no causal event or logical trigger whatsoever. Maybe they weren’t in the neighborhood. Maybe they weren’t even in the city or the state. However the idea for this movie came about, Cary and Jon did indeed come up with a story about a war in Bushwick, and they made a movie about it. Continue reading “Bushwick, or, Ridgewood”

Night Club (1989, USA)

Night Club 1989 movie posterNick (Nicholas Hoppe, who also produced and had a story credit) has a dream. Well, he has two dreams. And, also a third. Firstly, Nick wants to write the Great American Novel. Dream number two is to open Los Angeles’ newest and hottest nightclub in an old factory building (played by the former Boyle-Midway plant in beautiful City of Commerce, California). Nick’s third dream is to have passionate, unrestrained, and on-demand sex from his wife, Beth (Elizabeth Kaitan).

The first dream is a noble pursuit that, perhaps, tens of thousands of Americans have tried, only to see their efforts wither on the vine. Still, Nick keeps banging away on the keyboard. His second dream, funded by an inheritance Beth received from her father, and a loan from a gangster, Eddie (Ed Trotta), is in an equal amount of trouble, because the old factory is filled top to bottom with asbestos. That third dream, on the other hand, has something going for it, as, rather than work out the problems in his marriage, Nick hallucinates a slutty version of his wife named Liza, and does the dirty with her, to the titillation of the audience.

That’s Night Club, the 1989 movie from writers Michael Keusch and Deborah Tilton, with direction from Keusch. Continue reading “Night Club (1989, USA)”

Wrecker (2022)

Wrecker 2022 DVD boxOutsider filmmakers with a dream are the best kinds of filmmakers. These are the folks who get it into their heads to make a movie regardless of massive obstacles. All the things that make filmmaking difficult are mere challenges to overcome, annoyances to bypass. What requires a small army to get done in Hollywood, they do themselves. Of course, the final product betrays the humble nature of these movies, even when they are 127 minutes of bombastic insanity.

Bryan Brooks had a very limited career in film before 2022’s Wrecker, appearing in a handful of shorts and doing some work as a grip. If the internet is to be believed, Brooks had an epiphany while he was pinned beneath an 800-pound crab pot on a boat in the Bering Sea. After his shipmates lifted the cage and his lungs took in precious lifegiving air, Brooks took stock of his life and decided that filmmaking was his life’s calling. What followed was a decade of painstaking study of the craft of film before he unleashed his talents on the moviegoing public. It’s almost a superhero origin story. I don’t care if any of it is true. A little mythmaking in the b-movie movie industry never hurt anyone. Continue reading “Wrecker (2022)”