Filmmaker Richard Stanley has had something of a checkered career. His first feature, Hardware, which he wrote and directed, was a success, but he was successfully sued for plagiarism, the story having too many similarities to a strip published in a Judge Dredd annual. Then, a few years later, Stanley was fired as the director of the doomed Island of Dr. Moreau adaptation less than a week into filming (firing him was never going to save that mess of a film, honestly). That was in 1995. It would be more than two decades before Stanley sat in the director’s chair for a feature film again, and it was for 2019’s Color Out of Space, an adaptation of the short story by H.P. Lovecraft. But, the trials and tribulations don’t end there. Continue reading “October Horrorshow: Color Out of Space”
Sniper Corpse or Corpse Sniper…whatever this thing is called, thank goodness for the bottom feeding filmmakers that will let nothing, from lack of a good screenplay, lack of talented actors, lack of a budget, and lack of storytelling skill, keep them from making their movie. The art of film is being preserved by these creators that love movies, that see what makes the big screen, good and bad, and think to themselves, “I can do that. How hard could it be?”
From writer, director, and producer Keith R. Robinson, Sniper Corpse tells the story of Diane Keeley (Eleri Jones), an English war widow whose husband was killed in action a couple of years previously. Things got snafued, as they are wont to do in the military, and the British Army lost her husband’s corpse. It turns out they’ve lost a number of corpses of late, and Diane takes it upon herself to find out what’s going on. Continue reading “October Horrorshow: Sniper Corpse, aka Corpse Sniper”
An older, rarely-used maxim here at Missile Test is that we have never met a movie we wouldn’t watch…for at least fifteen minutes. It’s a test. Sometimes a movie is so bad early on, so clear that it’s an unwatchable mess, that fifteen minutes is all it takes for one to know it’s not worth spending any more time with. I managed to make it through an hour of this piece of shit before abandoning it, but that was only because of my own stubbornness. This awful movie failed the fifteen-minute test.
From writer/director Matt Mitchell, The Rizen: Possession is the sequel to his 2017 film, The Rizen. I haven’t seen that flick, so the fact that Possession is an incomprehensible mess might be due to missing some important backstory. However, no sequel should be so opaque that viewers who haven’t seen what came before would be hopelessly lost. Continue reading “October Horrorshow: The Rizen: Possession, aka The Facility”
The first Doom flick has the distinction of being the first film to ever carry the Shitty Movie Sundays moniker here at Missile Test. That movie was cheap as all get out, despite starring Dwayne Johnson during his first run at movie stardom, and an up-and-comer named Karl Urban. 2019’s Doom: Annihilation establishes a tradition of cheapness for the franchise. Despite that, this is a far more entertaining film than any direct-to-video sci-fi/action flick has any business being.
The first Doom film paid homage to its video game source material here and there, but it was never a faithful adaptation. That’s understandable, as that source material is kind of thin. Continue reading “Shitty Movie Sundays: Doom: Annihilation”
Just to prove that the United States and China aren’t the only nations that can produce a jingoistic alien invasion flick, Russia has given us The Blackout, wherein an alien invasion blacks out power over the entire planet, except for a circle centered around Moscow.
From screenwriter Ilya Kulikov and director Egor Baranov, The Blackout follows a small group of Russian soldiers as they try to stave off the invasion and keep Moscow safe. This flick didn’t have much of a budget, but Baranov and company still managed to put together a film with an expansive plot and some decent explosions here and there. Look closely, and one will notice how few real locations there really are, but that’s not worth bothering about, especially with all the other shit thrown a viewer’s way. Continue reading “Shitty Movie Sundays: The Blackout, aka The Blackout: Invasion Earth”
The Wretched, the 2019 horror film from writing/directing team Brett and Drew T. Pierce (billed as The Pierce Brothers), is something of an aesthetic throwback to the horror films of the late 1990s and early 2000s, with a little Fright Night thrown into the mix. It relies heavily on the “you have to believe me!” trope, but that’s okay. It’s a great trick horror filmmakers use to make an audience root for the main characters. We see the same things the protagonists see, so it’s frustrating to us, as much as the characters, when authority figures in the movie fail to do anything about the scary stuff and save the town. Continue reading “October Horrorshow: The Wretched”
For a country that swings a heavy censorship stick, Australian filmmakers have produced some bloody horror flicks. The country that produced Wolf Creek, Wyrmwood, Boar, and others, also has a sanctimonious ‘classification’ board whose sole purpose is to make sure Aussies never read or see anything that might bother them too much. It’s okay to have rape and drugs and murder in media, but there’s a mysterious line that media must not cross, or it gets banned. That’s not to say that imaginary delineation doesn’t exist here in the US, what with the MPAA and other groups who have taken it upon themselves to censor on the behalf of everyone, but even by America’s puritan standards, Australia’s censorship is a little much. So, I think it’s refreshing when an Aussie horror flick comes along that features a face being peeled off by an axe, or arms yanked from their sockets. Give me liberty and give me death, the bloodier the better. Continue reading “October Horrorshow: The Furies (2019)”
Haunted house flicks are often very formulaic. A family, or a couple, or just an individual, moves into a home they’ve purchased, and not long afterwards, strange things begin to occur. These ghostly tricks and shenanigans are harmless at first — basic funhouse trickery. As the movie goes on, the disturbances become stronger and have more effect, leading to denouement in the final act. It’s a formula that has worked for decades, from The Haunting to The Conjuring. But, the formula can get stale, especially when there are piles of bad movies that utilize it. Girl on the Third Floor, the 2019 film from screenwriter Trent Haaga and director Travis Stevens, starts out as if it will adhere to the formula, then veers into something that, while totally unique, displayed a substantial amount of originality. Continue reading “October Horrorshow: Girl on the Third Floor”
What would you do, dear reader, if you woke up one crisp morning to find that Frank Whaley hiding in your backyard shed and he won’t leave? This is the question posed by writer/director Frank Sabatella in his magnum opus from last year, The Shed. Oh, wait. I forgot one detail. Frank Whaley was turned into a vampire right as the sun rose, and the shed was the first place he could get to before he was roasted to death, as this horror flick sticks to the vampire trope that the rays of the sun are lethal to vampires. Continue reading “October Horrorshow: The Shed”
I dig horror flicks set aboard abandoned and adrift ships. The real stories of the Mary Celeste and other vessels, found at sea with no one aboard, make for fascinating mysteries. Add in the supernatural, and abandoned ships become excellent locations for horror. Ships are creepy and claustrophobic. There are countless nooks and crannies where characters can get lost, or in which baddies can hide. They make more noise than a shack in a winter wind. They’re basically oceangoing haunted houses. Blood Vessel, the 2019 horror film from writers Justin Dix and Jordan Prosser, and directed by Dix, doesn’t involve ghosts. Rather, the menace in this film is a family of vampires. Continue reading “October Horrorshow: Blood Vessel”