Tag: Bad CGI

Alien Hunter

When is a ripoff of The Thing not a ripoff? When it changes just enough for plausible deniability. Alien Hunter did not change enough. In fact, it even reused footage from John Carpenter’s version of The Thing.

Released direct-to-video in 2003, Alien Hunter was directed by Ron Krauss from a screenplay by executive producer J.S. Cardone, a prolific b-filmmaker in his own right.

Alien Hunter stars James Spader as cryptologist Julian Rome, who is sent to a remote Antarctic research base after a mysterious signal is detected. After finding the location of the signal’s source, out in the middle of the frozen wastes, an object is found buried in the ice, just like in The Thing. Also just like in The Thing, the researchers chip out the surrounding ice into a block, and haul the whole thing back to base. There, debate ensues about what to do with this object, as it’s clear to everyone but one dissenting researcher, Dr. Straub (veteran performer John Lynch), that this object is alien in origin. Continue reading “Alien Hunter”

Bigfoot Vs. Zombies

Mark Polonia has been in the cheap movie game since the mid-1980s. Ultra low budget horror and sci-fi is an indelible part of his identity as a filmmaker. For almost forty years (previously with his twin brother, John — rest in peace), he has cranked out movie after movie, some garnering praise above and beyond expectations, while some are gutter trash. But, they are fun gutter trash. As of this writing, he has directed twenty-seven movies in this decade alone, and a whopping seven of them have IMDb ratings below 2.0. That’s not easy to do.

Mark Polonia reminds me of a fellow student at the School of Visual Arts, way back in my haughty fine arts days. He was a slightly below average artist, for what one gets at a place like SVA, but I felt that most of his issues could be solved by slowing down a bit. He was in such a rush to push out all these visual ideas he had bouncing around in his head that he never took the time to step back and refine what he was putting down on canvas. Just taking an extra day or two to stare at and think on a piece would have done wonders for its quality, I thought. Continue reading “Bigfoot Vs. Zombies”

4GOT10, aka The Good, the Bad, and the Dead

Kudos to screenwriter Sean Ryan. The writer, whose oeuvre is full of projects found in DVD bargain bins, penned a very interesting story in the awkwardly-titled 4GOT10. Why it wasn’t titled Forgotten, I don’t know.

The movie takes many notes from Cormac McCarthy, along with various other neo-noir flicks of the era, but cribbing is no sin. Many, many low-budget action and thriller movies have passed before these eyes, and most of those don’t have as interesting a plot. Ryan does make the mistake of piling on a twist on top of a twist at the end, but I’m going to give him the benefit of the doubt. Without spoiling anything, it’s such a bad storytelling decision that it had to have come from a producer. Only someone counting beans could see an emotional punch to the gut and then discard it thirty seconds later for bland, crowd pleasing chaff. Anyway… Continue reading “4GOT10, aka The Good, the Bad, and the Dead”

Colonials

Science fiction movies in the 21st century don’t get much more bargain basement than Colonials, from writer (with Cyrus Cheek), director (with Andrew Balek), and producer (with far too many people to name) Joe Bland. That’s Bland as in, I shit you not, Bland Productions. That’s the name of his company. Lean into it, Joe.

Using techniques pioneered by George Lucas, Bland didn’t need any fancy sets, or even a full complement of actors. Like the worst sequences in the Star Wars prequel trilogy, Colonials uses CGI for just about everything. Spaceships and their interiors. Space stations and their interiors. Ground level in a destroyed megalopolis. A moon base. An earth base. Random hallways and rooms. Even the movie’s bad guy. It takes a full twenty-two minutes of running time before any member of the cast is shown in real surroundings, and that’s just a small location somewhere in the hills of Los Angeles. Continue reading “Colonials”

Sink Hole

Sink Hole movie posterWhat a piece of garbage. Take everything one knows about a flick from The Asylum or one of SyFy’s more meager efforts, and then scale those expectations downwards. This is a movie that exists, and little more. It has actors and actresses — vets gasping for one last breath of air before their careers go under, and young hopefuls, their dreams of stardom shattered by the cold, hard reality of a movie destined for the bargain DVD bin at gas stations and bodegas.

Sink Hole, from 2013, comes to us via writer Keith Shaw and director Scott Wheeler. Normally a visual effects tech, Wheeler, as of this writing, has eleven directing credits to his name, and his highest rated on IMDb is Attack of the Killer Donuts, at a hefty 3.8 out of 10. I probably should have skipped Sink Hole and gone directly for that flick, instead. Alas, I watched Sink Hole.

After a hot air balloon ride gone bad, EMT Joan (Gina Holden) is depressed. Her career is in shambles, her marriage to local high school principal, Gary (Jeremy London), is disintegrating, and her daughter, Paige (Brooke Mackenzie), is downright frightened for the future of her family. But that’s okay. That kind of strife is just rote character development in Sink Hole — dismissed as a necessary evil. Wheeler and company could have plugged any random drama into these characters’ backstories, and it wouldn’t have made any difference to the main plot. Continue reading “Sink Hole”

Castle Falls

Dolph Lundgren is amongst the most reliable action movie stars to grace the pages of Shitty Movie Sundays. Nary a year has gone by since the 1990s when he hasn’t starred in some low budget b-action fare. Sometimes, he even directs.

Castle Falls, from 2021, sees Lundgren helm a screenplay from Andrew Knauer, whose biggest splash in Hollywood was penning Arnold Schwarzeneggar’s comeback film, The Last Stand.

Lundgren takes the rare second billing in this flick, playing a prison guard named Richard Ericson. Top billing goes to Scott Adkins, playing an MMA fighter named Mike Wade, who has aged out of the sport, and is left dead broke and homeless in Alabama. Continue reading “Castle Falls”

Pound of Flesh

Pound of Flesh, the 2015 Jean-Claude Van Damme action thriller from screenwriter Joshua Todd James and director Ernie Barbarash, may as well have been called Boilerplate. It’s a movie unconcerned with breaking any new ground, or stretching the talents of its star. It’s as interesting and engaging as the music in a doctor’s office waiting room. It captures one’s attention like whatever sports talk show is on the television hanging over the bar on a Tuesday afternoon. It’s a painting of a lighthouse amongst an entire crate of lighthouse paintings at the local flea market. It’s inoffensive, predictable, and reliable. Because of that, no matter how much ass gets kicked, it’s pretty dull. Continue reading “Pound of Flesh”

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)”

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)”

Enemies Closer (2013)

Jack Webb and Harry Morgan. Paul Michael Glaser and David Soul. Mel Gibson and Danny Glover. Eddie Murphy and Nick Nolte. Will Smith and Martin Lawrence. Sylvester Stallone and Kurt Russell. Gregory Hines and Billy Crystal (this actually happened). Buddy action duos extraordinaire. Now, get ready for…Tom Everett Scott and Orlando Jones?

Today’s film is proof that actors aren’t the only Hollywood folk that slum it in the latter stages of their careers. Peter Hyams, who had a decent run as a mainstream filmmaker, including that aforementioned Hines and Crystal collab, wrapped up his directorial career with Enemies Closer. He was a hired gun for this flick, and, if information on the internet can be trusted, was intrigued by the prospect of shooting a low-budget action flick with a tight shooting schedule. Whatever the reason was for taking on this project, his skill as a filmmaker is probably what keeps this flick from falling into the nether reaches of the Watchability Index. Continue reading “Enemies Closer (2013)”