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Super-campy, painfully 80s cult "horror" movie, apparently for kids, about a boy who discovers the popular desert everyone is becoming addicted to is alive and taking over. Honestly kind of amusing for what it is. I wouldn't go so far as to say I liked it, but considering my revulsion for campy, bad horror, it's pretty good. I mean, standing next to crap like "Evil Dead" and all that absolute garbage from that time that so many people like for some reason, it's practically a masterpiece.
This odd little sci-fi/not-very-funny black comedy has a certain appeal until it eventually collapses under its own weight. In the near future when all drugs have been made legal, a douchey biochemist tests his latest concotions on his douchey friends. The movie is mostly scenes of people getting fucked up or being hung over in imaginative and increasingly gross ways, yet manages somehow to be slightly entertaining and not anywhere near as bad as that sounds... not surprising, because it's Canadian, and seems to have that typical Canadian entertainment "slightly better than it should have been" thing.
Unfortunately, though, by the end, it sort of gives up the ghost, disappearing into an inscrutable and unsatisfying montage of psychedelic visuals instead of tying up the story. It's too bad.
I have an odd affection for this atrocious Stephen King adaptation about a strange mist that brings a plague of monsters to a Maine town.
Sadly, King adaptations seem to be more often Hollywoodized bubblegum pap like "1408" than "The Shining". This is the former. Aside from the unfortunately usual cringeworthy standards so many King adaptations seem to have, this one scrapes the bottom of the barrel even worse: unbelievable and clichéd story points obviously contrived to add "drama" but only succeeding in adding cringe, two-dimensional characters, and of course the de riguer overally tv-movie-quality productions which King's stories too often attract.
Roger Ebert called it a "competently made Horrible Things Pouncing on People movie", but I think he was being generous. There are moments of true incompetence here, which is surprising, as it was directed by Frank Darabont, who also adapted "The Shawshank Redemption" and "The Green…
Not-as-bad-as-it-should be little indie horror with a fairly original premise: with no explanation, just a statement that it is so, a shapeshifting serial killer must repeatedly kill people and assuming their forms and memories, leaving their desiccated bodies hidden at a remote farm. He falls in love with a young woman and repeatedly tries to insinuate himself into her life, dealing the whole time with the rate at which the bodies he assumes decay.
Not terrible, for what it is. Not that good, but I'll call it "watchable" because it really should have been so much worse.
A programmer living in isolation invents an artificially intelligent and thoroughly fake-looking but oddly expressive (thanks to some skilled puppetry) head, and charges it to learn to humanize itself. It then spends the movie slowly going insane. Was actually kind of decent for the first half given the conceit, with some decent takes on familiar "What is human, anyway" tropes—the head wakes him up thinking it saw a face in the closet, which he explains is due to its having successfully inherited the human cognitive ability to recognize faces, even when there isn't really one, a neat idea—although by the second half it kind of runs out of steam and feels kind of perfunctory by the conclusion. Ultimately I can't say I liked it it, which is disappointing, because for a while it was definitely heading that way (no pun intended).
Scientist invents a machine that lets him see extradimensional creatures, and it turns out, let them see him. Another cheezy attempt at Lovecraft, this time with way more '80s fashions than any other I've seen, and the requisite over-the-top latex monster applicances. I always feel affection for these because these low-budget Lovecraft efforts always seem to try harder than anybody else to rise to the material, even if they fail. At least they're aiming high.
A talky, overlong mocumentary about a "haunted object" research team that encounters a strange wooden effigy that seems to possess supernatural powers. I feel bad slagging it off, because it's not terrible, but it's a whole "horror" movie of nothing people talking about a scary thing, rather than showing scary things. At 90 minutes, it feels like about 3 hours long.
A montage of late-night channel surfing slowly reveals a story involving aliens, a horror filmmaker's mysterious unfinished film, a haunted videotape, and a local outbreak of violence. Told entirely as clips of flipping though channels in a fairly convincing recreation of flipping through late night broadcast TV channels, but the execution doesn't really work in an engaging way. Felissa Rose is in this, if that tells you anything.
I'm sure this seemed like a cool idea at the time—the inner dialogue of a delusional scientist tormented by sounds only he can hear, as he slowly goes insane and finally, with 10 minutes left in this 95 minute picture, kills a few people and them himself (seems like there's a lot of that going on in indie horror movies).
It's not that badly made, but 95 minutes of someone's inner dialogue about science trivia and "deep" thoughts, with 10 minutes of actual at the end, is not a good feature film, and definitely not a horror movie. This could have been a 20 minute short.
Despite my hatred for "found footage" horror films, my interest was piqued by see that this was a "found footage" film from 1989—predating ostensible genre inventor "The Blair Witch Project" by several years. It's sort of like discovering a heavy metal band from 1963.
Interestingly, this film about a family birthday party interrupted by the appearance of aliens shows that the "found footage" genre emerged fully failed from the beginning.
This earliest known example contains everything that sucks about the genre: little plot, a complete disregard for pacing in favor of dwelling for too long on irrelevant conversation between uninteresting characters (do we, as viewers, really need to spend 5 minutes watching the family say their goodbyes to each other after dinner?), difficult-to-watch low-quality camerawork with zero cinematography, muddy sound, and an all-around lack of any qualities that might make it worth spending the time to watch.
Sleepless man falls under the influence of a demon posing as a doctor who runs a sleep clinic. I have never seen a movie try harder to be a supernatural epic, and fall so far short because they had no budget and no talent. But, wow, they really wanted this amateurish piece of garbage to be an epic. I kind of admire trying to punch so incredibly far above your weight.
Swing and a miss. Somewhat competent extended Twilight Zone episode, basically, in which a man retreats to his apartment after his wife is killed in front of him in a mass shooting, only for time to collapse in on itself, and past and future collide and get to hang out and drink tea.
Could have been ok, but narratively not much happens, it's just kind of trippy for its own sake, and then ends without a resolution or explanation. A strong ending might have made it ok, but it just kind of stops on something that feels like a note of redemption but doesn't actually say anything.
This movie stands out for having the most ridiculous plot twist I've ever seen.
After starting out with an Amityville-inspired prelude saying that an archeological find has revealed that "the real number of the beast is 616", and showing home security camera footage of a young man rising out of bed late at night and killing his family with a rifle, the movie moves on to a paint-by-numbers, clichéd family-moves-into-a-murder-house haunted house flick of the low caliber you might expect from any movie featuring Eric Roberts, who is famous for appearing in any movie that pays his $5000/day fee. A father and his teenage daughters movie into a surprisingly affordable mansion after the death of the mother.
But, then in what had to be a scene entirely written, filmed, and tacked on after production, in just the last 5 minutes, a "plot twist" comes from further out of left field…
A young man who has just declared bankruptcy receives a mysterious charge card and buys a car, and becomes subject to usurious terms he can't afford. Mysterious threating individuals begin stalking him. An extremely contrived, self-consciously quirky, eccentric, clearly David Lynch-inspired exercise, but unlike most movies that could be said about, it actually kind of works on that level. It has some effective cinematography, including later very obviously film noir-influenced scenes that are visually well done, and actually manages to often say just on the entertaining side of being tediously "indie" and "quirky", which is rare, and I give it credit for that much.
Unfortunately, where it falls down is the much-too-slow plotting. It's twice as long as it needs to be, and for the full first half nothing really happens except for contrived self-conscious "weirdness". And the story isn't very good, and requires a little too much suspension…
Patients at a medical clinic trial an experimental drug that cures their permanent injuries... at first.
Sub-USA-Up-All-Nite bottom-of-the-barrel zero-budget amateur-made flick turns out to be, weirdly, not a 100% terrible creature feature. There's like, one or two good actors in it, or something. They tried pretty hard, that's for sure. I mean, it's absolute garbage, for sure, and yet—I kind of liked it. I've seen way less watchable absolute garbage. Weird.
A home-made video assemblage appearing to consist of old IBM training films, desktop screensavers, and a bunch of apparently whatever other stock film or video footage the director, credited as "Metatron", could get his hands on—much of it clearly in low-res 72dpi. Electronic-sounding, possibly randomly-generated voiceovers talk about quantum computers or science or aliens or something, with "technological"-sounding stock library music playing in the background. Think "How It's Made" but, instead of manufacturing documentary footage, with technology-related stock footage and electronically-processed voices emitting technobabble.
This has no actor or production credits in IMDB, because, there are no actors or production in this, except for "Metatron" and a "writer", who should more properly be called the "assembler". Although, I guess, he did write the voice-over technobabble.
This is the cinematic equivalent of noise music.
In a way, I'm enjoying the nostalgia trip, as this reminds me of something you…
Well, this was a little different, and for the most part kind of entertaining little indie flick. A trio of women from Atlanta take a vacation in the woods during the pandemic, and spend about half the movie kibitzing around, smoking weed and keeping themselves entertained, when they start to feel like there's someone there watching them.
And from there, just when the movie seems like it's just going to be these women kibbitzing around, it gradually gets far weirder than you would ever expect. It's not all entirely well-explained, but it something along the lines of an alien invasion, and things get stranger and stranger, and what had been a down-to-earth flick about three down-to-earth women in a cabin becomes a fairly convoluted low-budget special effects sci-fi spectacle.
I pretty much enjoyed it, for a very low-budget and possible amateur production B-movie it turns pretty ambitious. And the…
This movie required the most suspension of disbelief of any movie I've ever seen. I don't know where to begin.
It's a "workplace horror" about a badly picked-on and bullied young woman, fresh out of college, apparently losing her mind and believing she's being pursued by some sort of tree-person that I couldn't be sure was supposed to be real or imaginary. The thing is, it's as over-the-top as any absurd comedy, but it's not a comedy, it's horror. Picture a workplace that's as much of an exaggerated caricature as "Office Space", but not a comedy. It's that weird and unbelievable. I don't know, maybe it was supposed to be a comedy-horror but they forgot to put the jokes in?
First she just seems badly bullied, so realistically it made the movie hard to watch, and even date raped by her asshole boss whom she's for some reason…
A weirdly sort of entertaining zero-budget flick about a bunch of low-rent people in northern California who, bear with me, play a cassette tape and accidentally free a witch who was trapped in it. Comments supernatural shit, exorcism, etc.
It was so low budget it seemed pretty useless at first, but the variety of people of the sorts you'd find hanging around a junkyard or dive bar were kind of realistic and entertaining, and they really committed to the whole thing. Kinda good for such a piece of crap.
Bottom-of-the-barrel amateur-home-movie-level crap, but at least it tries to have a sci-fi angle. Or something. Basically these kids explore the sewer looking for a missing girl and encounter a bunch of really low-budget home-movie special effects.
Back in college, living out in the sticks, I used to occasionally listen to the local Christian rock station. Though the subject matter left me cold, I liked how the music was so unabashedly amateur—this was long before Christian rock took off even to the extent that it did, much of it sounded like someone had recorded it at home on a 4-track—and that there was something charmingly unselfconscious about it.
This movie is like that.
These people can't act, they just recite lines. This is home movie quality, it seems like someone got their friends (or more likely their church group) together to make a movie. And boy, do they talk about church and heaven a lot in this, even though it doesn't have an overtly religious message to push.
But, I dunno. Despite nearly turning it off about 15 minutes into it, I stuck it out…
Boy, you have to give this home-movie-level, bottom-of-the-barrel amateur production credit for trying. They really tried *hard* to make a good movie. They had absolutely no idea how to, and they couldn't find anyone with any acting chops, but they clearly were trying hard.
Plot: People are trapped in a house in the woods by an energy field circling the area. When they die, they wake up wherever they were first killed when they entered the area. The woods are full of human-like creatures, represented by people in costume-shop cloaks and black and white makeup, who either want to eat them, transform themselves into exact duplicates of them, or steal their gasoline, I'm not sure, sometimes crawl instead of walking for some reason, and drool black goo. The occupants of the house are trying to start up a mysterious machine that they believe will lower the barrier, without getting themselves…
A somewhat artsy take on "Lord Of The Flies" in an isolated house full of eccentric young women, trapped there while attending a birthday party when an earthquake causes it to sink below the surface of the earth. Slowly they become less civil. Adding to the surreal atmosphere are typical "girly" things played for additional strangeness, like their increasingly bizarre makeup, as well as their growing paranoia.
Despite the presence of some of my favorite young actresses, like Maya Hawke and Odessa A'Zion, I didn't exactly like it. Something about young women shreiking at each other quite that much wasn't really to my taste. The artsiness was not as egregious, nor as hamfisted, as a lot of movies, although it did get grating at points, including having an avant-garde Petra Haden/Meredith Monk-type acapella soundtrack, which I might go for as something to listen to but not as the backing track…
Kind of a fun D-grade zero-budget picture about a bunch of punk rockers camping in the woods when they get attacked by giant rubber maggots. Actually was kind of amusing for what it was, has bits of low-key almost Repo-Man-esque cynical dark humor, although the whole schtick wears thin by about halfway through. Still, one of those rare intentionally bad films that I nonetheless enjoyed a little. The characters are kind of funny. A little.
This movie has all the warning signs—it's described as a "horror comedy", and the synopsis starts with "A group of social media influencers..."—so I knew what I was getting into.
And, I have to say, it took a while for the setup to get going, a movie about social media influencers trapped in a haunted villa shouldn't take like 30 minutes to get them trapped in the haunted villa, the entire longwinded set up is totally disposable. And, even once everything is somewhat explained, the basic reason for just about any of it is, "because, movie."
But: this is a movie made by reasonably capable filmmakers who seemed to know just how silly the whole premise is, and decided to milk it for what they could. They baldfacedly embrace absolute silliness like, "This is the house where the first-ever influencer killed herself, and now all the ghosts of influencers who…
Hmmmmmm. Tough to know what to do with this one. It might be the most deeply flawed of flawed gems.
A captivity/pursuit flick that doesn't really have any captivity or pursuit until at least 2/3 of the way through its runtime. The director described it as "a home invasion flick without the home" but in truth it barely has the invasion, either. That's a good thing.
A struggling couple, their marriage crumbling and deep anxiety setting in as shown through flashbacks, has been evicted from their home and is spending their night in their car, parked on a darkened street outside a country club in the nice part of town. Slowly, tension builds, and it takes well over half the movie before we see someone is indeed messing with them. Someone leaves a note saying "don't park here" on their windshield... but it may be a nearby homeless…
A surprisingly ok, watchable post-zombie-apocalypse flick about a tough-as-nails drifter stumbling onto a remote house in Alaska where the precocious young children of a government research wait for their gorgeous, tough-as-nails parents to return while zombies roam the landscape. Other gorgeous and/or tough-as-nails survivors occasionally pass through along the way.
This one was a little different, though, and just slightly better than that intro probably does justice too. It's not really cliched, outside of that, well, it *is* a zombie movie, so certain things are to be expected. It's a little light on character, too, but it's well-made enough, reasonably cinematically polished, and has something of an actual plot rather than just thrills upon thrills, and I can only assume the abysmal reviews on IMDB are mostly from blood-and-guts or fright fans disappointed because it's not really a horror movie. It's sometimes easy to forget, but we do live…
This slightly-better-than-it-should-be Lovecraftian horror mockumentary is about a filmmaker investigating his brother's suicide after months of raving about a secret government mind control project, "MKHEXE". The runtime is almost two hours and somehow it manages to hold up, and the ordinarily annoying first-person-shooter horror trope is dialed down far enough that I didn't even really notice it until about 2/3 of the way through. That, the long run time, and an egregious number of video effects (why do so many supernatural phenomena resemble VHS glitching?) are all the hallmarks of movies I dislike, and yet, it kind of held my interest all the way through.
Interesting, it's one of those movies that goes on longer than it should, blowing past several points where most movies would have, maybe unfulfillingly, ended. In this case it's a good choice. It sees the story through.
Fanms of Bad Lieutenant and Henry: Portrait Of A Serial Killer will probably like the psychotic executive protagonist of this film. This is a lower-key variety of psychopath than Christian Bale might once played, not cartoonish so much as perpetually-irritated guy plays the character with a smoldering intensity and nonstop animosity towards everyone and everything he meets.
Unfortunately, this is about all the movie has to offer. Ultimately there's not much plot, there's just waiting for an angry guy to pop off.
It was alright, mostly because of his performance.
Sort of a peculiar, charmingly British movie about two affably irresponsible lads who are mysteriously given $10,000 by a stranger, and after some affable goofing around find themselves being questioned by the police. Started off a bit slow for me as I wasn't in the mood for British charm qua British charm, but, strangely, as it goes on, it gradually mutates from a low-rent comedy about a couple of drifters to sort of a twisted psychodrama. I kinda liked it for where it got to, even though it took a while to get there.
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