Shark Week may be over for this year, but there’s enough B-roll footage in “Shark Attack 3: Megalodon” to create at least one Discovery Channel special. Between these clips, actors talk at each other and sometimes take off their clothes when they’re not having their arms ripped off by shark puppets. This is one way to make a movie, I guess.
The movie stars John Barrowman as Ben, who is head of security for a Mexican resort on the ocean. A giant telecommunications company has stretched a fiber optic cable along the ocean bed, and one day Ben finds a shark tooth embedded in it. He can’t place the tooth, so he takes a picture of it and puts it on the Internet. A paleontologist named Cataline sees it and immediately heads south of the border. You see, the electrical impulses from the cable are stirring up the sharks in the water. One of those sharks is the prehistoric ancestor of the great white, megalodon. Continue reading →
I have to assume that the people who made “Blue Monkey” intended it to be a withering screed against the Canadian healthcare system. Yes, the movie points out that the hospital it takes place in was built around the time of the Civil War and they reference Washington D.C., but this movie is very obviously Canadian well before the credits thank the good people of Ontario. The presence of Joe Flaherty is enough on its own, but there’s also the way all the characters say “oat” when they mean “out.” So, when a string of administrative blunders in this hospital leads to a giant grasshopper ripping people’s heads off, it’s hard not to think there might be some veiled commentary about the socialized medicine of our northern neighbors.
You really have to hand it to “Gnaw: Food of the Gods II.” Most giant-rat movies would be content to feature a handful of people being chewed to death by radioactive rodents and call it a day. But “Gnaw” is one of those B-movies that uses its monsters merely as a starting-off point and builds from there. Yes, plenty of giant rats nibble on plenty of throats, but that doesn’t include the amoral scientist who is turned into walking cream of mushroom soup, the dream sequence where the hero turns into a giant while having sex, the synchronized swim meet that turns into a literal bloodbath or the 10-foot-tall 10-year-old who kicks off the movie’s plot.
The best place to begin talking about “Gnaw” is its hero, an unusually buff geneticist who is trying to find a cure for an experimental growth hormone used by one of his colleagues. The hormone is responsible for the gigantic fourth-grader’s unnatural size and aggression. (“I’d like you to meet my colleague,” the kid’s doctor says. “I’d like you to get the fuck out of my room!” the kid retorts.) Our hero, Neil, takes the hormone back to the lab, where he does science in a montage that feels like a training montage from a karate movie. Neil gets so STOKED about science that he even gives an enthusiastic fist pump at his computer. Continue reading →
The first thing you see in “Class of 1999” is a computer screen spelling out the dire state of American urban public schools in the not-too-distant future of 1999. The next thing you see is Stacy Keach’s snow-white mullet, which looks like someone bleached a Davy Crockett coonskin cap. All we needed to see to know the movie takes place in a bleak dystopian future was Keach’s hair, so that’s one storytelling misstep right off the bat. Continue reading →
But there’s a difference between gonzo outsider art like “Miami Connection” or an audacious failure like “Jupiter Ascending,” and a lazy, pandering mess like “Sharknado: The Fourth Awakens.” Ever since the first movie, the “Sharknado” series has been sold as a ready-made entry into the “so bad it’s good” canon, but with each successive movie it proves more emphatically that there is no limit to “bad” before a movie boomerangs back to “good,” and that simply keeping its foot on the gas is no substitute for knowing where the hell it’s going in the first place. Continue reading →
If you’ve ever experienced a panic attack while watching Sheri Lewis and Lambchop, or if “Sifl & Olly” make you break out in a cold sweat, or if you’ve ever had recurring nightmares about Kermit the Frog, you may want to stay away from “Uninvited.” Likewise, if cat videos on the Internet make you tense, or if Garfield makes you edgy, or if you can’t stop screaming whenever you see a can of Fancy Feast, you are strongly advised to avoid “Uninvited.” This is because the monster in this direct-to-video monster movie is represented half the time by a perfectly ordinary housecat and the other half by a mangy hand puppet. Those of us who aren’t terrified by such things, however, still have plenty of reasons to avoid it.
“Uninvited” is a movie that doesn’t need to be reviewed so much as interrogated. How did anyone believe anyone would find this scary? Who thought it was a good idea to make the monster so strange? What in the heck is going on with Clu Gulager’s teeth? These are mysteries that are fated to remain unsolved, unfortunately, and without them to hold your interest there’s almost nothing left of “Uninvited” to recommend it. Although the movie features one of the single most ridiculous monsters in horror history, that isn’t enough to pull it out of direct-to-video purgatory. Continue reading →
Perhaps the biggest problem with “Project: Metalbeast” is that there is no earthly way any movie could live up to that title. If the filmmakers could have titled the movie with an airbrushed Boris Vallejo painting of a metallic werewolf, I feel like they would have. The title is a screaming electric guitar solo with full pyrotechnic accompaniment, and it ranks among the all-time-great, one-of-a-kind B-movie titles like “Hell Comes to Frogtown” or “Surf Nazis Must Die.” If the majority of movie titles serve as a polite introduction to the audience, “Project: Metalbeast” is a high-five from a complete stranger doing a backflip on an ATV over your head. Continue reading →