A Talking Cat!?!
Rating: 2/20 (Emma: 4/20; Abbey: 3/30)
Plot: The titular cat!?! brings a pair of families together.
"Is that a cat?" You'd be surprised how many times that line is in this movie. This is a movie about some people who apparently have never seen a cat before. And that's weird because there are several times when the cat gets up and walks away and you can clearly see cat food on the floor. That leads me to believe that these are people who have cat food but who aren't sure what a cat looks like. And that's the real mystery of this movie. This is one of those movies where all the pieces come together so imperfectly to produce something so beautifully awful that you want to tell everybody you know about it. The acting isn't the worst that you'll ever see, but combined with everything else, it seems almost magical. The worst offender is Eric Roberts who provides the voice of the cat. The cat is fine, but Roberts sounds like he was locked in a closet, fed nothing but vodka and oatmeal pies, and forced to read his lines. He mostly sounds tired, and when he doesn't sound tired, he sounds bored. When he doesn't sound tired or bored, he sounds like he has come to a point in his life where he despises himself and his maker. Johnny Whitaker isn't a realistic father or millionaire, but he's got a soul patch and does a great Bogart impression. Justin Cone is awful as his son, surly and effeminate in cut-off jeans. He nails one line though: "I did see a cat--that one!" Soap star Kristine DeBell is just as bad playing a character who doesn't need oven mitts when taking things out of an oven. She does play exasperated well, probably because that's how she feels about having to be in this movie. The music is also terrible, and whoever scored this thing should be put to death immediately. I know that sounds harsh, but we're talking about somebody who threw a MIDI version of "La Cucaracha" in this thing. This is clumsily written and poorly paced. I was convinced halfway through that this was possibly written in under a half an hour. Cheese puffs were mentioned extraneously, the explanation of the cat's powers of human speech were never explained in a way that made sense, and the human characters seemed to have been created by people who have never heard human beings interact with each other before. Most impressive of all might be the special effects that allow the cat to talk. I was confused about whether the cat was "talking" to the human characters telepathically, but the magic of special effects made it clearer later with an animated black mouth. Dreadful, the kind of special effect that makes you feel sorry for everybody involved in the production of this so that you start weeping in front of your daughters. This is the type of movie that is around ninety minutes but seems like it goes on for ninety days, sad since it was really about twenty-five minutes of movie padded with random shots of a waterfall and some trees. In fact, the only thing that might have been in the movie more than nature shots were shots of the cat's butt hole. That thing popped up so many times in this movie that I began to wonder if it was intentional.
Good news: A Talking Pony!?! is in post-production. It features DeBell and Whitaker, so it must be a sequel. Also, director David DeCoteau has a movie in post-production called My Stepbrother Is a Vampire!?! I almost wish I was making the punctuation up.
It's possible that I'll see a worse movie this year, but this is a strong Manos contender right now. And Roberts, in a voice-acting role, just could grab himself a Torgo. He's really that bad here.
Samurai Cop
Rating: 2/20
Plot: The titular cop and his sidekick battle organized crime in Los Angeles.
Matt Hannon plays that titular cop and is pretty dreadful as an actor but not too bad as an action hero. He's no worse than an Arnold or a Stallone really although he doesn't have that special whatever that either of them have. Still, it's strange to me that he wasn't in a single movie after this one and only had other straight-to-video release. Jannis Farley, who plays his love interest Jennifer, also had no other movies after this one, and I would have figured that her posterior alone would have gotten her more work. The bad guy is played by Robert Z'Dar whose had plenty of work including the sequels to Hell Comes to Frogtown and Beastmaster, Tango and Cash, and that awesome Soultaker movie with Joe Estevez. So with a cast like this, how could it possibly miss? Well, it was apparently written by an individual with some mental problems. Amir Shervan wrote and directed it. And Amir Shervan might have written this without first hearing other human beings speak to one another. Most of these are likely worse in context, spoken from the mouths of people who can't act very well:
"I will bring his head, and I will place it on your piano." (This is right after the gang leader guy said, "I want you to bring me his head and place it on my piano.")
"I can relieve you of this gift, this black gift." (This is a reference to the castration of Samurai Cop's black sidekick.)
"You lost. . .you lost face." (Spoken by the protagonist after he beats a guy up. No, it doesn't make more sense in context.)
"Hey, wait a minute. I want to talk to you." (This isn't a bad line on its own, but it's the exact thing spoken by four extras in a row during an escape from a hospital.)
"I feel like somebody stuck a big club up my ass. And it hurts. We have to figure out a way to get it out of there." (This is the police captain. He's got a few gems as almost nothing he says makes sense.)
"Oh, shoot!" (Right after the cops run over a guy they just shot. What?)
"Shoot! Shoot him!" (Said repeatedly during a car chase scene. Then, a "Yeah! You got him!" Spoken like a true sidekick.)
This sexy bit of dialogue:
Girl cop: Ok, Joe. Just keep it up.
Cop: Oh, it's always up. You just keep it warm.
Girl cop: It's warm and ready.
(Then, later--following the car and helicopter chase they're involved in during the above exchange) Girl cop: I'll be home later.
Cop: I may stop by, so (pause--tongue click) keep it warm."
And then there's this conversation between a sex-crazed Samurai Cop and a nurse who is only in the movie to have this conversation:
Nurse: Do you like what you see?
Cop: I love what I see.
Nurse: Would you like to touch what you see?
Cop: Yes, yes, I would.
Nurse: Would you like to go out with me?
Cop: Umm. Yes, I would.
Nurse: Would you like to fuck me?
Cop: Bingo.
Nurse: Well, then let's see what you got. (Checks groin area) Doesn't interest me. Nothing there.
Cop: Nothing there? Just exactly what would interest you--something the size of a jumbo jet?
Nurse: Have you been circumcised?
Cop: Yeah, I have. Why?
Nurse: Your doctor must have cut a large portion off.
Cop: No, he was a good doctor.
Nurse: Good doctors make mistakes, too. That's why they have insurance.
Cop: Hey, don't worry. I got enough. It's big.
Nurse: I want bigger.
And that's it.
And then there's some great dialogue with dubbed (I think) voices that are pretty much unintelligible, like gangsters just growling at each other. And two conversations about how black the Samurai Cop's sidekick's ass is. The greatness of the dialogue is nearly surpassed by the greatness of the action sequences in this bad boy. During a car chase where the film was speeded-up but still seems to involve vehicles that never top 30 miles per hour, a van drives into a pile of dirt and naturally explodes before the driver runs out on fire while the cops panic and yell about how he's burning and how they need to do something. Then, it cuts directly to the first of a few awkward sex scenes. Another great action scene involves the cop throwing a samurai sword (really the only time he uses that weapon, I think) and chops a guy's arm off. The black sidekick's response? "Damn!" There's some kung-fu fighting with some strangely echoing utterances that would likely embarrass Bruce Lee, and a final shoot-out that makes up the final redundant 30 minutes of this thing that feature some of the best (and by that, I mean the worst) death scenes I've ever seen. Oh, and at one point, you can hear an audible gun click. It's all wildly entertaining and really funny if you're looking for a movie bad enough to make you laugh.
Special mention goes to Joselito Rescober who showcases some of the best acting I've ever seen as a waiter.
Transmorphers
Rating: 3/20
Plot: People vs. robots, in the future.
The Asylum is a production company that attempts to capitalize on current movie blockbusters by putting out their own really low-budget, direct-to-dvd movies. There's a Sherlock Holmes one on the old blog somewhere, and although it nearly bored me to tears, I decided to watch this one anyway. I thought there might be some unintentional comedy. But no, director Leigh Scott and his cast of terrible actors only succeeded in giving me something really dull and incomprehensible. The nicest thing I can say about this movie is that the robots look a lot better than the birds in Birdemic: Shock and Terror. And that's surprising since it seems the entire budget for this movie was blown on strobe lights. It's really an ugly movie though. Leigh Scott did discover split screen about halfway through the production and uses it for no reason at all, but everything's so murky. I've seen video games that look a lot better than this. I'm really glad the survivors of this alien robot war are all good looking though. Otherwise, I don't think anybody would have a reason to watch this at all. I'd probably want to watch the movie with my eyes closed. Well, the dialogue's also pretty terrible ("I got a bogey on my ass! I can't shake him!") so I'd probably want to watch with my ears closed as well. The acting is universally bad. Sarah Hall plays Blair, and initially, I thought she was about as awful as things get, but the rest of the acting is so bad that it was impossible for me to have any of them stand out. Although I will say that Michael Tower, the guy who plays a nerdish doctor, makes a pretty good effort to stand out. He's playing the stammering-nerdy-doctor-amidst-alpha-males stereotype like a pro though. There are times when he finishes a line and then looks around like he's expecting somebody to yell "Cut!" and make him do it all over again. Oh, and there's a woman named Amy Weber in this who I could have sworn is related to Elizabeth Berkley. She's not related, but her first acting gig was in the "Screech's Spaghetti Sauce" episode of Saved by the Bell. And she was a professional wrestler. Ok, that's enough time spent with this movie. I can't believe I watched the whole thing. I might be done with The Asylum after this and probably should have been before.
Quigley
Rating: 2/20 (Abbey: 12/20)
Plot: A mean businessman who owns a CD-ROM company in 2003 dies but is sent back to earth as a dog to do good things so that he can get into heaven.
You're probably going to think that I'm making this movie up in some desperate attempt to hit my 365 movie mark for the year. In fact, you're probably wondering to yourself why I spent the time making that poster up there instead of just watching and writing about a damn movie. That does look like a movie poster that I could throw together using Photoshop, doesn't it? The menu screen for this dvd (yes, this movie does exist) was just as crappy looking, and the title sequence looked like the director William Byron Hillman--a guy who does not deserve to be called by three names like that--must have told his niece, "Here's some paper and crayons. Draw me some pictures of dogs to use for the beginning of my movie." Hillman hasn't directed a movie since this one. He directed a movie about a miniature horse called The Adventures of Ragtime which is currently at a 3.8 on imdb.com, an action picture about a kickboxer saving his girlfriend called Ragin' Cajun which sits at a 4.0, Double Exposure which is rated a lofty 4.7, the even better (apparently) comedy The Man from Clover Grove which is a 4.9, and The Photographer from 1974 which is a 6.8. Quigley's at 2.4, and since the movies I just listed are in reverse order from his filmography, we can only assume that Hillman's movies are getting worse. I can't imagine a movie being worse than this movie that rips off the far-superior Shaggy Dog movies (Note: "Far-superior Shaggy Dog movies" is something I never imagined typing.) or any of the other bad-people-turning-into-animals movies, and that might be why Hollywood hasn't given him another shot.
This is all about Gary Busey. Gary Busey nearly died in a motorcycle accident in 1988. He wasn't wearing a helmet, and I imagine that had a lot to do with what is happening with him in this movie. Helmet advocates should use this entire movie as a way to get motorcyclists to wear helmets when they ride actually. Gary Busey talks about his accident in an interview I watched in the dvd special features. You can watch the interview on Youtube right here, and you should because it's one of the most beautiful things you'll see in your entire life. He talks about this movie, his near-death accident, and getting "cancer in me face." That's not a typo. He actually turns into a pirate and says "me face." And if you like to read stuff, here's an article about how Busey was sort of ticked off because the makers of this film got heaven all wrong. There were some angels, a couch, and a mirror. Busey argued that there were no mirrors in heaven.
Seriously, readers. If you're riding a motorcycle, please wear a helmet.
Anyway, congratulations Gary Busey because you just won yourself a Torgo Award. I'm sorry if that ruins the suspense for any of you waiting for my end-of-year blog awards blog post, but I couldn't help myself. I was afraid that once he turned into a dog, he wouldn't be in the movie. Thankfully, another bad actor (Oz Perkins) plays his guardian angel, and whenever Perkins is in the scene with the dog, it's Gary Busey kind-of acting like a dog. And it's so brilliant! This film inflicts quite a bit of pain on the viewer, but it's worth it to hear Gary Busey say such great lines like, "I hurt my leg. . .lifting my leg to pee. It's not easy being a dog." And Busey's response to a hug from Oz Perkins? Friends, this twitching limp-armed thing he does is real acting. There's also a scene where he talks about shaking himself dry before giving a demonstration. But the very best Gary Busey moment in this movie is when he says the bewildering line "I'd have a better time cleaning a short person's teeth" while scratching himself. I thought that maybe "cleaning a short person's teeth" was some idiom that I'd just never heard, and decided to Google it. "Cleaning a short person's teeth" only gave me six results, all of them about this movie. So what the hell happened to bring us the magic of "cleaning a short person's teeth" in Quigley? Was it written? Was it an example of what happens when you let guys who died after traumatic head injuries improvise lines? I've emailed the director, so maybe I'll find out soon enough.
There's a lot to love about this terrible movie. A stereotypical German janitor who actually says, "Doggy, where are your papers?" That's P.J. Ochlan who, in a movie where he's not overshadowed by what Gary Busey is doing, could have been in consideration for the Torgo Award. A dogcatcher with a skunk played by Kieran Mulroney (he's listed as "Dog Catcher Wally Sprigs" in the cast overview) is equally awful. There are some details that prove the writer of this (Hillman again) is likely some kind of Luddite or at least not very tech-literate. There's the whole CD-ROM company thing which made me wonder if this movie was actually made in the 80s, but making it worse is that Busey's company only had one copy of the CD-ROM. And later, Busey's brother, an amateur game-maker, screams, "He's got my game! Those are my only copies!" That game, by the way, was great. It involved skipping stones and a surprise party, and I'm pretty sure I played something with better graphics on the Atari 2600 when I was 10. The overacting kids love it though. Speaking of the kids, there's a scene where the dog saves the little girl's life that completely defies logic and has to be seen to be believed. And then there's another scene where the dog saves the girl's life. Actually, it's a looking-for-a-lost-little-girl montage, and the "Give Me One More Chance. . .Let Me Change My Fate" song that plays through it is probably the worst thing I've ever heard in my life. Notice that I didn't say "worst song in a movie" or anything like that. I mean it was probably the worst thing I've ever heard in my life.
I'll say this about Quigley: One of the biggest laughs I've had all year while watching movies came near the end of this, a scene that I reckon was supposed to be sad but wasn't because one of the kids had to say, "Yeah, now we've lost two doggies."
Titanic: The Legend Goes On...
2000 abominationRating: 2/20
Plot: Apparently, this is based on the true story of an actual boat called Titanic that ran into an iceberg and sank. Except this version has talking mice and rapping dogs.
I shit you not, dear readers! Rapping dogs. Not only are they rapping (poorly) on a ship that sank, oh, roughly sixty-seven years before rap music even existed (that's right, suckers, I'm throwing credit to "Rappers Delight" and the Sugarhill Gang), but they are doing their thing doggy style in front of a brick wall, a kind of wall I'm not sure they had on the RMS Titanic, that has a piece of paper with the words "rap music" written on it. This follows a classic line, perhaps a historically classic line but I'll have to do some research on the Titanic tragedy to know for sure, uttered by one of the mice: "If it wasn't for you, I would have ended up in somebody else's digestion!" One of the rapping dogs is carrying a boom box which I'm not sure was invented by 1912 either. I'm not sure how many people were in the room where this scene of the movie was planned and actually decided it was a good idea, but they might as well have gone down in one of those submarine things with James Cameron, found a few victims of the tragedy, brought them back to the surface, strapped them to an iceberg, and pointed and laughed at them. It would have been less offensive maybe, unless Celine Dion was invited. Speaking of her--there might be a song in this that is worse than that grating song from Cameron's little boat movie. I'll call it the "Yi yi yi ya ya, You're in My Blood, You're in My Blood" song. Actually, it's not only worse than the Celine Dion song (which I call "Goo La Doo La Gooly Doo")--it might be worse than the Titanic tragedy itself. This thing is poorly animated with out-of-proportioned characters, on-screen jitters, and stiff backgrounds. And most of the characters seem ripped from other movies--loads of Disney, Speedy Gonzalez, An American Tale, Home Alone maybe. Lots of stereotypes, too, the kind you just don't get to see much since they stopped showing the Warner Brothers cartoons. Appalachia, Jews, Mexican. The sound and translation work are equally embarrassing, with some lines not making much sense at all and some lines being repeated in this almost trippy way. It's bad in bewildering ways, probably (taking into account the tastelessness of the whole thing) the worst cartoon that I've ever seen.
The Man Who Saved the World
1982 Turkish Star WarsRating: 2/20
Plot: A pair of kung-fu fightin' astronauts (or are the cosmonauts in Turkey? [or did Turkey not even have anything that even remotely resembled a space program?]) land on what must be Tatooine where a demonic wizard is doing a variety of things that he hopes will result in, I believe, the destruction of the world. They battle his evil minions and try to locate a magic sword while parts of the Raiders of the Lost Ark score plays in the background.
That might be the poster of the year. Always good to start with the positives.
Seriously, this just plagiarizes music from the Star Wars and Indiana Jones films. Not only that, it plagiarizes space battle sequences from A New Hope. It's not just little snippets either. This is huge chunks of film. They look odd because they're squashed into a different aspect ratio, but I still think it counts as stealing. It's strange hearing the Indiana Jones theme while X-Wings fly around the Death Star.
Watching the credits, I noticed that Turkish people already have good Star Wars names, so that makes things easy. I also noticed that the company that produced this beast is named Kunt Films.
This actually looks like the type of movie that would be produced by Kunt Films. And no, I'm not really sure what that means. But wouldn't this thing be in a Kunt Films production:

That's the Darth Vader of Turkish Star Wars, an evil wizard. Of course, this differs from the Star Wars trilogy because the Turkish Star Wars Darth Vader dies which means he won't end up being anybody's father if there's ever a sequel to this thing. And that, dear readers, is how you spoil two movies in one sentence. Although I doubt anybody reading this hasn't seen the Star Wars films, I still should probably apologize. Hopefully this other image from The Man Who Saved the World will make up for it:

Yeah, that picture is random, but so is most of this movie. After the initial Star Wars space battle scenes, there's a lengthy scene where the hero and the other hero ride on horses to the Raiders theme. The horse-riding scenes are chopped up with shots of monsters. Now what I can't figure out is why the makers of this thing decided to show us close-ups of these growling beasts.

Toilet tissue mummies, obligatory tinfoil "stormtroopers, an absurdly-large and unwieldly magic sword, chaotic fight choreography, trampolining, the most maddening sound effects I've ever heard, metal hands, sliced furry things, exploding decapitated heads (Seriously, what the hell? A mummy thing is decapitated. The head is thrown at another mummy. Explosion. Does that make sense in Turkey?), blue robot lasers. It's all pretty brilliant. And this ends in what has to be the worst special effect I have ever seen. I don't want to spoil it for you, but it's the evil wizard's head chopped in half vertically. If nothing else, this movie has inspired me to look for the Turkish Titanic movie. Oh, snap! These guys:

A*P*E
1976 Korean King Kong kookinessRating: 2/20
Plot: There's a guy in a poorly-constructed ape costume on the loose. He's beating up sharks, destroying models that are as poorly made as the ape costume, and most terrifying of all, fluctuating in size. The army's called in to help. Meanwhile, the monster goes ape for Kurt Cameron's mother. And God ain't gonna stand for that!
Look at that poster! I want that son of a bitch hanging in my living room.
It's 1976. Korea finds out that America is going to release a Kong Kong remake and decides to beat them to the punch with this thing, a half-serious-attempt/half-spoof that ends up a fantastically entertaining affair for mostly wrong reasons. The action's fierce from the get-go in this one as we start in medias res because as most Kong aficionados would tell you, all that stuff on Skull Island is pretty dull. No, here we start on the boat with some characters talking about how they hope the gas will keep the monster out. Cue a big giant monkey hand (great effects, as you could probably guess) and an "Oh shit!" leading into some badly-edited chaos ending in the boat blowing up in a sparkly explosion. And you'd probably guess that an explosion would end the big opening action sequence, but you'd be wrong. The magic is only beginning as we have a fight scene between the guy in the ape costume and a rubber shark (a Jaws reference maybe?) in which the monkey dunks and spanks his foe repeatedly. You could almost say that the movie jumps the shark right here, but you'd have to quickly correct yourself and say that it actually spanks the shark instead. Great fight scene though, almost masturbatory.
The monkey on land is even goofier than the monkey fighting a rubbery shark in the water. Now I'll admit that I've not actually studied gorillas, but I'm fairly positive the guy in this suit hasn't either. I'm not sure apes act like this, and if a bunch of monkeys ever got their hands on this movie and watched it together, they'd get ahold of a bunch of typewriters and a room so that they could eventually type out a letter of complaint to the makers of this movie. The monster in this has terrible posture and kind of humps around awkwardly. Later, during a scene which has to be included just as filler, we get to see the ape throw a snake for no reason (it's not nearly as exciting as the poster makes it look up there) and actually hit the camera. Lesser filmmakers would probably have shot that scene over again, but not the makers of A*P*E.
Speaking of that title, what's with the asterisks? A M*A*S*H thing?
But back to that monkey because believe it or not, there's a scene in this that actually manages to top that ape-on-shark action at the beginning. You didn't think a movie as classy as A*P*E would shoot its proverbial wad too early, did you? This scene involves some parasailors. One points and screams. Then, there's a shot of a cow. Then, there's a shot of the ape lumbering over a fake cow. It's pure bliss, but where I shot my wad (non-proverbially) was when the ape started clapping and dancing. But the ultimate monkey shot (that's a pun though it has nothing to do with anybody's wad) might be one of a peeping Kong with mouth agape that made me laugh for a solid thirty-five minutes because I have time in my life for thirty-five minute fits of laughter.
Other special-ed effects: The makers of this really seem fond of their fake-rocks-on-strings trick, and there's a scene where the monkey vomits blood. It's beautifully realistic.
Just as the makers of this have seemingly never seen an ape, they also have likely never seen humans or heard them communicate. The Korean characters are great as they speak English without dubbing. An American character named Colonel Davis (played stoically by Alex Nicol) seems to be impersonating The Duke with all his lines. Imagine John Wayne saying "Now what kind of bullshit you trying to hand me?" and you've got Colonel Davis. My favorite Colonel Davis tough guy moment is when he yells, "Screw the logistics!" in a way that would make Chuck Norris cower in fear. Oh, no wait. I forgot that he says, "Let's see him dance for his organ grinder now!" That's badass! The curly-headed hero gets plenty of chances to be manly, too. He's the type of guy who jumps on the sides of Jeeps and says, "I'll just hang on here," after all.
But the most awkward or unnatural human moment in this? There's a scene with fleeing Koreans, and you just have to see this one guy running down the stairs. It just has to be the guy who plays the ape without his suit.
Oh, there's also a scene of endless battle preparation, a montage that actually features one soldier who waves at the camera.
You also have to wonder what kinds of movies the makers of this have seen. At one point, the ape disrupts the production of a kung-fu movie that apparently features circus performers. And what kind of movie is Joanna Kerns' character making in this? They show the filming of two scenes of this movie-within-a-movie, both featuring attempted rapes. The rapist, by the way, might get the line of the movie: "Gentle? This is a God-damned rape scene and you want me to be gentle?"
This makes four Korean monster movies I've seen in the last month, and although this is definitely the worst of them, it's also the only one I would wholeheartedly recommend to anybody.
Bruce Lee Fights Back from the Grave
1976 Bruceploitation picRating: 2/20
Plot: It's Bruce Lee fighting back from the grave. Duh! No, actually it's not Bruce Lee. It's some other guy who may be of the same nationality of the kung-fu superstar who finds out that his kung-fu master has been murdered and wants to find the people responsible--a cowboy, a guy with a cape, etc. Along the way, he gets himself a girlfriend.
I don't trust the people behind this movie. It's one thing to throw Bruce Lee's name in the title to put asses in the seats. But add to it the most bitchin' movie poster of all time that makes it seem like you're about to watch a movie about an immaculate dead guy (Bruce Lee doesn't decompose?) popping from 6 feet under to battle a beast with the head of rapper Slick Rick and the body of a bat while a scantily-clad woman looks on. Everything pre-credits, the part that does include stock footage of bad weather and a guy really emerging from a grave misled me into thinking I was about to watch the greatest movie of all time. But like the bitchin' poster and title, it's all just misleading. This is as offensive to the legacy of Bruce Lee as all those Dr. Seuss movies are to Theodor Geisel. They really over-do the Bruce Lee chirping noises, especially during the fight with the black guy who has a cape and an ax. They also pull a Dolemite and give you some slow-motion instant replays for a couple of the fake Bruce Lee's better moves. And he's got some good moves in his arsenal. He's not Bruce Lee though. You do get to see him fight a taxi at one point, so that's something. The action's overall pretty stale though, and this is one of those modern kung-fu movies where it takes place in an urban setting, and I just don't dig those as much. The best action scene, by the way, starts with the woman going to her car and a guy without a shirt hiding in the backseat. I think there's an urban legend about that actually. This guy made me think, at least momentarily, that the movie should have been called Chuck Norris's Chest Hair Fights Back from the Grave. Anyway, a chase ensues, and there's a sound effect that makes it sound like both of the characters are wearing high heels. The chase through an airport parking lot is just about endless. The worst things about this are some of the choppiest editing I've ever seen and the poorly-translated dubbed dialogue. Observe the following interrogation scene:
Po-po: You're going to get the chair.
Fake Bruce: What sort of chair is that?
Po-po: You what? What's with this guy? He wants his own special kind?
Other po-po: He wants his own maid. (I played this several times. I couldn't hear anything else.)
Po-po: The fool!
Other po-po: Are you putting us on? Give us some proof or you're gonna fry, boy.
And the voice work, as you'd expect, is not good. Especially the guy (I think?) who does the voice for a character named Welby. Oh, and you don't believe me about the bad dialogue? Check this one out:
Girl: What are you going to do tonight?
Fake Bruce: How am I suppose to know what I'm doing tonight?
Girl: Tell me.
FB: What do you mean?
Girl: I mean, where are you gonna go to?
FB: I got nowhere. I don't know a single soul in the city of L.A.
Girl: Where are you gonna go?
FB: Where my fancy takes me, I guess.
Girl: Really? Your fancy just go anywhere? (Rewound this one a few times, too.)
FB: I'll just wander (dramatic pause) around.
Girl: You poor boy. I've got a better idea. Why not just come home with me?
FB: Where to?
Girl: Come on!
FB: You don't have to, you know.
Girl: Come off it!
Do I sound bitter while writing about this bad movie? Maybe. But I feel like there were promises made and promises broken. I mean, a character with an ill-fitting cowboy hat is introduced, and I'm thinking, "Oh yeah! I can't wait to see this guy fight!" But then that fight [SPOILER ALERT] is just the fake Bruce Lee jumping 40 feet backward to avoid being shot by the cowboy. He doesn't kick or punch at all. Disappointing.
If I were you, I would not see this movie.
Octaman
1976 movie with a title you have to put [sic] after when typingRating: 2/20
Plot: Scientists in Mexico discover half-people/half-octopi and piss one of them off. It responds in the only way an octaman [sic] knows how--tentacle slapping.
"How can I believe that there's a creature with arms of a sea creature that walks like a man?"
See, in Octaman, they don't make you wait to see the monster like in a lot of 70's B-monster-flicks. No, the guy in the rubber suit is all over this one, so the audience gets to be disappointed within the first ten minutes of the movie. I imagine some movie theaters would even give a person his money back within the first ten minutes of the movie, right? I thought I recognized the director's name--Harry Essex. He seems to have had a nice Hollywood writing career, but didn't direct very much. Octaman, as you'd guess from its quality, is the last movie he was allowed to direct. There's a David Essex acting in this movie, and this is his only movie credit. I'm just going to imagine that this entire movie was made because it was David's dream of being in a movie and Harry wanted to help him out. I really liked during the opening credits when it said that the movie, which is called Octaman, is "starring The Octaman." The rest of this thing doesn't disappoint. You get a liberal use of what I imagine was referred to as Octa-cam, lots of really awkward shifts to found footage, day-night continuity errors galore, and what might be the worst special effect featuring an octopus baby ever--the moving of an octababy that was actually Rick Baker's work. I'm sure it's not something he includes on his resume. There's a colorful crew of characters including some Mexicans who sing the exact two songs that you'd have them sing if you didn't know anything about Mexico but wanted your characters to seem Mexican. Go ahead and take a guess at the two songs they sit around and sing. I'll give you some time to think about it. Did you guess? You're right! "Cielito Lindo" (Aye-yi-yi-yi) and "Jarabe Tapatio" (The Mexican Hat Dance song). My favorite character might be Fake Cowboy #3 though, a guy who talks about King Kong as if nobody would have ever heard of that movie ever. Of course, with any monster movie, the real fun is watching the monster wreak havoc on its victims, and you get plenty of that here. Well, if you call flailing around action. And then there's a scene in which the titular beasts both slaps and squeezes, and it's double the mayhem. My favorite scene, and a scene that has to be the best use of a dummy I've seen in a long time, is when the man in the rubber suit throws a guy off a cliff after slapping his eye halfway out. But that's not just a flash in the pan bit of genius. You get Ernest P. Worrell giving a speech about environmental responsibility and saying cool things like "I don't savvy all that talk." Twice. Essex must have really been proud of that line. There's also a really cool scene where a guy is carving a little figurine out of a chunk of wood. Another character says, "You have talent, Evido," probably because they're all waiting around for the monster to attack again and have nothing else to talk about. But you have to see the carving that this guy made. A two-year-old with a knife could make what Evido did. But oh, that monster. See, a lesser director would realize that his monster looks completely ridiculous and that people are going to laugh and make sure to not include too many scenes with it, all in the name of building suspense or something. Not Harry Essex. Here's a guy who understands the potential for comedy and includes the Octaman in nearly every scene. You get to see him fight an alligator or crocodile or whatever the hell they have in Mexico, and you get a terrific scene where he slaps an RV and makes it bleed. There's also this inexplicable moment where he walks past a half-decayed cat. Just a terrifying monster. Well, until you realize that all you have to do to save yourself from his vengeance is yell "Back! Back!" Highly recommended if you enjoy stupid crap.
Curse of the Swamp Monster
1966 Larry Buchanan movieRating: 2/20
Plot: A crazy scientist conducts experiments on the indigenous people who live down the swamp (by the way, I think this takes place in Texas, but these natives are a pretty primitive people), attempting to make himself a pet Swamp Thing. Hey! That's kind of like the guy in Human Centipede actually! Some folks come looking for oil and interfere with his plans.
Forget the Human Centipede Halloween costume idea. I'll just go as this Larry Buchanan monster that he apparently uses in multiple films. This is the same creature that was in my Manos Award Winner It's Alive! from a couple years ago. Well, it's similar anyway. Thing is, I'm pretty sure I could put together the costume easily enough, too.
Larry Buchanan is fast becoming one of my favorite directors, and this one was no disappointment. The scientist, played by Jeff Alexander (crazy scientist in Buchanan's Zontar, too), is really great. I really didn't know what a head could look like his, and he reminded me of a cross between James Taylor and John Malkovich but more jovial than either. He's got himself a greenhouse with alligators (or crocodiles, whatever lives in the swamps of Texas) swimming in what appears to be milk. He also gets really scientific things to say, ramblings about "gill transplants," "acute congestion," how his "dear Mrs. Wesley" will be a "perfect subject for the new derivatives" and be an "instantaneous transformation." He also wears his sunglasses inside which might make him the coolest mad scientist ever. Speaking of inside, all the interior shots contain the shadow of a ceiling fan. I'm not sure if that's a Buchanan stylistic touch or an accident, but I liked it. Who puts a light over a ceiling fan? The sound effects are especially bad. There are times when the scientist and Richie are talking when it seems like Richie is a couple rooms over. There's also this incessant jungle drumming that maybe explains why the scientist is so batty to begin with. Richie's death scene is one of the best I've seen in a while, by the way. And Richie, you were just warned five minutes early to stay away from the quicksand, weren't you? Loved his weakly yelled "Help me" while he sank though. Richie's also the character who abducts one of the natives (one wearing jeans and tennis shoes during a really lengthy dance sequence) and gets the line of the movie, one delivered breathlessly: "I've been watching you dance. Be good, baby. There's nobody here but us chickens." Although, Alexander's delivery of "My beautiful indestructible fishman" is also nice. Indestructible, by the way? These things actually seem to die pretty easily. I also got a kick out of this bit of dialogue:
Doctor Bald Head: How can you locate oil without equipment? Seismographs?
Oil Guy: [Sigh] It isn't easy.
This movie's got some of the most awkward pacing you'll ever see with lots of extended shots of random snakes, guys staring at lizards, guys smiling at lizards. It's also got some bitchin' fight scenes. I could have sworn during an early fight that one of the characters had this expression on his face that asked "Hey, shouldn't we choreograph something like this?" About eight minutes later, there's a weird motel room fight scene that repeats sound effects and features a guy with his pants tucked into his boots. That's right, folks. If you're looking for an action-packed Larry Buchanan movie to enjoy this weekend, Curse of the Swamp Monster is worth checking out.
Teenagers from Outer Space
1959 alien movieRating: 2/20
Plot: Some aliens, who don't really look like teenagers if we're being completely honest here, are scouting the galaxy to find a planet where their giant lobsters can thrive. They use the lobsters for food. Unfortunately, their food can kill them, and they decide our planet (earth) would be a good giant lobster farm. One of the aliens named Derek, a teenager who also coincidentally happens to be the son of their leader, has second thoughts after they disintegrate a dog. He runs off to find the dog's owners and falls for young Betty. Meanwhile, fellow alien Thor causes wreaks havoc as he searches for Derek.
I lost the notes I took for this one. Suffice it to say that this is a bad movie, but it's definitely more in the "good bad" category than it is the Wild Women of Wongo category. The acting is uniformly bad, especially Harvey B. Dunn as Gramps. Mr. Dunn's resume includes work in a couple Ed Wood Jr. movies--Bride of the Monster and Night of the Ghouls. Their acting seems even worse with this ineffectual dubbing, but aside from that, there aren't a lot of movies where the actors stand this stiffly. David Love, the guy who plays the lead, probably does the best job, but this is the only movie role he had. The dialogue's laughable, and the alien costumes (bulky white spaceman boots and jumpsuits with what appears to be masking tape on them) are very nice. But the biggest thrills from Teenagers from Outer Space come from the brilliant special effects. Seeing what I assume is the same skeleton used over and over again when Thor is on his rampage is bad enough, but when you finally get to see the giant lobsters, this reaches a new level of bad. This is the type of movie that is made so cheaply that you don't get an actual giant lobster. Nope. You get to see a shadow of a lobster! They couldn't even hold a normal-sized lobster close the camera for this one? I'm so happy that movies like this exist, and I'm proud to say that I own a copy of this bad boy.
Horrors of Spider Island
1960 go-go-ploitation movieRating: 2/20
Plot: Sleazeball Gary, nightclub manager, hires himself a posse of leggy dancers and hops in a plane to Singapore. Unfortunately, the plane crashes and the group winds up stranded on an island. They find some food, enjoy their time skinny dipping, and struggle to survive. Gary, after wandering into the woods one night, is bitten by a dopey-looking spider and turns into a horrible monster. Will the dancers be rescued before Gary kills them all? Can they survive the horrors of spider island? And is this the worst movie I'll see all year?
I spent the majority of this movie trying to figure out why it was dubbed, very poorly dubbed. The actors and strippers certainly looked like English speakers. Turns out that this was filmed in Germany as Ein Toter hing im Netz, or A Corpse Hangs in the Web. It's also known as It's Hot in Paradise. References to both webs and spider (and horror for that matter) are misleading since there's a single shot with a corpse hanging in a web and not all that much action involving the dude who turns into a murderous spider/man hybrid. But anyway, this certainly shows how low Germany had sunk following WWII. What makes me most angry is that this movie was just a big tease. You saw a lot of leg and a great deal of skin, but nary a nipple. And you saw a spider puppet a couple times and a spider-guy a few more times, but the latter's hairy hand sort of grabbing at victims was about it for the titular horrors. I did dig that dubbing though. You get to hear people pronounce "rations" with a long a-sound, lots of exaggerated sound effects like slurping and moans, and inflection that doesn't come close to matching the moods of the character. Maybe it wouldn't be so bad if the characters had better things to say. "Is there anything more wonderful than water?" "A dead man. . .in a huge web." It's not good writing, but at least by the end of the picture, they had figured out what the plot would be. Throw in what has to be one of the worst fight scenes in cinematic history (it ends with a hug) and some special-ed effects (that plane crash was really something) and a jazzy score and you've got yourself a pretty bitchin' movie. Oh, there's a catfight in this one, too, if you're into that sort of thing.
Man in the Mirror: The Michael Jackson Story
2004 VH1 original movieRating: 2/20
Plot: An unauthorized biopic about the guy who ended up buying the bones of the guy the last movie I watched was about. Following early fame and fortune as a child singing sensation with his brothers, Michael Jackson becomes the King of Pop, buys a ranch, pretends he's Peter Pan, burns his scalp, molests a lot of young boys, marries Elvis's daughter, divorces Elvis's daughter, has some children, has some plastic surgery, and gradually turns into a white man.
Before I pushed play, I thought I was going to watch a documentary. Nope. It's an unauthorized biopic. And being an unauthorized biopic, they weren't able to get the rights to any of Michael Jackson's songs. That's right. This is a movie about the life of Michael Jackson that doesn't include a single Michael Jackson song. Oh, there are a lot of scenes where he's performing, but there are no Michael Jackson songs. There's just something completely wrong about that. It's like making a movie about Babe Ruth without showing any scenes with Babe Ruth playing baseball. But that's not the only problem with Man in the Mirror: The Michael Jackson Story. No, no, no, this movie has more problems than Michael Jackson had quirks. First, this has more awkward moments than any movie I've ever seen. Take this bit of dialogue between Michael and sister Janet:
Michael: (enters room) "Hey, Tink."
Janet: (looking up) "Hi, Peter Pan!"
Michael: "I'm Peter Pan!"
Janet: (clapping) "And I'm Tinkerbell!"
(A tickle fight ensues.)
Or this one between Michael Jackson and a little boy:
Little Boy: "Hi. . .you're famous."
Michael: (shakes head wildly like he's in a cartoon or like he's trying to get a wasp out of his hair) "Am I?"
(A tickle fight ensues.)
Or look no further than a scene where Elizabeth Taylor tells Michael Jackson, during the time when the molestation accusation is causing him problems, that she'll always be there for him. It's a corny scene. But the next shot is with a group of photographers taking pictures of an apparently nude Michael Jackson (as I recall, part of the investigation) while Jackson's assistant stands in front of him and holds up a painting of Elizabeth Taylor. What the hell? That might give me nightmares. At one point, Elizabeth Taylor tells Michael, "This is not a joke." It's really hard for me to see this production as anything but a joke.
Don't believe me that this is stuffed with awkward? Look no further than Michael and Lisa Marie's first date, a date where they apparently go outside to look at stock footage of butterflies. One of them lands on Lisa Marie's finger, and Michael points out that "That's rare" and that it's probably because Lisa Marie is sweet. Then cut to what might be the worst montage I've ever seen--shitty music (not Michael Jackson's music though) with different shots of Lisa Marie and Michael striking slightly different poses with some trees in the background. Right at the moment when you're about to throw up, it cuts to a shot of the happy couple in the bedroom where Michael (thankfully!) announces that he doesn't believe in premarital sex. But they still kiss. And if you ever find yourself in a position where you're forced to watch this movie (i.e. you've died and gone to hell), you will still throw up all over the floor.
OK, you still don't believe me? Then take this line of dialogue, spoken right after a news person has made fun of Michael Jackson for naming one of his children Blanket. "But he's like a blanket. . .a blanket of love."
The camera work will make you wish the people involved had gone to a film school where they taught the students about tripods. There are so many scenes where the camera will very quickly pan to another character and stop to, for whatever reason, shake a little bit. You're jerked very quickly from episode to episode, and although it touches upon most of the most difficult times in Jackson's life, it's mostly very pro-Michael. The acting in this travesty is almost as good as you'd expect to get from any television commercial. Flex Alexander, an actor who presumably used a pseudonym to protect his career, had terrible writing to work with, but his Michael Jackson isn't far from what you'd expect to see in a late-night parody. The woman who plays Elizabeth Taylor (Lynne Cormack) gave another performance that seemed like a parody. In fact, I thought at first that it was Saturday Night Live's Cherie O'Teri. A lot of the story is pushed along with words that pop on the screen. It's insightful stuff. Like "A dream come true." Or, "Michael's new friend, Manny." And somehow they manage to tie in O.J. Simpson and 9/11.
This will easily be the worst movie I see all year. So why am I giving it a 2/20 instead of a 1/20? Outstanding special effects (I'm thinking a powder) used to show Michael Jackson's weird skin discoloration thing. I was impressed with that.
Eegah
1962 masterpieceRating: 2/20
Plot: In a world where people don't move their lips when they talk, there's a giant caveman loose in the desert. He grunts "Eegah!" a few times, so everybody assumes that's his name because, you know, people usually go around saying their own names over and over again. A guy who claims to be a scientist, his daughter, and her rock 'n' rolling dune-buggy driving beau investigate.
The worst caveman movie I've seen all year, Eegah approaches a Manos or Yucca Flats level of ineptitude. The main issue is probably the sound. This might in fact be the worst sound editing in the history of cinema, and not just movies with caveman. It's almost like all the characters are ventriloquists with their volume rising and falling inexplicably. The best example is when the characters are following some footprints and this voice from the heavens, one that doesn't sound like any of the characters, warns, "Watch out for snakes!" while none of their mouths move. Eegah's grunts don't match his lips either, but the craziest sound problem is when Tommy (played by Arch Hall Jr. [the film was directed by Arch Hall Sr. by the way]) plays his guitar. He sings almost enough songs for this to qualify as one of the worst musicals ever (definitely the worst musical with a caveman), most of them as a serenade to his girlfriend Roxie even though he sings about somebody named Valerie in a couple of them. If you're keeping score at home, you shouldn't. Anyway, when Arch Hall Jr. plays his guitar and sings, a full ghost band accompanies him. He's got drums, background vocals, piano. Neat trick, Tommy! Eegah does have a bitchin' dune buggy in it. I know some of my readers are interested in dune buggies. In fact, this has the best scene featuring a caveman chasing a dune buggy with a stick that I'll probably ever seen. There's another great scene where Tommy and Roxie (or, more accurately, people who sort of look like Tommy and Roxie) are riding around the desert looking for her father, and Roxie keeps saying, "Whee! Whee!" Whee? They might have said that in the 1950s, Roxie, but this film was made in '62! This movie ends with a character talking about how giants must exist because they're written about in the Bible. I'm sure Bill Maher would have questions about that one.
Eegah, by the way, is played by 7'2" Richard Kiel who would use Eegah as a springboard to bigger and better things. Aside from playing Jaws in the James Bond movie, Kiel would get several opportunities to play thugs, tall goons, swamp monsters, tall men, and strong men.
Plan 9 from Outer Space
1959 B-movieZaat
1975 monster movie
For reasons I can't explain, I felt filthy after watching this movie and required a hot shower. If you're looking for this atrocity, it does have alternate titles including Attack of the Swamp Creatures (even though there is only a single attacking swamp creature in the movie), Blood Waters of Dr. Z, and Hydra. Like all movies that contend for the title "Worst Movie Ever Made," nobody associated with the making of this film was ever allowed to work in the movie industry again.
Hobgoblins
1988 pile of Gremlin crapRating: 2/20
Plot: An old man houses mischievous and deadly space hobgoblins in an (unlocked) vault behind two (unlocked) gates on a studio backlot. Kevin, a new security guard, accidentally unleashes them into the night. This is apparently a problem as they enjoy killing people by either distracting them by making their fantasies come true and killing them or by jumping into their hands and allowing themselves to be shaken violently. Kevin and his idiotic friends have to stop them!
I was hoping this would be a sequel to Troll 2, but while it sucks in a similarily delightful way, it's an entirely different story with entirely different monsters. And oh, those monsters! Perpetually grinning, sneaky little Gremlin-esque bastards! There are four of them used in the movie although it seems like a lot more than that die. I think two of them are puppets because their mouths can move up and down. The others are just stuffed things that are thrown at the actors. Their features are static and their appendages don't move at all. It's not so much a special effect as it is a special ed. effect. When this movie attempts horror, it fails miserably. When this movie goes for laughs, it fails even worse. Unless, of course, the whole thing is meant to be a comedy; then, it's a laugh goldmine! It's actually too bad not to be tongue-in-cheek, I suspect, or at least the type of thing where they started out making a legitimate horror movie but decided later they'd better try something else. The most amazing thing I can say about the actors in this is that they don't giggle uncontrollably while being attacked by stuffed animals. The characters, all brazenly promiscuous teenagers, look like the 1980s threw up on them, and nothing they do makes any sense. And I'm not just talking about when the hobgoblins have taken over their minds and forced them to hook up with phone sex operators or strip tease at a place called Club Scum. Average activities don't in any way resemble the average activities of any teenager who has ever lived. Seems like somebody involved with the production of Hobgoblins should have been smart enough to say, "Wait a second, Rick Sloane. Teenagers don't really dance in their living rooms like this. Especially for this long." One of the most awkward scenes involves a macho fight with garden tools. The fight goes on just long enough to, for whatever reason, make me feel uncomfortable. "Wait a second, Rick Sloane. Teenagers don't fight with hoes and rakes in their front yard. Especially for this long." Then, Kevin's girlfriend yells at him for being such a wimp while the winner of the duel and his girlfriend have intercourse in a van parked in the background. It's more a work of art than a movie scene. The image that will stick with me forever, however, is the first appearance of the title creatures after they have stolen a golf cart and are driving away. It's right up there with other iconic movie images--King Kong atop the Empire State Building, those two idiots standing on bow of Titanic with outstretched arms, E.T. and that dumb kid jumping over the moon on the bicycle, The Shining's "Here's Johnny" scene. The end of this movie is particularily bewildering as wimpy Kevin, who you suspect all along will do something heroic, ends up doing nothing at all. The shocking twists don't even end there. There's also a character who pops back into the movie despite being completely engulfed in flames with no hope of being saved at Club Scum. The resolution to the Hobgoblin problem appears to be the result of the screenwriter getting bored with his own script and just deciding to end the thing. Lots of laughs in this one.
Troll 2
1990 atrocityZombie Strippers
2008 attempt to make a cult classicRating: 2/20
Plot: Government experiments to make an army of undead soldiers results in the spreading of a virus and the subsequent zombification of strippers at Freddy Krueger's underground strip club. Highly trained soldiers are called in to stop the madness.
For a movie with both "zombie" and "strippers" in the title, this sure is boring. Shame, shame, shame. If you make a zombie stripper movie, and it turns out to not be entertaining even the least little bit, you should have your movie-making privileges suspended. This is a stupid movie that is not worth watching.
The Brown Bunny
2003 movieRating: 2/20
Plot: Bud finishes a boring motorcycle race and heads out on a boring road trip to California. Along the way, he has boring encounters with desperate women who all have flowery names. His mind can't shake reminisces of an ex-girlfriend Daisy.
Ok, somebody should be arrested for giving Vincent Gallo the two hundred and fifty-three dollars to make this movie. It's January 8th. I've heard the best album of 2009 already, and I believe I've seen the worst movie I'll see this year. Self-indulgent, tacky, and extremely dull, The Brown Bunny starts nowhere (a pretentiously filmed motorcycle race) and ends with a shocking revelation that would make M. Night Shyamalan say, "No, that twist just doesn't work. It's, like, dumb." Gallo wrote, directed, and starred in this, but he probably should have found somebody else to do all three. Actually, he probably just needed to hire a plug-puller, somebody to say, "Vincent, this movie sucks!" before pulling the plug (literally...figuratively...it doesn't even matter!), destroying all footage, and giving the camcorder to a little girl so that she can film her My Little Ponies having a tea party--an NC-17, shockingly pretentious tea party. The movie's poorly filmed, reminiscent of a lazy artist's diarrhea, and the bulk of the ninety minutes is what looks to be home video footage of Vincent Gallo driving, eating, sitting there, driving, using the bathroom, driving, pumping gas, and driving. How this movie didn't ruin Chloe Sevigny's career is beyond me. Indianapolis was briefly in this movie and, I'm sure, is embarrassed about it.



