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 →
“Metamorphosis” is an Italian-made variation on the classic mad scientist tale of a brilliant man cursed by his own hubris to turn himself into a Halloween costume. Seemingly made with ample inspiration taken from David Cronenberg’s remake of “The Fly,” “Metamorphosis” ratchets up the mindless violence but tones down the tragedy. Unlike Jeff Goldblum’s doomed Seth Brundle, the main character of “Metamorphosis” only succeeds in making himself as physically ugly as he is spiritually. 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 →
I don’t mean it as an insult when I say that KISS is the ultimate triumph of style over substance. Musically, there isn’t much to distinguish them from Van Halen, Aerosmith, Boston, or any other arena-rock staple of the late 70s, but none of those other bands have had their own action figures or lunchboxes or credit cards. KISS combined the blunt, dick-swinging machismo of their music with a fire-breathing stage show and a look straight out of a Halloween party, creating something 13-year-old boys of any age could love. Their style elevated them from a rock band into comic-book characters. In other words, it’s hard to imagine another band that could have inspired the 1978 TV movie “KISS Meets the Phantom of the Park.” Who else but KISS would even attempt to make something that aspired to be “A Hard Day’s Night” crossed with “Star Wars?” Who else but KISS could survive its reputation as one of the worst movies ever made? 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 →
“Ninja III: The Domination” is the last entry in a very loose trilogy of ninja movies released by Cannon Films, the others being “Enter the Ninja” and “Revenge of the Ninja.” The first two movies definitely believe ninjas had superhuman physical abilities, but “Ninja III” makes the leap into the supernatural by giving them more magic mumbo-jumbo than vampires. According to this movie, a ninja can crush a golf ball with one hand, punch through the roof of a police car, slice a billiard ball in half in midair, survive more gunshot wounds than 50 Cent, and even transfer their souls into other people. It’s that last bit that makes up most of the problem for the heroine of this movie, Christie, but she also has other issues that we’ll get to. Continue reading →