So Bad It’s Good: The Proudly Formulaic, Brazenly Homoerotic ‘Tango & Cash’

I’ve been going through a bunch of old Kurt Russell movies lately, and boy does this one stand out. “Tango & Cash” is amazing fun in retrospect, particularly in just how clueless and out of touch it all is. I heartily recommend tracking it down, DVDs of it tend to float around all over the place.

Flavorwire

Bad movies are not a simple matter. There are nearly as many categories of terrible movies as there are for great ones: there are films that are insultingly stupid (Batman & Robin), unintentionally funny (Birdemic), unintentionally, painfully unfunny (White Chicks), so bad they’re depressing (Transformers), and so on. But the most rewarding terrible movies are those we know as “so bad they’re good” — entertaining in their sheer incompetence, best braved in numbers, where the ham-fisted dramatics and tin-eared dialogue become fodder for years of random quotes and inside jokes. And in this spirit, Flavorwire brings you the latest installment in our monthly So Bad It’s Good feature: the greased-up ‘80s buddy cop epic Tango & Cash.

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IMDb Bottom 100: The Wild World of Batwoman

The Wild World of Batwoman

The Wild World of Bat Woman One Sheet

“The Wild World of Batwoman”, in case you couldn’t have guessed, has no relation to The Dark Knight or DC Comics. That said, the movie is a clear attempt to capitalize off of the popularity of the Adam West “Batman” television show (enough so to get sued): yet the hammy style and the bat aesthetic was about as far as the similarities went content-wise, however. The majority of the film consists of dancing sequences, clips from unrelated movies, and inexplicable vampirism (yeah, Batwoman is a vampire). Who needs crime-fighting and bat-related gadgets/shenanigans when you have vampires who occasionally dance?

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There are a lot of phone conversations too. Not even exciting ones.

The plot centers around a near-magical piece of spying equipment: a newly-developed listening device that can hear anything that is spoken (or something to that effect). A mysterious villain named Ratfink is dedicated to stealing the device, and through kidnapping and blackmail attempts to have Batwoman (an apparently famous vigilante leader) do the deed for him. It all gets needlessly complex and nonsensical from there, with a few shots of mole people pulled from a different movie, but ultimately Ratfink is defeated and unmasked. He then confesses that he only wanted the device because he is a voyeur, which means that the sinister plan and super-villainy was all way overboard.

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Ratfink is the one who is dressed like a villain.

The acting is “Batwoman”, if you can call it that, is very bad. It wouldn’t have made much of a difference considering the writing, but it is very clear throughout the movie that the majority of the cast was not there for their acting abilities. The villain characters, as you would expect from the time, are either buffoons, racist stereotypes, or mustache-twirlers. Again, no actor could have made the characters passable, but that doesn’t change the end result on the screen. Outside of Batwoman herself, there isn’t an adequate performance in the movie.

I can’t think of any reason to recommend this movie. There is a lot of dancing, the plot is old-school silly, but the pacing and editing is so abysmal that the movie is nearly unwatchable. You can check out the MST3k version of the film, because there are a few laughs to be had in there, but outside of that frame the movie is absolutely skippable.  The movie could  have actually been a fun “Batman” rip-off with better writing beneath it, but that just isn’t the case here. It reminded me a lot of “Horrors of Spider Island”: there is a large cast of non-actors who are essentially there to dance, and the writing is a step below amateurish. “Spider Island” at least had some effects in it though, whereas “Batwoman” doesn’t really go anywhere or do much of anything. This was a movie designed to make a trailer out of, and trick audiences into a theater.

Here are the MST3k highlights of “Batwoman”, which is going to be more worth your time to watch than sitting through the whole damned movie.

IMDb Bottom 100: Aag

Aag

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“Ram Gopal Varma’s Indian Flames” (also known as “Aag”) was the first Bollywood movie to make it into the IMDb Bottom 100, and helped start the growing international trend of the list. As you should expect, it isn’t a good movie. However, as is sometimes the case, there is more to the negative reputation of “Aag” than the poor quality of the movie on the screen.

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The poor quality of the movie is a big part of it too, though. A very big part of it.

“Aag” was initially planned as an official remake of the beloved Bollywood classic “Sholay” by Ramesh Sippy.  It was even titled “Ram Gopal Varma Ki Sholay” during development, until it was ruled to be in violation of Sippy’s copyright and trademark on the film (the character names were ordered to be changed as well). To make things worse in the court of public opinion, numerous members of the cast and crew of “Sholay” spoke openly against “Aag”, meaning no one was particularly excited about the movie even before it hit theaters. The best parallel I can think of is whenever someone has done a remake of Hitchcock: audiences and critics are not usually receptive to the idea of readdressing films regarded as timeless.

Unsurprisingly, the movie was a massive critical and box office failure. After all of the production shenanigans, I honestly think it may have failed regardless of the quality of the movie. But, as it so happens, “Aag” is no masterpiece.

To start with, the movie is far too long for what it is, and is not structured in such a way that the length is justified. The run-time is 164 minutes, but the structured made it feel even more inflated from there. There were numerous points throughout the second and third acts where I thought the movie was coming to a conclusion, only to have the conflict fizzle out and the pieces on the board reset. To say that this was frustrating doesn’t cover it in the least,  mostly because of the entirely uninteresting characters the audience is subjected to throughout.

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Except for that dude with the giant face on the right, he’s awesome.

While “Aag” has a fantastic villain character (Babban) played by Amitabh Bachchan, the rest of the cast is a stone’s throw from abysmal. Whenever Babban isn’t on-screen, the movie screeches to a halt underneath the shittiness of the acting and writing. The leading duo, who should carry the film, are two of the least interesting characters in the story. One of them primarily fills the role of comic relief (poorly) until the last act, whereas the other does less emoting than Keanu Reeves. There are love interests shoe-horned for both characters, most notably Gungroo, who might be the worst-played and worst-written character in the movie. She spends most of the movie either threatening violence on people or being harassed by one of the leads (named “Heero”, groaningly). She ultimately magically falls in love with “Heero” after a jarring musical number and a handful of shenanigans, because of course she would. There is one other decent character outside of Babban (Inspector Narsimha), but he is more passable than he is good, and he never owns a scene in the way Babban does.

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Gungroo is one of the worst woman characters I’ve seen in years, and that includes all of the Paris Hilton movies I have had to watch. She exists to be grating, and eventually to fall in love.

You can tell that there is the skeleton of a decent movie buried underneath the layers of dull sediment of this film, but that just makes the experience all the more disappointing. It feels like someone took the story beats and concepts from a classic story, and then locked a bunch of unpaid interns in a room and demanded that they recreate the movie before they could get fed. Rushed, amateurish, and without any regard for an audience: that pretty much nails the writing issues with “Aag”.

I do not recommend watching “Aag”. There isn’t a lot of entertainment to squeeze out of this, and you could do far better things with the time you would spend watching this movie. The performance of Amitabh Bachchan as Babban is pretty delightfully over the top, but not good enough to redeem the movie as a whole. I haven’t seen “Sholay”, but I am willing to wager that it is a much better time than “Aag”.

Seven Hells

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Last month, I had the pleasure of attending the Gateway Film Center’s premiere of Seven Hells: a collection of lauded horror short films that have made the festival circuit in recent years.

It is a real shame that short films rarely get significant distribution, because they can be a whole lot of fun: particularly in the horror genre. Seven Hells is a showcase of some of the best horror and horror-comedy short films out there, and is at its core an experimental attempt to promote them to a more casual theater-going audience.  To say the least, the concept is well-intentioned: the films deserve a wider audience, and audiences deserve these films.

Seven Hells only has a loose frame between the segments, but it doesn’t need to be flashy: its strength is in the existing short films that make up the content, and they have already proved their muster to festival audiences. The connection between the segments is simple: each story is a tale of everything metaphorically (or literally?) going to hell for someone. It is simple, and it works.

The weaknesses, where they exist, are related to the mostly uncharted format of the movie. The short films vary wildly in tone, with some being campy horror-comedies (Killer Karts, Horrific) and others that are dead serious and macabre (Cold Turkey, Black Sugar). This causes a little bit of whiplash, but it doesn’t ultimately damage the collection as a whole. Would it be a better experience if it were solely focused on one style or the other? Probably, but I don’t think it would be dramatically different in the end, and there is something to be said for the collection showcasing the diversity within horror.

The pacing is somewhat hampered by the inclusion of credits within each segment (rather than being bookended on the entire collection), but that’s the extent of the complaints I have with Seven Hells. When it comes down to it, the intention of the movie was to expose some fine films to a more casual audience of horror fans, who would otherwise never have seen them. In that regard, I thought it was quite successful. After all, I’m a horror fan who can’t make it to film festivals, and I would not have seen this shorts without Seven Hells.

Speaking of which, here are the trailers for the seven short films that comprise Seven Hells:

Jack Attack

The dialogue in Jack Attack is really snappy, and the effects in this are top-notch. I love the original concept here, and it also features the rarity of a decent child actor.

Incident on Highway 73

This is suspense mastery, and yet another brilliantly original concept. I also thought this had some particularly brilliant sound work and cinematography that fantastically enhanced the tension.

Killer Karts

Seeing the trailer for this is what got me in the door to start with. It is a funny short without being overtly humorous, instead relying on the outlandishness of the concept. Killer grocery carts? Yes, thank you. It also manages to be of genuinely good quality, resisting the temptation to drift into Tromatic territory with its off-the-wall premise.

Cold Turkey

Certainly the darkest film in the collection, this was the only time I felt some real tonal whiplash during Seven Hells. That said, Cold Turkey has some astounding practical effects, and is frankly haunting in its depiction of a self-starving cannibal.

Blac k Sugar

Black Sugar was maybe the coolest stylistically out of the bunch, and is also the only one I recall to extensively use computer-generated special effects. I am typically a bigger fan of practical effects, but the CG here is used brilliantly to depict a hellish alien world. Black Sugar is yet another incredibly original concept, focusing on a group of teenagers experimenting with a mysterious drug.

Horrific

A clearly Sam Raimi inspired tale of one man’s struggle against a Chupacabra, this is an absolute blast. It is probably the shortest entry, but it might be the one that stuck with me the most. Next to perhaps Killer Karts, it is the funniest of the bunch.

Til Death

Seven Hells is the brainchild of Jason Tostevin, who contributes the final segment in the collection. Til Death has some great comedic acting and some really fantastic make-up effects, but there were a couple of things that bugged me about it story-wise. Unlike the others, it actually has a happy ending. That alone wouldn’t really bother me, but the characters in the segment are, in my opinion, the most loathsome in the collection (I’m including Cold Turkey in there). The main characters are all in unhappy marriages, and decide that they should all kill their wives to escape their respective hellish matrimonies. They are all childish and cruel, and the karmic system that underlies most horror stories would leave them to their hellish fates, and definitely not allow them to live happily ever after.

There is an implication that the characters mature over the course of murdering their wives and killing themselves, but you don’t really see it happen. The credits roll over happy images of the various married corpses, who have apparently re-found love after their deaths. It just didn’t feel right to me: they should have been doomed to an eternal life with their undead spouses to pay for their heinousness, but instead they learn to enjoy it.

All of that said, Til Death has some really great comedic moments, and it is exceptionally well-crafted. Honestly, I might just be over-thinking it: the film leans more towards comedy than horror, and I may have just wanted it to lean the other way. It also probably wasn’t the best capstone for the collection given the upbeat ending: after all, the theme of Seven Hells is about things going bad.

It is to be seen what sort of distribution Seven Hells will get, but my hope is that it will go far and wide. Even if it doesn’t, I hope that the concept isn’t abandoned: the format of Seven Hells is undoubtedly the best way to publicize short films to a larger audience, but it may some tinkering to make it more marketable overall. In any case, I whole-heartedly recommend checking it out if you can. Who knows, maybe it will pop up on Netflix one of these days?

IMDb Bottom 100: Breaking Wind

Breaking Wind

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“Breaking Wind” is yet another “[Movie] Movie” (a term used for modern, lazy parody movies in the vein of “Scary Movie”) in the IMDb Bottom 100, joining “Miss Castaway”, “Epic Movie”, and “Disaster Movie”. I have basically exhausted everything I have to say about the inherent issues with this particularly abysmal genre, but “Breaking Wind” does at least have some specific issues all its own. First off, it is about farts.

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Also, fat werewolves

“Breaking Wind” is a parody of the “Twilight” movies, deriving the title from one of the sequels (“Breaking Dawn”). As you can gather from the title, a large quantity of the attempted jokes in the film center around farting. There is what I would describe as an aggravating number of fart-related gags throughout the film. The few attempts at humor that aren’t directly fart-related are at least crass and lazy, or are so dependent on knowledge of the “Twilight” franchise that casual moviegoers are not going to understand them. Check out the following clip, in which Danny Trejo cameos to fart a bunch, reference random things, and parody what I assume was a specific scene in one of the “Twilight” movies:

Wasn’t that nauseating? The whole movie is pretty much like that. I wonder if this was the low point of Danny Trejo’s acting career?

On top of the lazy humor, “Breaking Wind” also suffers from the fact that it isn’t even the only “Twilight”-centered parody movie. Friedberg and Seltzer, the typical “[Movie] Movie” duo who were behind “Epic Movie” and “Disaster Movie”, released their own “Twilight” parody (“Vampires Suck”) a good year and change before “Breaking Wind” hit theaters. And, unbelievably, “Breaking Wind” writer/director Craig Moss has a worse track record than the Seltzer/Friedberg duo when it comes to parody films. His only other credit at the time was the annoyingly-named parody “The 41-Year-Old Virgin Who Knocked Up Sarah Marshall and Felt Superbad About It”, which has a whopping 2.7 on IMDb: only marginally better than “Breaking Wind.”

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Not only is it lazy and second-rate, but “Breaking Wind” doesn’t seem to understand its audience either: for a movie that nearly requires knowledge of the “Twilight” franchise to follow, it is incredibly mean-spirited towards fans of the books and movies. The movie ends over clips pulled from YouTube of “Twilight” fans reacting ridiculously to “Twilight”-related events. It comes off as really uncomfortable and unnecessarily shitty to a group of people who could theoretically be buying tickets to the movie.

As with any of the modern generation of parody movies, there isn’t anything redeeming enough about “Breaking Wind” to justify recommending it. The humor is dated and crass when it does exist, which is not often. This one just needs to be chalked up and archived as yet another dumb parody movie, and never re-addressed again.

IMDb Bottom 100: Track of the Moon Beast

Track of the Moon Beast
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“Track of the Moon Beast” is yet another forgettable entry in the IMDb Bottom 100. Like a good number of the films featured on MST3k, this is one that feels like background noise. There are a few memorable moments, but definitely not many. I haven’t had as much trouble recounting a movie since “Zombie Nightmare”, and I think that one is a good deal more entertaining than “Track of the Moon Beast”.

One thing I can give this movie credit for is some kick-ass box art. That muscle-bound blue alien creature stretching its claws towards the moon is pretty bad-ass. Unfortunately, the monster in the movie actually looks like this:

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Not very impressive. And yes, the creature is shrouded in darkness almost the entire movie, probably an attempt to hide how crappy it looks. The only exception I can recall is the excessively colorful death scene, in which you still can’t make out much in the way of details:
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So, bad effects are definitely an issue that hampers this movie. I will say that the transformation effects aren’t too bad, especially in comparison with something like “Laserblast”, where they just painted the actor’s face green. There is even some alternate box art featuring the transformation makeup that doesn’t look too bad.

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some more box art that is way too good for this movie

However, there are a lot of issues with this movie beyond the mediocre effects work. For instance, the plot is just a wee bit ridiculous. The main character becomes the “moon beast” because a tiny meteorite lodges into his brain without him noticing. Weirdly enough, it is later stated that there is a local, native legend about an identical creature existing in the past. So, the story implies that more than one person in the history of this town has had an evil moon rock lodged into their skull that transformed the victim into a were-alien. Honestly, it sounds like they had two origins written down, and couldn’t make up their mind between the two of them.

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This monster looks better than the one that made it on screen

All of that said, you can make a good movie with a ridiculous plot. In fact, I like where they take the plot as it moves on. Unlike most werewolf features, doctors discover his ailment and try to fix it, and don’t hold him accountable for his crimes. Unfortunately, they ultimately can’t help him, and the main character decides to run away and attempt suicide so his moon beast form can’t hurt anyone else. He is eventually stopped from carrying out this plot, after which he to transform into the moon beast and is shot. The ending is kind of a bummer, really.

Honestly, there is some promise in this movie, but there’s not enough talent behind the film on any level to make it work. With better writing, better effects, better acting, and someone with a better eye for shooting in charge, this could have been a fun little sci-fi story. As it is, “Track of the Moon Beast” is a really boring movie to sit through, and it isn’t one I can recommend. I do, however, recommend the box art. That is, again, very bad-ass.

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Cushing/Lee ’72

Cushing/Lee ’72 is a ticket that would have gotten my vote.

A couple of days ago, I decided to dive into my immense backlog of DVDs to find some blog fodder. I was planning to watch through some Hammer films to compare with Tim Burton’s “Sleepy Hollow”, based on an interesting theory I came across on “The Nostalgia Critic” last week.


That “Sleepy Hollow” theory is something I may get into at another time.  In any case, I pulled a couple of Christopher Lee / Peter Cushing combos out of my collection, and popped them in for an evening of British horror. I honestly assumed from the casts that both would be Hammer films, which I don’t think was an outlandish assumption for a film from that time period. Interestingly enough, only one of them was Hammer, but both films came from the good ol’ year of 1972.  Also, they were both thoroughly delightful. So, here they are!

Horror Express

First up is a delightful international flick called “Horror Express.” A couple of months ago, this was recommended to me based on some of the outrageously ridiculous science in the film, so I decided to pick it up when I spotted it in the bargain bin.  What they didn’t mention is that the film is an absolute blast, and the cheesy pseudo-science in the plot is just icing on the cake.

There is a mad monk, a snarky Soviet commander who takes over the train (played by Terry Savalas, who is awesome), pale-eyed zombies, a possessed defrosted neanderthal, and an alien adversary that kills people by staring at them with glowing red eyes. It is a delightful time, and the whole thing is hanging out on YouTube.

Nearly the whole movie takes place on the Trans-Siberian Express, which gives the movie an interesting claustrophobic vibe (one of many things that reminded me of “The Thing” in this movie). Cushing and Lee play rival anthropologists who coincidentally wind up on the same train, but they learn to cooperate fast when things turn bad. Lee’s character has discovered a corpse he believes to be the “missing link” in the history of human evolution, and tries to hide his cargo for the first section of the film. Of course, things go wrong when the ancient corpse wakes up and starts killing people. It winds up being dispatched pretty quickly, at which point Lee and Cushing poke at its eyeballs a bit during an autopsy. After looking at images of dinosaurs and space in the creature’s eyeball fluid under a microscope, they come to the brilliant conclusion that the missing link was possessed by a parasitic alien, and that the parasite has found a new host on the train. Spooky!

The rest of the movie involves some great alien possessions, care bear stare deaths, a train explosion, and some generally delightful practical make up effects. Here are a few stills:

I can’t recommend “Horror Express” highly enough. It dances along the line of being a good-bad movie and being just a good movie, but it is a train-load of fun either way. It might actually be my favorite Cushing / Lee movie, though there are a lot of good ones out there. Including the next flick…

Dracula A.D. 1972

“Dracula AD 1972” is one of the later Hammer films Dracula movies, and probably the most ridiculous of the bunch. It starts with the supposed final battle between Cushing’s Van Helsing and Lee’s Dracula in 1872, which ends with both men dead (Lee is notably impaled to death by the spokes of a broken buggy wheel).

The movie then hops to the modern setting of 1972 (100 years to the day), where a young man named Alucard is dead set on reviving Dracula. He is played very hammily by Christopher Neame, who went on to have a successful career as a television character actor. Honestly, he is most of the reason why I like this movie so much. He goes over the top and beyond as Dracula’s #1 fan.

Coincidentally (or not?), Alucard is in a friend group that includes the great-great-granddaughter of the original Van Helsing. Cushing of course plays her protective grandfather (the identical grandson of the original Van Helsing), who is an aging expert on the paranormal. In fact, there isn’t any perceptible difference between this Van Helsing and the original at all, which I honestly didn’t mind so much. No need to mess with a good thing.

Through a particularly silly string of events featuring a plethora of 1970’s slang, partying, and astounding British-ness, Alucard successfully resurrects Christopher Lee’s Dracula via a blood sacrifice (of a Bond girl, no less) in an abandoned church. Dracula immediately makes it clear upon his reconstitution that he has come back specifically to wipe out the Van Helsing clan, but doesn’t do a whole lot to see that goal through. Most of the actual vampiric antics are left to Alucard and his goon, during which time Dracula presumably just hangs out in the abandoned church, mostly satisfied to let others take revenge for him.

“Hey, you. Go do my revenge plot.”

Most of the movie plays out kind of like a cop drama, with Peter Cushing offering advise to a somewhat skeptical police investigator who is digging into the string of clearly vampire-inspired murders of the Van Helsing granddaughter’s friends. My favorite piece of advice Cushing gives to the cops is that they should look into Alucard as a prime suspect, because his name spelled backwards is “Dracula”. That is some deep detective work.

“I think the guy with the teeth is the bad guy”

As you might expect, the young Van Helsing girl is ultimately kidnapped by the Dracula gang, leading to a pretty underwhelming final battle between Cushing and Lee that involves a tiny spiraling staircase. More notably I think is the fact that Alucard is dispatched by Van Helsing via a shower.

so, do vampires just not bathe?

“Dracula AD 1972” isn’t quite as fun or as good as “Horror Express”, but it was still a pretty good watch. The Alucard character and all of the 70’s youth slang are hilarious, and the Satanic blood sacrifice scene is delightful. Really, the first 30 minutes or so has most of the best parts, between the wagon chase battle opening, the Satanic sacrifice, and the 1970’s youthful partying. I’d recommend giving it a watch if you want to see a campy Dracula movie, or just need an emergency dose of the early 70’s in your life.

I empathize with the characters on the left

Ah, and last but not least, “Dracula AD 1972” has a theme song for the ages. It is just amazing. Nothing says Dracula quite like funky french horns and saxophones. Give it a listen: