What The Thirsty Dead is not: a film about zombies, or vampires, or other undead creatures preying on the innocent and spilling buckets of fake blood. There is no gore, and no more than a few dollops of blood. Despite this being from 1974, the wheelhouse for drive-in movie exploitation, there is no nudity, gratuitous or otherwise, despite four main cast members being young(-ish), buxom(-ish) ladies.
What The Thirsty Dead is: a film with a misleading title. That happens often with shitty movies. It’s a crime compounded by the fact that not only is this movie not about thirsty dead things, it’s not even a horror flick. There are horror elements to the plot, but there just isn’t enough for this film to cross over into that hallowed genre. This is just exploitation schlock, done poorly. Exploitation films are supposed to be downright sleazy — a guilty pleasure that will get one strange looks from the ideological purity police. This film flirts with sleaze, but never commits. Seriously, what kind of exploitation film needs zero edits to be suitable for commercial television? Continue reading “Shitty Movie Sundays: The Thirsty Dead”
How do I know China is a superpower? Besides the massive economy, the massive military, the massive population, and China’s massive effect on world politics? It’s because the Chinese are now making alien invasion movies where they save the day. That is when a nation truly arrives at the forefront — when they can make jingoistic popcorn cinema of the world-saving variety. And, like most American forays into such material, it stinks.
Shanghai Fortress is an adaptation of the sci-fi novel by Jiang Nan, wherein, in the near future, a new energy source called Xianteng has been brought back to Earth by astronauts. It’s a self-replicating energy source, and clean. A new day has dawned for humanity. Except, some aliens get wind of us having Xianteng, and a gigantic spaceship arrives, Independence Day-style, to rain hell on the earth. After five years of conflict, only one major city remains: Shanghai. Continue reading “Shitty Movie Sundays: Shanghai Fortress”
What a disappointing movie. With a title like Venomous and a poster featuring a giant snake’s head on the attack, I was expecting this direct-to-video cheapie to be a ripoff of Anaconda. Instead, it’s a ripoff of Outbreak. All the epidemiological plot points are there, and every character has an analogue. But, Treat Williams is no Dustin Hoffman, Mary Page Keller is no Rene Russo, Hannes Jaenicke is no Kevin Spacey (are we allowed to like his acting again, yet?), and Geoff Pierson is no frickin’ Morgan Freeman.
From way back in 2001, Venomous is the story of a viral outbreak in the small town of Santa Mira Springs, California, played by the Blue Cloud Movie Ranch. The virus in question is a bio-engineered disease that the US government introduced into rattlesnakes. After a terrorist attack on the lab during an introductory scene, the snakes escape into the wild. That would be that, except that a series of earthquakes in Santa Mira have caused the snakes to flee from their underground hiding places. Townsfolk are bitten, and it is discovered that antivenin isn’t saving their lives. A closer look at the blood of the victims reveals the presence of the virus. That’s when this thing becomes an Outbreak ripoff. Continue reading “Shitty Movie Sundays: Venomous”
What a boring, plodding, nonfrightening, trope-filled mess we have with The Screaming Skull, from 1958. There was a promising film in here, somewhere. After all, an uncountable mass of pulp fiction and comic books (especially EC Comics in their heyday) used the exact same plot, with the exact same ending. If they couldn’t be competent, then the least director Alex Nicol and company could have done was be enjoyably shitty, but they couldn’t even manage that.
At the beginning of this film, viewers are treated to an announcement from the film’s producers promising a free coffin should anyone die of fright while watching the movie. It’s not the worst marketing ploy of the time, and the producers could sleep easy about ever paying it out. This is amongst the least-frightening horror movies I’ve ever seen, and I’ve seen a lot. Continue reading “It Came from the ’50s: The Screaming Skull”
Night of the Blood Beast is barely a movie. That shouldn’t be any surprise to viewers familiar with its pedigree. It comes to us via American International Pictures, and was produced by not one, but two, members of the Corman clan. Despite there being twice as much Corman as audiences would usually get, this flick looks as if it had half the budget.
From 1958, Blood Beast plays out like an updated version of It Conquered the World, only with all the fat trimmed. That’s quite a feat carried out by screenwriter Martin Varno and director Bernard Kowalski, because that flick didn’t have any fat to trim. It was a test of an audience’s patience, and so is Blood Beast. It amazes me that a film like this could have such a short running time, at 62 minutes, and the filmmakers had trouble filling that up. It’s as if Roger Corman would hire writers to pen a half-hour long episode of The Twilight Zone, and then tell his directors to stretch it out as much as they could. I wouldn’t be surprised if Corman paid his writers by the page, and thin screenplays were his way of pinching ever more pennies. Continue reading “It Came from the ’50s: Night of the Blood Beast”
The abandoned South Fremantle Power Station outside of Perth, Western Australia, makes the old urbexer in me salivate. It’s a beautiful location on the outside, although inside it’s hollowed out and covered in sloppy graffiti. It was locations like this that made me get into urbex in the first place. The industrial giants of the past are true brick and stone monuments to the 20th century, and have since been subject to the ruthless cost-cutting of capitalism. It’s a set of architectural styles that will likely never appear again, as buildings and materials keep getting cheaper. Indeed, South Fremantle Power Station was closed in the 1980s, yet there it is, still standing, decades after all maintenance ceased. They built the place thirty years tougher than it needed to be, and counting. Continue reading “October Horrorshow: Derelict”
What a putrid mess. Dead Trigger, from 2017 but resting on a shelf until this year, is an adaptation of a video game. It’s not the worst video game adaptation I’ve ever seen (that title belt is, and very well always could be, held by House of the Dead), but, it is a properly awful movie. It’s a good thing for the shitty movie fan that this film stars Dolph Lundgren, who has been gracing productions like this for over 30 years. The man is a shitty movie legend — the Tom Brady of bottom feeding dreck. Continue reading “October Horrorshow: Dead Trigger”
If a film has a decent poster, or even a passable poster, I will include it in a review. Hell, I’ve even gone lower than that, including many posters in reviews that are part of the orange/blue curse that has been infecting film worldwide for decades. How about when a poster is downright deceptive? Yes, if I think it’s cool. But, when a poster is deceptive, and what’s shown is worse than what it’s covering up for in the actual movie? No thanks. I don’t deal in that kind of propaganda. So, no film poster in this review. Continue reading “October Horrorshow: Jack Frost (1997)”
American International Pictures specialized in crap, but even for AIP, this is a bad one. The Phantom from 10,000 Leagues is among the most tedious, least interesting films I’ve ever seen. It’s a monster flick that has more dialogue than a Merchant Ivory costume drama, and all of it is inane. There’s even a spy angle that does little more than stretch out the running time and subject us to more talking. And the monster? It’s a rubber suit, but it could just as well have been a statue for all the trouble Norma Hanson, who was in the suit, had moving around. Phantom is a direct challenge to a viewer’s attention span. If there is a smartphone within reach, I defy any viewer to watch this flick without picking it up. Continue reading “It Came from the ’50s: The Phantom from 10,000 Leagues”
Just when I thought Amazon had cornered the market on films so obscure they don’t have Wikipedia pages, Netflix steps up their game. Paranormal Investigation, the 2018 found footage ghost flick from director Franck Phelizon, is so obscure that not only is it nowhere to be found on Wikipedia (as of this writing), its IMDb page is very sparse. There’s not a single cast member with an associated headshot, and most have only this film as their sole credit. I wish I could write in some greater detail about the cast, but that’s going to be difficult. The film’s credits are as sparse as its internet presence. Continue reading “October Horrorshow: Paranormal Investigation”