While perhaps best known for writing classic crime novels such as Little Caesar and The Asphalt Jungle ‒ to say nothing of the classic motion picture versions of his own celebrated work ‒ W.R. Burnett also managed to adapt a few titles from other authors for the silver screen. One such title, a modest little 3D production from 1960 entitled September Storm, fell through the slats of the proverbial pier many moons ago, only to recently reemerge from the deep thanks to some very devoted Kickstarter followers. In fact, were it not for the people behind this restoration, this September
Results tagged “Bad”
A forgotten, completely forgettable underwater treasure-hunting flick receives more love than it probably deserves in this fully restored, fully loaded 3D release from Kino Lorber.
Severin Films presents one of the best bad movies ever, fully restored from original elements discovered ‒ naturally ‒ in the remains of a drive-in.
Had your average drive-in movie theater screen been constructed with a curtain, then Stu Segall's Drive-In Massacre would have definitely called for the pulling of such. That is not to say Drive-In Massacre is a "bad" film: truth be told, it's actually quite awful ‒ though, in this particular instance, its sheer incompetence is actually the film's saving grace! Rather, the jaw-droppingly unbelievable 1976 independent no-budget wonder from Southern California was made on little more than a whim and a prayer once it became all too clear the once-popular form of outdoor motion picture entertainment was coming to an unceremonious
Phyllis Coates and Myron Healey star in the penultimate Republic Pictures serial, which gets a new lease on life from Olive Films.
After wowing Saturday Matinee Serial lovers everywhere in 2015 with a casual release of the 1950 guilty pleasure The Invisible Monster, Olive Films sent an indirect message to classic cliffhanger fanatics that there was indeed hope for these nearly-forgotten relics from yesteryear. Indeed, said hope is still springing up from out of the Paramount vaults Olive Films has access to, and now ‒ following subsequent digital serial debuts of Flying Disc Man from Mars and quasi-serial Commando Cody: Sky Marshall of the Universe ‒ another kiddie-friendly offering from Republic Pictures has been made available in High-Definition. The serial in question,
Anthony Hopkins stars in a four-year-old dud based off of a decades-old, rejected sequel to 'Se7en,' ineffectively re-written to rip-off the recently revoked 'Hannibal.'
From its opening frame, Solace leaves one with an immediate impression similar to what you might experience were you to take a swig of discounted milk from a bargain market without checking its expiration date first. It feels old. It seems slightly off. The sour taste of Solace only grows worse as all of the the markings of incompetence are repeatedly stamped over it, much like the proverbial image of well-traveled early 20th century Rockefeller's well-worn luggage would sport numerous luggage labels from different parts of the world. Alas, Solace never gets off of the runway, as its director is
The Warner Archive Collection presents the home video debut of this legendary box office failure featuring a young Ian McKellen.
Sprawling epics were all the rage in the 1950s, with fantastical biblical yarns and timeless tales of undefeatable conquerors popping up in theaters near and far, usually presented to eager audiences via the modern miracle of of CinemaScope and stereo sound. And yet, long after American filmgoers had had their fill of wildly inaccurate and often preposterous cinematic blockbusters which damn near bankrupted Hollywood's biggest studios, the Brits decided it was their turn to rewrite history and produce a large-scale saga which people would avoid in droves. Thus, Alfred the Great ‒ the UK's 1969 throwback to the great epics
The Warner Archive Collection dusts off one of the sappiest, nerve-wracking, Depression-era family melodramas ever made. Enjoy.
While I am always eager to point out how wretched contemporary filmmaking seems to have become, I can never dismiss the notion that bad movies have been getting cranked out by Hollywood since the beginning. In fact, as the type of feller who appreciates that certain kind of maligned movie manufacturing (see: just about any of my articles), I don't mind discovering a previously unseen Tinseltown atrocity from yesteryear in the least bit. That is, until I stumble across something as wretched as When a Feller Needs a Friend, of course. That's when I feel like gnawing my own arm
Blaxploitation meets Brucesploitation in an utterly shameless, completely inept, no-budget cash-in on the demise of a martial arts master.
A brief disclaimer beginning with "The names and characters in this film, based upon the Death of Bruce Lee, are fictitious..." cautiously alerts anyone with a lick of common sense or taste as to what sort of tripe awaits them. And yet, The Black Dragon's Revenge still manages to hit way below one's expectations of a cheapo martial arts flick produced in the wake (pun very much intended, since it's more than obvious the producers of this particular atrocity showed no remorse or honor whatsoever) of Bruce Lee's controversial death. Here, two equally tendentious subgenres of exploitation filmmaking ‒ that
Tom Hanks and Ron Howard reunite for another apocalyptic Dan Brown/Robert Langdon adaptation. But is it a bit too late?
If there's one grouping author Dan Brown never imagined he would be lumped into, it's that of the works by purported novelists E.L. James, Stephanie Meyer, and whoever it is we have to blame for those Hunger Games and Divergent books. And yet, thanks to terrible film adaptations of the works of Dan Brown ‒ to say nothing of other (real) writers whose works have been equally massacred by Tinseltown scribes who keep appearing to miss the moral of the story ‒ it has almost become virtually impossible to distinguish legitimate writers from hacks. Brown's messages to humanity first became
Olive Films releases one of Bob Hope's legendary flops, which is almost bad enough to be funny.
If there's one thing film historians and aficionados alike can agree on, it's that you can't make a good movie with a bad script. Even a comedic titan such as the late, great Bob Hope would discover he was not immune to this theory as both he and his career entered the 1960s, wherein the legendary star of stage, screen, and radio ‒ who was now fully able to make a few dumb sex jokes for an hour-and-a-half thanks to changing times ‒ found himself with nothing more to do than make a few dumb sex jokes for an hour-and-a-half.
For those of you who think they know Dick, the WAC salutes you.
Anyone who has seen a single Hollywood adaptation of a classic (or even contemporary) work of literature knows full well how much Tinseltown can change even the most simple of premises. Sometimes, liberties are taken in the scriptwriting and/or filmmaking processes because of budgetary restraints or per the request of certain thespians who probably never had a very good grip on the subject matter to begin with. In other instances, time-honored tales are completely rewritten in the bold attempt at making them seem "fresh" ‒ a move which usually culminates in widely distributed box office debuts that would fare far
Filipino cinema's least-likely leading man was only 2-foot 9-inches tall, but his appeal to cult cinema aficionados is immeasurable.
For anyone who has only experienced the mainstream world of cinema, venturing into the output of the Filipino film industry ‒ particularly its numerous exploitation movies made during the '70s and '80s ‒ can seem akin to jumping head first into a swimming pool with very little water in it. I still vividly recall the first time I sat down to cast my disbelieving orbs on Bobby A. Suarez's The One Armed Executioner, wherein Franco Guerrero and his giant pompadour sought vengeance against the evil men who killed his bride and left him minus an extremity. It was the closest
One of the pulp world's first heroes makes for one of film world's worst zeroes.
Lately, Dwayne "The Rock" Johnson has been threatening all of mankind by announcing he is slated to star in one remake after another, including a short-lived, fleeting fantasy of a new version of Big Trouble in Little China and ‒ more recently ‒ the reboot of a footnote in the revised American Superhero book, the Doc Savage franchise. And though no such crimes have been perpetrated as of this writing, I almost think a re-envisioning of Doc Savage is in order. Not necessarily because I would support it (I wouldn't), but because it couldn't possibly be any worse than the
The spirit of Something Weird Video is alive and as incurably sick as ever with this exciting new sexploitation double-bill from Garagehouse Pictures.
Like absent remote controls and missing keys, lost films also have a tendency to pop up once in a blue moon, thus restoring a fraction of faith to movie lovers everywhere. And while movies such as the Silent Era's London After Midnight remain just as elusive as ever, a small percentage of that aforementioned fraction of faith is nevertheless present when even something far less famous (and infinitely more obscure) magically re-appears after more than 40 years of complete and total nihility. In fact, the enthusiasm over the rediscovery of something few people have ever even heard of can be
Sean Connery ascends, George Hamilton pretends, and Don Siegel defends in this trio from the WAC.
It is oft said one must reach the top in order to succeed, and this trio of minor motion pictures from Hollywood's past can serve as a painful reminder of how much of a fall you're in for should you slip up somewhere along the line. And both of those terrible analogies certainly come into play in the 1982 Warner Bros. drama, Five Days, One Summer, for it quite literally has to do with mountain climbing. But before you get your hopes up, this is not the sort of exciting cinematic fare like you might find in The Eiger Sanction.
From a magnificent assembling of classic horror of the '30s, to the various sorts of silliness the whole of the '90s had to offer, these four releases will have you screaming.
While the Warner Archive mostly brings us new and previously unreleased goodies to DVD, they also bring us the odd re-release of titles which have become out of print. Or possibly new and improved versions of old catalog releases which were unfortunate enough to have been pressed to disc when DVD was still new. This lot falls under both categories, sporting two new widescreen offerings of titles which were only ever seen in early (read: unmastered) releases, as well as the reawakening of two cult gems, the first of which has been on many a classic horror movie lover's wish
Severin Films unburies one of the most notorious titles from the Italian zombie apocalypse of the '80s, fully restored and just as empty-headed as ever.
There really isn't a movie like Burial Ground. My first encounter with this notorious Italian gut-muncher from 1981 probably occurred a good seven years after the film first hit home video in the US, by which time the movie had already become a regular dust collector in rental stores across the nation. And one of the reasons why this was so is attributable to the fine craftsmanship which can be seen in every single frame of the picture: it stinks. Good God, how this movie stinks! But of course, when you're a teen-aged boy with nothing short of an addiction
Another one of the late Jess Franco's many bad movies has made its way to Blu-ray. And I have caught up on a lot of sleep. Coincidence?
Prior to his departure from this world in early 2013, the late Jesús Franco had left an impressive looking resume behind in which his services as a film director totaled over 200. This did not include his work as a screenwriter, producer, composer, editor, cinematographer, or any of the other jobs Franco often handled himself for productions belonging to either he or another. Put simply: Franco kept himself very busy, right up until the end. His work has become the subject of many obsessed individuals around the world, and the bulk of his career has been printed in at least
One of horror filmdom's most enjoyable atrocities rises up from the sewers once more in a stellar new HD transfer from Arrow Video.
As a feller who spent entirely too much of his teenaged years in the horror sections of local video stores, there were two things I learned to keep a watchful eye out for when it came to satisfying my never-ending urge to keep myself amused. One item the look out for was any horror movie which proudly sported the subtitle "The Movie" ‒ something anyone who had the misfortune of seeing Mexican trash cinema maestro René Cardona Jr's Beaks: The Movie undoubtedly also made a mental note of. The other thing wasn't one I mastered immediately, however, for there was
Devoid of any originality, credibility, or explanation whatsoever, the big-screen adaptation of Blizzard Entertainment's massively successful strategy game is a giant, predictable bore.
Contrary to popular belief, the oft-repeated phrase "Hollywood has run out of ideas" has been popping up for quite sometime now. During the '60s and '70s, television producers would take two-part TV shows or standalone TV movies and release them theatrically abroad, luring (mostly) European filmgoers into cinemas to see an extended episode of something like The Man from U.N.C.L.E., in order to take advantage of an outrageously gigantic demand for all things James Bondian at the time. It would have been foolish not to take the chance, right? It was a most cunning strategy on their part. In the
23 years after my first attempt at watching it, this Riccardo Freda/Barbara Steele gothic horror movie about a necrophiliac surgeon still can't raise the dead to save its life.
For Italian filmmakers, the 1960s were as versatile of a period as ever, especially for the ever-expanding realms of fantasy. It was a time when sword and sandal peplums, space operas, James Bond-ian espionage adventures, Poliziotteschi crime dramas, stylish giallo thrillers, and one of the country's best-known cinematic exports ‒ the spaghetti western ‒ ruled the screens. The decade also epitomized another unique motion picture subgenre: that of the gothic horror flick. From the late '50s to the late '60s, Italy's gothic movement brought forth a number of memorable, atmospheric titles from the likes of Mario Bava, Antonio Margheriti, and