According to the internet (so it must be true), Christopher Lee was tricked, bamboozled, conned, into being in End of the World, the 1977 sci-fi dog from legendary shitty movie producer Charles Band. But, the actor doth protest too much, methinks. It’s not like Lee was known for being in the best films Hollywood or England had to offer, and I’m sure his wounded pride was salved once the check cleared.
But, what about we viewers? Is this just another flick that’s all title and nothing else? Does it deliver on the promise of a world that is ending? Indeed, it does! It also delivers a lot of walking and talking, and hardly any action. Oh, well. That’s the hazard of being a shitty movie fan. Often, the movies are just shit. Continue reading “Shitty Movie Sundays: End of the World (1977)”
This is a bad movie. A bad, bad, very bad, awful, barely coherent waste of 70 minutes. The good news is, for we gluttons of substandard cinema, this flick is in the public domain, so it won’t cost anything to rent. Just head over to archive.org, and there it is, ready to ruin one’s evening for free.
From screenwriter John W. Steiner, and directed by shitty movie auteur Jerry Warren, The Incredible Petrified World tells the story of four intrepid explorers walking around in a cave. That’s about it. Oh, important plot point: the cave is at the bottom of the ocean. And that is it. Oh, wait, there’s also a guy in the cave, wearing, perhaps, the most hilarious wig and fake beard ever seen in film. And that, really, is it.
John Carradine plays Millard Wyman, an inventor who has convinced four souls to descend to the ocean floor in his experimental diving bell. Wyman won’t be joining them, because by 1959, when this flick was released, Carradine was already finished with roles that took effort. The four suckers he tricks into risking their lives for his glory are Craig Randall (Robert Clarke), Dale Marshall (Phyllis Coates), Paul Whitmore (Allen Windsor), and Lauri Talbott (Sheila Noonan). Continue reading “Shitty Movie Sundays: The Incredible Petrified World”
I’ve been cheated! The last, and only, time I saw Death Race 2000 before this latest viewing was in the far distant days of my youth, before the World Wide Web, when all snark had to be shared with those close to us. Friends, family, enemies, casual acquaintances — all near at hand to listen to our bullshit. Now, we are in the merciless grip of the Information Age, and I can share with the world the crime to which many, not just I, were subjected. For, the print I saw on television sometime during the Reagan administration had been ruthlessly cut for television. Gone was all the gratuitous nudity (understandable), but in its place, whoever prepared the film for TV had decided to just repeat footage. A viewer would watch David Carradine or Sly Stallone plow his car through a line of extras only to see the same footage again soon after. This happened many, many times. Continue reading “Shitty Movie Sundays: Death Race 2000″
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 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”
We here at Missile Test love a big budget flop. We love it when A-list stars and up-and-comers bound for greatness show up in a film that has big ideas and tiny payoff. We love it when Hollywood pretensions and conceits come back to bite them in the ass. It’s even better when the whole package is absurd — when a film makes a viewer wonder, “what were they thinking?”
Virtuosity is one of Hollywood’s earlier attempts to parse the Information Age, and its effects on the wider world. Released in 1995, its assumptions about the future can be laughable at times. What doomed this movie in 1995 was that its vision was somewhat laughable back then, as well. Continue reading “Shitty Movie Sundays: Virtuosity”
This is something of a nothingburger movie. Originally titled Teleios, at some point after a few film festival showings and before it was released to DVD, the title was changed to Beyond the Trek to take advantage of the release of Star Trek Beyond. This flick even uses a title font similar to Star Trek’s, all to chase that sweet mockbuster cash. But, this isn’t a mockbuster. Rather, Beyond the Trek is a magnum opus from writer/director Ian Truitner. It’s a film with profound depth in its ideas, and about a nickel’s worth of budget to bring those ideas to fruition. Continue reading “Shitty Movie Sundays: Beyond the Trek, aka Teleios”
This flick is a dog. A lowdown, dirty, mangy, half-starved, living under an old sheet of plywood out back in the alley dog. It’s a flick that was made for the souvenir table at the All-Valley Championships and the dollar DVD bins at the gas station. Selling five copies probably recouped the entire production budget. It’s also something of an in-house production for martial arts pros — a way to get their faces outside of the dojos and exhibitions, and maybe make a couple bucks doing it. Continue reading “Shitty Movie Sundays: Sci-Fighter, aka X-Treme Fighter”
Shitty movie fans are a tolerant bunch. We put up with bad scripts, bad direction, bad acting, and all-around incompetence, all in the search for the one shitty film out of a dozen that scratches our peculiar itch. For every Road House, there is a pile of films like Driven; for every Anaconda, a passel of Ghosts of War; and, for every expansive adventure like Spacehunter, there are an abundance of one-location bore-fests like 2036 Origin Unknown.
It’s the future! 2036! And space scientist Mack Wilson (Katee Sackhoff) is alone in a room talking to an AI called ARTI (voiced by Steven Cree). The two of them are mission control for a Mars rover expedition, sent to the red planet to find out what happened to a manned mission that crashed there some years earlier. The rover reaches the crash site and discovers a giant cube, origin unknown. Before they realize what is happening, the cube is gone, having teleported itself to Antarctica. What follows is some nonsensical claptrap, inane conversation between Mack and ARTI, and an ending that is supposed to make one think, I think. Continue reading “Shitty Movie Sundays: 2036 Origin Unknown”
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”