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Worst Movies of 2014

Better late to the party than not showing up, right? Well, here I am: a week into January, and just now doing the “Worst of 2014” post.

Many of you have probably seen the highly publicized listing of Rifftrax’s “Worst Movies of 2014” list, as voted on in a public poll. For those that haven’t, here it is:

rifftrax

  1. Teenage Mutant Ninja Turtles
  2. Transformers: Age of Extinction
  3. Dumb and Dumber To
  4. A Million Ways too Die in the West
  5. Left Behind
  6. The Amazing Spider Man 2
  7. Ouija
  8. Sex Tape
  9. Noah
  10. 300: Rise of an Empire

Interesting. I certainly have some quarrels with it, but such is the nature of democracy. Let’s compare that with a handful of other “Worst of 2014” lists, shall we?

Here is one pulled together by the good folks at the Stinker Madness Podcast, in no particular order:

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  • Noah
  • Left Behind
  • Sin City: A Dame To Kill For
  • A Winter’s Tale
  • Sabotage
  • Godzilla
  • 3 Days to Kill
  • Pompeii
  • Teenage Mutant Ninja Turtles
  • Transformers: Age of Extinction

Here is another one, done by Rolling Stone:

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  1. Transformers: Age of Extinction
  2. The Expendables 3
  3. Godzilla
  4. Men, Women & Children
  5. The Amazing Spider Man 2
  6. The Judge
  7. Divergent
  8. Transcendence
  9. Annie
  10. God’s Not Dead

And yet another, for good measure, by The AV Club:

avclub

  1. Left Behind
  2. 3 Days to Kill
  3. Septic Man
  4. Lullaby
  5. Winter’s Tale
  6. Labor Day
  7. The Bag Man
  8. Dark House
  9. Drive Hard
  10. If I Stay
  11. Hector and The Search for Happiness
  12. The Legend of Hercules
  13. Miss Meadows
  14. Best Night Ever
  15. America: Imagine The World Without Her
  16. Third Person
  17. A Million Ways to Die in the West
  18. Saving Christmas
  19. Devil’s Knot
  20. Atlas Shrugged Part III

Needless to say, it was quite a divisive year for bad movies. None of the lists agreed on a number one, and different films show up in each of them. Notably absent from all of them is the Bollywood movie “Gunday,” that sparked so much controversy on IMDb and other social media sites, instantly tanking to the bottom of the IMDb Bottom 100. Also, the much-maligned “Saving Christmas” is oddly underrepresented, barely cracking the AV Club list, and not making the other lists at all. Even the latest “Transformers” movie, which topped one list and was runner up in another, totally missed the AV Club list of 20. The Rifftrax number 1, “Teenage Mutant Ninja Turtles,” missed the AV Club and Rolling Stone lists. “Left Behind” consistently showed up in three of the lists, but missed the Rolling Stone ranking altogether. In another shock, “God’s Not Dead” only appears at #10 on the Rolling Stone list, and nowhere else.

I can’t express how astoundingly bizarre this is. I expected to see a significant difference between the Rifftrax list and the others, because Rifftrax was democratically run and open to the public, whereas the others were selected by critics. But the critics didn’t see any kind of agreement between them! We’re not even talking about minor gripes with the ordering: they are selecting entirely different movies!

All right, let’s see what another one says. TIME:

time

  1. Blended
  2. A Million Ways to Die in the West
  3. Men, Women & Children
  4. Walk of Shame
  5. Let’s Be Cops
  6. Legend of Hercules
  7. Winter’s Tale
  8. Nut Job
  9. Transcendence
  10. Hateship Loveship

Holy shit. Not only is there another different #1 worst movie (one that appeared on no other list, I might add), but 5 of 10 movies on the TIME list did not appear on any other list. You have to be kidding me.

Just for even more giggles, here is the Chicago Tribune list:

  1. Left Behind
  2. A Million Ways to Die in the West
  3. The Nut Job
  4. Horns
  5. And So it Goes
  6. The Identical
  7. Winter’s Tale
  8. Sex Tape
  9. Muppets Most Wanted
  10. Sin City: A Dame To Kill For

That is the first repeat top selection so far! However, there are also 4/10 that haven’t appeared on any of the other lists, so we aren’t making much progress there.

So, I’m going to try to come up with an aggregated “Worst Movies of 2014” out of these lists. First off, any film that only appears on one list is disqualified. That leaves me with the following 15 movies to rank:

  • A Million Ways to Die in the West
  • The Nut Job
  • Winter’s Tale
  • Left Behind
  • Sex Tape
  • Sin City: A Dame to Kill For
  • Transcendence
  • Amazing Spider Man 2
  • 3 Days To Kill
  • Teenage Mutant Ninja Turles
  • Transformers: Age of Extinction
  • Noah
  • Godzilla
  • Men, Women & Children
  • The Legend of Hercules

Now, I’m going to come up with a formula to decide the ranking. I’m thinking I am going to add together the Rotten Tomatoes review aggregate score, the Rotten Tomatoes audience score, and the IMDb score times 10 (it is on a 10 point scale normally, so this makes it out of 100). For each movie, that will give me X/300, and I will rank them from lowest to highest. Lets see what that looks like…

  1. The Legend of Hercules (79/300)
  2. Left Behind (86/300)
  3. Sex Tape (103/300)
  4. The Nut Job (113/300)
  5. Winter’s Tale (119/300)
  6. Transcendence (120/300)
  7. Transformers: Age of Extinction (130/300)
  8. 3 Days To Kill (135/300)
  9. *TIE* Teenage Mutant Ninja Turtles (136/300)
  10. *TIE* A Million Ways To Die In The West (136/300)
  11. Men, Women & Children (147/300)
  12. Sin City: A Dame To Kill For (158/300)
  13. Noah (181/300)
  14. Amazing Spider Man 2 (189/300)
  15. Godzilla (207/300)

Well, isn’t that interesting? Another new number 1 in “The Legend of Hercules,” but I am more interested in the higher numbers on this list. Those of you who are math-inclined may have noticed that the lower entries on here don’t have horrible scores: “Godzilla” has a 69%, which is damn near a “C”, and a passing grade however you cut it. “Amazing Spider Man 2” has a 63%, which isn’t good, but is certainly nowhere near the bottom for the whole year. For comparison, this scale gives “Saving Christmas” a 46/300, or a 15.3%, which is well lower than anything else on the list.

savingxmas2

I think the conclusion here is that 2014 is a year that we are all going to have to “agree to disagree” when it comes to movies. I’m personally very interested to see how this shakes out on the other end of the spectrum: a lot of people are expecting an equally competitive field in the “Best of 2014” category, which is going to be quite a firefight once awards season rolls around.

 

I <3 Gateway Film Center

Have I mentioned before how awesome Columbus, OH’s Gateway Film Center is? No? Well, they’re great. After being away from Columbus, OH for the holidays, I just want to give them a giant hug for how generally fantastic they are.

gateway1
They say that absence makes the heart grow fonder. After spending the last half of December back home in Huntsville, Alabama, I can say without any doubt that I miss the Gateway Film Center as much as I would miss, say, a superpower that suddenly went away: I could live without it and function well enough, but life isn’t nearly as fun that way.

gateway3
I’m not saying that Huntsville, AL is a culture desert or anything, but there isn’t anything there film-wise that can nearly compare to the quality of the Gateway. The opening of the beautiful Monaco Pictures a few years back was a big step up for the local theater game, but the content there isn’t any more varied than a typical multiplex, which is a damn shame. There are a few film clubs here and there, and a film co-op in the local arts center at Lowe Mill, but those only go so far. There aren’t any cult classic midnight screenings in Huntsville outside of an occasional Rocky Horror show, and the latest indie flicks certainly take their time getting there, if they come at all.  The south doesn’t have a stellar reputation about this kind of stuff, but I can’t help but feel that Huntsville would eat that kind of thing up. It is a pretty cultured city, considering where it is. Maybe it can snag an Alamo Drafthouse someday?

monaco
Monaco Pictures: where looking at the building is usually more interesting than watching the movies on the inside

For the hell of it, here are some of the things I missed at Gateway Film Center over the 2 weeks I have been away in Huntsville, just off the top of my head:

  • Late Nite Screening of John Carpenter’s “The Thing”
  • Late Nite Screening of Stanley Kubrick’s “A Clockwork Orange”
  • Late Nite Screening of “Home Alone”
  • Late Nite Screening of “Christmas Vacation”
  • Screening of new horror movie “Late Phases”
  • Screening of “White Christmas”
  • Brunch Screening of “The Graduate”
  • Screening “The Babadook,” which has still not made it to Huntsville
  • Screening “Foxcatcher,” which has still not made it to Huntsville

Maybe my favorite part of this is that I could have seen all of these, with free popcorn to each, with my $30 monthly membership. That is just goddamn beautiful. I really want GFC to have a physical humanoid embodiment so I can express my fondness for its existence via a top-notch fist-bump.

robotjox
That is all, of course, only covering the past two weeks. I didn’t even get into the Fritz the Nite Owl screenings (which are the best things ever), Dr. Bob’s Midnight Movies, or the other amazing film stuff going on in Columbus NOT at the GFC (I missed a Bad Movie Nite at Studio 35 over those two weeks as well!). There’s also the Wexner Center available for the more “pinkies up” film things, which I should probably visit more often.

fritz1
Godzilla vs Fritz the Nite Owl

Meanwhile, Huntsville didn’t have a single notable screening while I was in town (at least that I was aware of), outside of the typical multiplex fare. I was able to at least share with Huntsville friends some things I saw at Gateway (such as the amazing, sure-to-be-cult-classic “Dead Snow 2: Red vs Dead”) that never got distribution down this way. Again, I’m not trying to single out Huntsville as being particularly poor in the film department here. Honestly, I think it is on par with (or probably somewhat better than) Anytown, USA. The point I’m primarily trying to get across is that I want to hug the Gateway Film Center and be best buddies with it forever.

gateway2
If you live in Columbus, OH and love movies, you should be supporting the Gateway Film Center and the outstanding local film community there. Most of the country has nothing that can compare to it, and the programming has been nothing but stellar since I popped into town back in July. Just, y’know, don’t take it for granted. You could be a film buff stuck in Alabama.

cherish

IMDb Bottom 100 in theaters!

The good folks over at Rifftrax are going to be doing yet another live simulcast for the holidays! The former Mystery Science Theater 3000 gang are taking on an old favorite: IMDb Bottom 100 member and cult classic “Santa Claus”, a Mexican-made children’s movie in which St. Nick lives in a sky-castle with Merlin and battles demons for the souls of children.

You can check it out in select theaters around the US and Canada (maybe elsewhere?) on December 4th. To check where it is playing near you, go to the Fathom events page here, and throw in your local ZIP code. Or, if you happen to be in the Nashville, TN area, you can go to the in-person showing at the Belcourt Theater! I went to the live Rifftrax of “Godzilla (1998)” at the Belcourt this summer, and it was an absolute blast. I recommend making an evening of it if you can.

MST3K

Also, I highly recommend checking out the old MST3K episode on “Santa Claus”, which is among the best of the series. I’ll be covering the movie later in December here on the blog as well for the IMDb Bottom 100 reviews, so keep your eyes open for it!

Seven Hells

http://horrormoviesuncut.files.wordpress.com/2014/10/pic-2.png?w=576&h=873&crop=1

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?

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:

 

The Great Gamera Marathon

For about the past week, I have been away on a much-needed vacation. For a pasty nerd of my particular variety, “vacation” means that I spent a week watching shitty movies at a beach-adjacent location while drinking fruity things. Hey, it works for me.

Anyway, the specific goal of this trip was to watch through the entire Gamera franchise with some friends, which proved to be quite a task. By the end of the trip, we had cut our way through all 8 Showa-era Gamera films, but elected to give a pass on the Heisei-era features (for now).

I have mentioned before that I grew up on Showa-era Toho kaiju features (Godzilla, Rodan, Mothra, et al). Being a little kaiju snob as a kid, I never gave the knock-off Daiei-produced Gamera flicks a second glance outside of the realm of Mystery Science Theater 3000. Honestly, now that I have watched all 8 original Showa Gamera flicks, I kind of regret that position.

Most of the Gamera movies are abysmally paced and crammed with crappy child actors, but the actual kaiju fighting is all amazingly over-the-top. I laughed my ass off when Gamera started playing his theme song on Zigra’s back spines after defeating him, heartily chuckled at his gymnastic stunts in Gamera vs Guiron, and sang along every time that damned catchy theme song came on.

Speaking of which, that theme song is pure, uncut magic.

So, let’s break it down the original 8-feature Gamera series by film, shall we?

Gamera

To my surprise, this was poorly paced and incredibly boring to sit through. It was clearly trying too hard to knock-off Godzilla, and the filmmakers weren’t having any fun with their ridiculous creature. I did like the slow “revelation” of Gamera’s flying abilities, and the beginning of the “friend of all children” concept. I personally enjoy the dubbed version better than the subtitled version, if for no other reason than the abysmal work done for Kenny, the central child character. It really is quite astounding. The Mystery Science Theater 3000 riff of this one is an absolute must-see.

Gamera vs. Barugon

This one is still more grounded (read: less fun) than the later entries, and not quite to the level of a pure kid’s movie. That said, I like the monster design of Barugon: as an ice-elemental beast, he makes for an interesting foil to Gamera. I also kind of like that a good number of the Gamera adversaries are quadropeds, a trend started by Barugon. It is a nice distinction from the by-and-large bipedal Toho monsters. Also, Barugon has that lovely rainbow. You just have to love that.

Gamera vs. Gyaos

 

I do love me some Gyaos. My favorite monster in the Toho universe is Rodan, and I feel like Gyaos is the closest analog for the Daiei troupe. He is kind of like a paper mache Rodan with some extra powers to make up for the inconvenience. Unfortunately, one of those powers involves armpit gas ducts. It is also kind of interesting to see a kaiju aerial battle, something else that isn’t seen much in Toho. Even Rodan and Ghidorah did most of their scuffling on the ground. This is a pretty fun Gamera flick, but the series doesn’t really hit its stride until Viras if you ask me. I honestly don’t recall much about the plot from this movie, which should speak volumes for its quality.

Gamera vs Viras

The version of Gamera vs Viras I saw included a fantastic clip show of the previous movies that essentially boiled them down to the most entertaining parts. That significantly contributed to this being one of the most watchable and ridiculous of the Gamera movies. The aliens under Viras kidnap children, blackmail Gamera, and eventually take over Gamera’s mind using vague alien science, before having their plot ultimately foiled by meddling kids. The eventual Viras fight is pretty memorable in its own right due to Gamera using the squid monster like a Jet Ski, and eventually killing him with a bizarre spinning top attack. I can’t recommend this one highly enough, honestly.

http://www.dailymotion.com/video/x1evvag_gamera-rides-viras_shortfilms&#8221

Gamera vs Guiron

Gamera goes to space to fight a space-shark with a giant Bowie knife for a head. That’s should be all you need to know about this brilliant work of cinema, but in case you need some extra motivation, check out Gamera’s mad gymnastics skills. You know what? Just note everything that happens in this clip.

Did you catch the Gamera athletics? The dancing? Guiron’s head shurikens? This movie is pure glory.

Also, Guiron may have the best kaiju death ever. Gamera literally shoves a missile through his head. I’m a little surprised that he didn’t blow into spaceshark chunks, but I suppose this is technically a children’s film.

Last but not least, “Gamera vs. Guiron” brings us the Gamera theme song from space, which inspired the legendary MST3k lampooning. I would actually go so far as to say that the riff of this movie is one of the best in the entire MST3k catalog, and is a must-see for fans.

Gamera vs Jiger

Boy, is this a weird one. First off, this is one of the strangest advertisements of all time. Essentially, a good chunk of this movie is dedicated to promoting the 1970 World’s Fair in Osaka. For the life of me, I have no idea why anyone thought a kaiju movie would be an appropriate venue for doing that.

Adding further to the weirdness of this film is an extensive segment in which children take a submarine inside Gamera to save him from a parasite, “The Fantastic Voyage” style. The entire ordeal is quite surreal, but winds up slowing down the movie too much if you ask me.

this is how Gamera reacts to parasites

When Gamera is actually conscious, the fights with Jiger are only ok. Jiger has some odd nuclear attacks that are poorly explained, as well as spear like projectiles that are used to impale Gamera on a number of occasions.

…what the hell?

Once Gamera recovers from the Jiger parasite though, he pretty quickly stabs Jiger prime in the head with a magical talisman thing. That part is pretty awesome, but overall the movie is definitely a lesser Gamera entry.

 

Gamera vs Zigra

This movie, like “Gamera vs Jiger”, has yet another unprecedented real world tie in, and with a message to boot! Sea World is featured prominently throughout this movie, a whole 12 years before the organization made the even worse cinematic decision of getting in bed with “Jaws 3-D”, and 42 years before it was eviscerated by the documentary film “Blackfish”. Sea World should probably just avoid movies in general in the future (if it has one).

Anyway, this movie has a very strong environmental, save-the-oceans message that feels pretty shoehorned into the story. The evil aliens under Zigra are expert aquatic predators who hunt land animals in the same way that we fish, and intend to capture and consume Earth’s entire human population. So, I guess that means the lesson is that we should take care of the oceans, or else they will eat us in retribution.

Zigra himself is actually one of the better adversaries that Gamera faces. He is the intelligent overlord of the invading aliens instead of a simple wild beast, which I found pretty cool. Unfortunately, lighting issues make all of the underwater battles unintelligible, which is a real shame, because that means that nearly all of the fighting in the movie is visual nonsense. Once the fight does move to land and the audience finally gets a good look at Zigra’s beaked, sturgeon-shark form, the battle is all but over. At least the fight ends with Gamera playing the first six notes of his theme song on Zigra’s spine, which is one of the best moments of the franchise if you ask me. For that alone, this is a recommend for me. Be warned: the rest of the movie is very slow and child-heavy, though.

Gamera: Super Monster

“Gamera: Super Monster” is barely a movie. Made in 1980, a mighty 9 years stood between “Gamera vs. Zigra” and this film. During that time, Daiei Films went bankrupt, causing the series to go dormant. “Gamera: Super Monster” is thus a loosely thrown-together clip show of the previous Gamera movies, with no new Gamera footage at all. Basically, this was a way for publishing company Tokuma Shoten to make a quick buck off of the acquired property of Gamera.

What “Gamera: Super Monster” does have is a team of magical superwomen from outer space, and a cobbled together plot that makes negative sense. Also, the movie commits two grave sacrileges: 1) It replaces the Gamera theme with a far less amazing Gamera march, and 2) Gamera dies by crashing into a Star Destroyer from “Star Wars”.

You might think that a clip show of all of the monster fights of the previous films would be a great way to conclude the Showa-era Gamera series, and that a heroic sacrifice by our beloved jet-powered turtle monster is a perfect cherry on top. Well, that might be true if it were done with any kind of competence. However, this being Gamera, that wasn’t the case. The clip show from “Gamera vs Viras” was way better than any of the weirdly placed, re-purposed battles in this film. Even worse, because there is no new Gamera footage, our hero is killed off by an implied collision and a cheap, shitty explosion special effect. That is not good enough. Not at all.

One potential positive of this movie is that it cleared the way for the later Gamera Heisei series of films. Though, honestly, I see this movie as more akin to the Paul McGann Doctor Who TV Movie: it was an attempt to reach a new audience with an old property, but it came at the wrong time and from the wrong direction.

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So, that is it for the Showa-era Gamera movies. It was an absolute blast to burn through them all, even though it slowed down dramatically at times. Overall, it is something that I can recommend to any bad movie fanatics or general kaiju fans. I know that I have found a new appreciation for that ridiculous giant turtle beast from the experience.

Gamera is really neat

Gamera is filled with meat

We all love you Gamera

IMDb Bottom 100: Miss Castaway and the Island Girls

Miss Castaway and the Island Girls

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I admittedly did no research ahead of watching “Miss Castaway and the Island Girls” for the first time, so I wasn’t quite sure of what to expect going in. I can say that the last thing that I anticipated was a low-budget “Movie Movie” with a plot involving Noah’s Ark, Michael Jackson, the Tim Burton “Planet of the Apes”, and a giant prehistoric bipedal pig.
castaway3I have talked and written at length before about the weaknesses of the “Movie Movie” genre in my reviews of “Epic Movie” and “Disaster Movie”, both also on the IMDb Bottom 100. I won’t retread that ground, other than to point out that this style of movie has no longevity for future audiences due to their reliance on references and current pop cultural references. “Miss Castaway” definitely suffers from this in a huge way, given most of the ‘humor’ is derived from lampooning movies like “Castaway” and “Miss Congeniality”, which are barely on the cultural radar nowadays. However, that is a weakness of all of these movies, and there are plenty of issues unique to “Miss Castaway” that the big budget sister films like “Epic Movie” and “Disaster Movie” were able to evade.

First off, “Miss Castaway” is a cheap movie, and that is a fact that shows itself at every turn. Any time CGI is used (which is far too often), it looks like it was scraped out of the bottom of a barrel. Check out this clip featuring “Jurassic Pork”, one of the handful of CGI creatures in the movie.

Also, check out this dodo bird / alien thing. Doesn’t it look fantastic?
castaway4As you would expect, all of the acting and writing is abysmal. The acting is about what you should expect from any spoof movie, but the line deliveries are particularly stilted and wooden. Then again, there is no way to seriously deliver half of the lines in this script. For most of the movie, I was wondering if the writers had ever heard a human being talk before. In some ways, “Miss Castaway” dialogue feels like an alien race is trying to communicate with the audience, but their only knowledge of our planet, culture, and language is through movies circa 2004.

The plot feels like a clumsy patchwork to drive the characters from one reference to the next. It progressively devolves into incoherence, and it doesn’t make much sense to start with. I believe there are secret agents from the Vatican on board the crashed airplane who were hunting for Noah’s Ark, and were charged with saving it from humanoid Ape creatures who want to destroy humanity? There are also aliens involved at some point? It lost me about halfway through. I think Michael Jackson was in league with the Pope though.

castaway1Honestly, there isn’t much else to say about “Miss Castaway”. It is a cheap spoof movie that fails to be funny on paper, and is executed incredibly poorly. It is hard to compare Movie Movies to other kinds of movies, as they are kind of unique beasts. In comparison to the other Movie Movies on the IMDb Bottom 100, I can at least say that “Miss Castaway” is less low-brow that “Epic Movie” and “Disaster Movie”. It is far from high-brow, but I don’t recall much. if any, poop or bodily fluid humor, which puts it a notch above “Epic” and “Disaster” at least. However, the incredibly poor effects work probably puts “Castaway” right back down on their level. So, I guess it is pretty close to a draw? That is actually saying something for a movie with a fraction of their budgets, though.

In general, I don’t see any reason to recommend this movie. The plot is bafflingly stupid, the acting and writing are bad, and the effects are horrendous. If there were any actual humor to be had in the writing, the effects, acting, and plot might have been overcome. However, that was not the case. I advise avoiding this one, unless you have a burning need to see miserable CGI.

IMDb Bottom 100: The Hillz

The Hillz

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“The Hillz” has been perhaps my least favorite film from the IMDb Bottom 100 thus far. It isn’t the worst of the list (though it is certainly high up there) in terms of film-making incompetence, but the writing, dialogue, and general tone of the film are all incredibly revolting. The sheer vapidness of the screenplay puts a thin coating on top of the immense quantities of sexism, homophobia, transphobia, and pretty much every other shitty quality a thing can have. I would venture to say that absolutely anyone could be offended by something in this movie. One particular sequence that comes to mind is the ‘humorous’ story of “Monster Head”, in which a transexual prostitute is murdered mid-fellatio by one of the central characters. Lol.

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Even the actors are looking for other things to do

“The Hillz” presents the audience with an incredibly forgettable and thoroughly reprehensible cast of characters, including a dull college baseball star lead who is infatuated with an inconsistently-written Paris Hilton who plays his best frenemy and perplexing love interest. He also has a group of close friends who he smokes crack with on occasion, and who operate a criminal empire comprised of robbing Beverly Hills mansions at house parties and executing people for $80 debts.

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Smoking crack with the buds

The one saving grace in regards to the character cast of “The Hillz” is that they are mostly corpses by the time the story comes to its abrupt conclusion. I don’t want to assume that this ending was karmic repayment for their general shittiness, because the movie never particularly gave me the sense that they did anything wrong in the storytelling (they very obviously did, but I only know that because I have some sense of right/wrong, not because the movie conveyed it).

All of the actors are absolutely miserable in this movie, with the notable exception of the fellow playing the gang leader with a notably violent temper (the one who killed “Monster Head”). The character is one of the most horrid I’ve seen put to screen, but the actor really does his best to sell it. That is more than can be said for anyone else on screen throughout the run-time of this movie.

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He was doing his damnedest

The editing in “The Hillz” definitely goes a long way towards setting it apart from the herd. This movie would have been horrible based on the writing and acting alone, but the astoundingly incompetent transitions are mind-blowing. I think that this movie was edited in Windows Movie Maker, and the editor just used random transitions available in the program. There is at least one instance where a star transition is used, and those always look awful.

One thing that is worth pointing out about this movie is that, despite the trailer and all of the marketing materials, Paris Hilton does not feature prominently in the movie. She doesn’t have any relevance to the primary plot, and sort of floats around the edges of the movie as a source of frustration for the main character. I honestly don’t much care about deceiving people who would watch a movie solely for Paris Hilton, so that marketing deception is a pretty minor gripe in my book.

Last I checked, “The Hillz” was just about to fall out of the IMDb Bottom 100, which really does surprise me. This is more incompetent and offensive overall than either “Pledge This!” or “The Hottie and the Nottie”, two other Paris Hilton movies that tend to hover around the top 10 on the list. My guess is that this is primarily due to the relative lack of exposure of “The Hillz” in comparison to either “Pledge This!” or “The Hottie and the Nottie”, because I can’t believe that anyone would objectively regard those as worse movies than this piece of work. There are only a handful of IMDb Bottom 100 movies that I think of as mechanically worse than “The Hillz” (“Ben and Arthur”, “The Maize”, and “Birdemic” immediately come to mind), but none are as thoroughly offensively written as it. In the words of the late Roger Ebert: I hated, hated, hated this movie.

If you are interested in reading more about “The Hillz”, check out this review from the Something Awful forums.