Nicolas Cage returns to Shitty Movie Sundays with a flick that was released just this past month, although one would be hard-pressed to find a theater that’s shown it.
Primal comes to us from screenwriter Richard Leder and director Nick Powell. Cage stars as Frank Walsh, a selfish, world-weary wiseass who hunts and captures wild animals to sell to zoos.
Like in every shitty movie he’s been in, Cage overacts. He can’t seem to help himself, and that’s fine with this shitty movie fan. Often, especially in revenge flicks, Cage plays melancholy so deep its laughable. Not in this flick, though. His Frank Walsh character is just as damaged as any of the other characters he has played, but there’s no hint of a dead wife, or girlfriend, or kid — no hint he’s carrying a dark secret. In this flick, Cage is just an asshole. Continue reading “Shitty Movie Sundays: Primal (2019)”
What a strange movie. Usually, when a film tries to be too many genres at once, the result is a jumbled mess that takes too many shortcuts, and is difficult to follow. That’s a good description of Devil’s Express (released under a number of other titles), the 1976 blaxploitation/martial arts/street gang/monster flick from director Barry Rosen, and screenwriters Rosen and Niki Patton. But, we like jumbled messes here at Shitty Movie Sundays. The closer a film comes to flying apart at the seams, the better. Continue reading “Shitty Movie Sundays: Devil’s Express, aka Subway to Hell, aka Gang Wars”
Sometimes I curse The Blair Witch Project for loosing found footage horror flicks upon the movie-watching public. And I curse Rec, as well, for its creepy night-vision climax that has been used over and over again in just about every one of these ripoffs. There is now a whole pile of these films, and it’s hard to find one that doesn’t default to the techniques and gimmicks of these two films.
The Pyramid, from 2014, saves all of its originality for setting and place, while delivering a film identical in tone to any number of horror flicks where a group of people find themselves lost underground and are being stalked by…something. In fact, this is the fourth such film to be featured in this year’s Horrorshow, after Gonjiam, Derelict, and Creep. It’s a cheap way for filmmakers to use the same darkened hallway or tunnel set in many different shots and scenes, creating the illusion of a vast maze. The only problem with this is, these films very clearly use a small set, so it’s left up to the viewer to pretend that the filmmakers aren’t trying to fool us. Continue reading “October Horrorshow: The Pyramid”
I’ve seen C.H.U.D., the 1984 mutant monster flick, a number of times since its release. Each time, its objective quality, in my estimation, continues to fall. Each time, whatever spark and flare the movie had when I was young fades even more, and it becomes a more disappointing watch. But that’s only because in that old memory of my first viewing from was when I young, this was a good movie. Oh, boy, was I wrong. It’s not a good movie, but, it sure is shitty. Continue reading “October Horrorshow: C.H.U.D.”
Belzebuth, the 2017 horror flick from Mexico, stakes its claims early on. In the first scene, we see police officer Emmanuel Ritter (Joaquín Cosio) and his wife, Marina (Aurora Gil), at the hospital following the birth of their child. The two are consumed by happiness, as are all the other new parents in the maternity ward. But, not long after, a neonatal nurse starts her shift by stabbing all of the babies in the newborn nursery with a scalpel. Viewers are treated to the nurse’s increasingly bloody arm going up and down, clutching the scalpel like, well, a knife. Ritter’s baby is one of the victims. It’s a hard bit of film to watch, even though the death is one-hundred percent implied. Director Emilio Portes decided to open his film with a shock, but he was still wise enough not to show we viewers any actual dead babies. Thank goodness, really. Continue reading “October Horrorshow: Belzebuth”
Vampire Circus didn’t make the cut two years ago for the October Hammershow, but now I wish it had. I watched some real stinkers that month, and Vampire Circus would have been a worthy replacement.
Hammer released Vampire Circus in 1972, placing it at the tail end of Hammer’s run. The cracks in Hammer were apparent by then. The formula they had been using for over a decade was showing less and less return at the box office, so Hammer turned to gratuitous nudity and more gore to try and boost sales. It didn’t work. But, even though it seems Hammer was turning somewhat desperate, they were still capable of releasing good horror flicks. Continue reading “October Horrorshow: Vampire Circus”
What a putrid mess of a movie. Slugs is one of those shitty movies New World Pictures banged out that had little to no regard for the intelligence or attention spans of its audience. It looks rushed, feels rushed, and even sounds rushed. But, it’s got a lot of blood, so it has that going for it.
From 1988, Slugs is an American/Spanish collaboration. At the time, shitty Spanish cinema was mimicking shitty Italian cinema, making this production feel like an amalgamation of bad American and Italian horror. Continue reading “October Horrorshow: Slugs”
Before today, I never once considered what it would be like to be trapped in a basement crawlspace with ravenous alligators during a category 5 hurricane. Now, I know. It’s pretty scary.
That’s the setting for Crawl, the creature feature from earlier this year from screenwriters Michael and Shawn Rasmussen, and director Alexandre Aja.
The film follows Kaya Scoladerio as Haley, a swimmer at the University of Florida. A hurricane is bearing down on the area, but neither she, nor her sister up in Boston, have been able to get ahold of their father, Dave (Barry Pepper). There’s some family drama and token sappiness involving Haley and her father, but regardless, Haley decides to head down to the family homestead to check on the old man and make sure he’s still alive. Continue reading “October Horrorshow: Crawl, or Go Gators!”
Once upon a time, I would have been impressed by seeing the Janus Films and Criterion Collection logos before the start of a film. But that has been dashed by the reaction I had to The Blob. Could Fiend Without a Face be another classic film with an inflated reputation? In short, yes. But, this film doesn’t have near the same disparity between reputation and actual quality as does The Blob. It’s just a b-movie, through and through. Continue reading “It Came from the ’50s: Fiend Without a Face”
I can’t recall seeing a film that had as many moments when I said to myself, “Oh, look. It’s that guy.” The Belko Experiment is chock full of that guys, and they all feature prominently. There’s that guy from Ghost, (Hollywood aristocrat Tony Goldwyn), that guy from Scrubs (John C. McGinley), that guy from The Killing (Brent Sexton), that guy from The Walking Dead (Michael Rooker), that guy from ER (Abraham Benrubi), budding that guy from The Newsroom (John Gallagher, Jr.), and plenty of other that guys and gals that have been featured in Hollywood films for a generation. Why has such an ensemble been assembled? To kill each other in bloody fashion. Continue reading “October Horrorshow: The Belko Experiment, or, That Guy Battle Royale”