I’ve seen a lot of Mad Max ripoffs. American ones, Italian ones, Filipino ones…but never one from Australia. Hmm.
This particular Mad Max ripoff is of the Italian variety, and it might be the most barebones of the bunch. It has the most desolate wasteland, the smallest cast, and the least amount of tricked out hoopties. That last note is something of a sticking point. The cars are a big draw for me when watching these movies. I want to see rust buckets with all sorts of doodads welded to them to make them look tough. Crucially, they need to have been decent muscle cars at one point in their lives. In this flick, the auto de résistance is a sixth generation Ford Thunderbird, which was the heaviest coupe Ford ever made. That thing couldn’t outrun a squirrel, and belongs nowhere near a film like this. This was the best the filmmakers could do? Anyway… Continue reading “Shitty Movie Sundays: The Exterminators of the Year 3000, aka Il giustiziere della strada”
One Mad Max ripoff wasn’t enough for Filipino filmmaker Cirio H. Santiago. After the sublime experience that was Wheels of Fire, Santiago went back to the well in 1987 for Equalizer 2000. It’s a movie about a man, his leather pants, and a bitchin’ gun.
From a story by Frederick Bailey and Joe Mari Avellana (who played the bad guy in Wheels of Fire), Equalizer 2000 follows Max Rockatansky analogue Slade (Richard Norton). Slade is a member of the Ownership, a militia group that is looking to control all of the gravel quarries in the post-apocalypse. They’re the typical baddies of a Mad Max ripoff. They wear black, drive tricked out muscle cars, and are very into pillaging settlements full of honest folk. Continue reading “Shitty Movie Sundays: Equalizer 2000, or, Supergun!”
Here’s some bottom of the barrel sci-fi, folks — slow-cooked to perfection and braised in poor CGI, limited locations, convoluted backstory, wooden performances, and lots of ridiculous gunfights.
From writer/director Jesse V. Johnson comes post-apocalyptic extravaganza The Last Sentinel. It’s the future! Who knows when? After crime and general nonconformity swept the United States, police officers were replaced with genetically engineered drone soldiers — living men stripped of reason and emotion, useful only as black-clad hammers in search of criminal nails. The drones eventually decided that taking over from the humans would be the best way forward, and destroyed most of human civilization. Continue reading “Shitty Movie Sundays: The Last Sentinel (2007)”
Who doesn’t love a shitty Mad Max ripoff? Well, probably all those people out there who, for some reason or another, don’t like substandard cinema. They will never understand the joy to be had in seeing an entire cast costumed in black leather and random bits of spray painted athletic gear. They will never appreciate the sublime rumble of vehicle chases through the desert featuring junk heap muscle cars with all sorts of doodads welded to them. Maybe, just maybe, they will find the inevitable anti-hero of the films a sympathetic character, but only because it’s a conceit that was part of film long before Max Rockatansky ever peeled away in the Pursuit Special. Continue reading “Shitty Movie Sundays: Wheels of Fire”
What a gloriously stupid movie. From an objective standpoint, this is one of the worst movies I have ever seen. But, it’s one of those films that is so inept, and so self-aware, that the entire package is endearing. I spent 91 minutes of a precious Friday night with this dog, and I regret none of it.
From writer/director Brett Piper, who would carve out a fine career in b-cinema, Battle for the Lost Planet tells the tale of Harry Trent (Matt Mitler), a thief in the future who is discovered while engaging in some light corporate espionage. He makes his escape to space in a shuttle he found laying around, just in time to witness an invasion by a race of pig-faced aliens. These invaders don’t waste any time. In a low-budget special effects extravaganza they lay Earth to waste, devastating all of human civilization. Continue reading “Shitty Movie Sundays: Battle for the Lost Planet”
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”
The Asylum is shameless. When they’re not churning out giant monster flicks starring washed-up TV stars for SyFy, they’re taking advantage of blockbuster movies, attaching themselves like remora and feeding off scraps. They have taken the idea of the mockbuster, cinema’s short con, and elevated it. Not to art, but it’s definitely something they’ve honed.
I like that The Asylum has no shame. It’s different than what a filmmaker like Roger Corman has done throughout his career. Corman was a filmmaker with talent, and he threw it all away to chase the cheap buck. The Asylum, by contrast, has always been a house of shit.
Road Wars was in the can and ready to release direct-to-video early in May of 2015, timed to match the upcoming release of Mad Max: Fury Road. That’s the film Road Wars is ripping off. From the mishmash black leather outfits and shoulder pads (my favorite accoutrement was a bicycle reflector attached to an epaulette), to old muscle cars with all sorts of metal shit welded on to them, to the desert setting (California City, take a bow), to the derivative title, this is almost enough of a ripoff for the rights holders of Mad Max to sue. That makes this shitty flick a proper mockbuster. Continue reading “Shitty Movie Sundays: Road Wars”
I’m glad that filmmakers are still making flicks like this. It’s schlock from the ground up, and the only thing that harms its shitty movie cred is the fact it was filmed in digital HD. Pardon a short rant that is going to make me sound like the old man I am steadily becoming, but shitty movies in the age of celluloid had an extra sheen of cheapness that has been lost. In the past, shitty filmmakers had to rent cheap cameras and lenses, and buy substandard film stock and processing, to get their films made. The difference in visual quality was stark, compared to big time productions. These days, however, a movie can get made with a digital SLR that costs a few thousand bucks, or even a smartphone, and the visual quality is much closer to what one gets from proper, high-end digital cameras. Part of the joy of watching an old shitty movie is bad film stock, and that is gone forever. Too bad. Anyway… Continue reading “Shitty Movie Sundays: 2307: Winter’s Dream”
What a gloriously stupid movie. It has it all. Barely sensible plot, bad dialogue, bad acting, cheap filmstock, gratuitous nudity, and all the other accoutrements that make shitty cinema great. Every time the flick threatens to drag, directors Michael Mazo and Lloyd A. Simandi throw in a gunfight and some explosions, and all is well with the world once again. Empire of Ash III is no rare gem, but we shitty movie fans love it when filmmakers just throw shit at the wall to see what sticks. Continue reading “Shitty Movie Sundays: Empire of Ash III, aka Last of the Warriors”