With Earth Defense Force 2017 Portable rolling out on the PlayStation Vita on Tuesday, I figured I’d write up a short column about two of the many “They don’t make ’em like they used to!” sci-fi films that most assuredly influenced Japanese developer Sandlot when they created their cult favorite game series that got its start as a pair of budget PlayStation 2 games (The Simple 2000 Vol. 31: The Chikyuu Boueigun and The Simple 2000 Vol. 81: The Chikyuu Boueigun 2) and a more visually polished Xbox 360 sequel which has been nicely expanded and enhanced for Sony’s portable system. Both flicks are “B” movie classics worth watching if you’ve never seen either previously, with the former film being surprisingly tense and well-acted considering the subject matter and the latter film using some pretty well done matte work to convincing effect in a few scenes.
Yeah, yeah, there’s no fancy CGI here and some implausible moments in both flicks can be eyeball-rolling if you start applying any rules of reality to what you’re viewing. Nevertheless, if you’re in the right mood, you’ll be hooked into both films from the memorable beginnings of each one and stick around to their bitter endings…
Am I the only one whose eyeballs roll way back in his head when these ads or trailers run for these films that mangle the hell out of the classics? Sometimes I wonder who keeps forcing all this stuff upon those gullible types who snap up opening day tickets as if they’re going to see something as memorable as the source material. Bleh.
Of course, I’ll be a totally contradictory nutcase here and say I’d make a “Brothers Grimm: Screenplay Slashers” film with the ghosts of the Bros. stalking and getting rid of studio pests using methods from their many stories. Hmmm.. then again, that’s too close to the Dr. Phibes remakes I’ve been HOPING Tim Burton would get around to doing already. Eh, whatever – I’ll probably catch this flick on cable a few months after it tanks in theaters. If I’m lucky, it’ll be back to back with that Abe Lincoln: Vampire Killer film so I can kill two birds with one stone (and wish for that time back afterwards)…
If you’re old enough and recall camping out in front of the TV on Friday or Saturday nights long after the sun went to sleep (Chiller Theater or Creature Features, anyone?), you probably saw a ton of horror and sci-fi flicks from the 50’s and 60’s. For some reason, Hollywood’s “B” movie makers were brain-obsessed during this period, churning out films good to terrible with titles such as Donovan’s Brain, The Brain From Planet Arous, The Brain That Wouldn’t Die and so forth and so on.
All those brains on screen and yet, in my opinion the best one wasn’t even made in the USA. For years I always thought Fiend Without A Face was a US-made “B” flick, but I just found out recently that it’s British. Oops. Granted, that doesn’t make it any “classier” at all – it’s just yet another reason you should check out this classic 1958 sci-fi/horror gem.
Even though it was released two full weeks before Stephen Spielberg’s JAWS, the late William Castle’s final production, BUG was somewhat destined to fail. Despite some fine direction by Jeannot Szwarc and an intense performance as Bradford Dillman starring as the doomed Dr. James Parminter and plenty of startling deaths (well, startling to an 11-year old me), the film probably freaked too many people out with its swarms of over-sized fire-starting cockroaches causing all sorts of flaming mayhem throughout a small town after they start popping up after an earthquake.
What makes the film work as a nice horror/sci-fi blend is the sheer craziness of the insects from hell being able to start fires anywhere they crawled (which again, leads to some nasty demises throughout the flick) and Parminter’s supremely stuborn insistence on tampering with them even more with his research.
Amazingly enough, other than an announcement back in 2005 that seems to have never happened, no one has thought of remaking this rather cool 1975 horror flick that had some really interesting casting and a few genuinely scary bits.
Two couples on a road trip through Texas in their new RV accidentally come across a coven of devil worshipers performing a human sacrifice. They’re seen, but manage to escape with some effort, making their way to a small town where they let the local lawman in on what they’ve seen. Of course, the shady sheriff turns out to be one of the satanists (eek!), and the four end up high-tailing it away, but not before swiping some evidence to present to the police in a larger, more populated city.
This leads to a much longer and more action-packed chase (that camper sure takes a beating here) that may have influenced Mad Max series director George Miller to some extent (at least, to my pointy head). Anyway, I won’t spoil the ending at all here, but let’s just say it’s a nice jolt and in a way, fitting. At a brisk 88 minutes, the solid direction, tight editing and nicely realistic performances from the leads (Peter Fonda, Warren Oates, Loretta Swit and Lara Parker) makes this a memorable popcorn flick, especially if teamed up with a similarly-themed flick such as Steven Speilberg’s influential TV movie, Duel (look for the longer European release for that one).
This crazy, low budget 1973 indie horror flick was a big part of my childhood because it seemed to always be on WOR here in New York as one of the late-night horror movies they showed on Saturday nights, and for some reason (even despite it freaking me out all the time), I’d sit through it fascinated by the insanity taking place. In fact, the film takes places at a mental institution gone way off the rails thanks to its rather unorthodox means of treatment. You get two murders right off the bat, a pretty but rather dopey new nurse arriving on the scene who’s a bit slow on the uptake as to what’s going on, a bunch of patients with some rather unusual quirks and it all wraps up with a nicely gory finale and probably the most disturbing end credit sequences you’ll see in a genre flick.
Is it a great movie? Nope, and in fact, it hardly scrapes above lousy in every aspect, I’d say. What works in its favor however, is the general tone of unease and creepiness that hits you over the head right from the start. You know something bad is going to happen right away and other than a few boring patches, the film delivers on much of what its opening moments promise. These days it’s a public domain film, so yup, you can watch it in its entirety above. I’d doubt this will ever reach the remake status some cult genre classics have gotten, but even as raw and weird as it is, it still manages to be freaky enough where it counts. OK, then – that’s a really short and simple movie post this for week, as I’m working on a bunch of other stuff. But it’s all good, as now you can go make a big bowl of popcorn, grab a beverage and watch yourself a pretty silly but scary slice of the 70’s…
Addendum: Oops – it looks as if someone may remake this after all at some point Oh well, i still think the original will be better just because it has its crude charms working for it, warts and all…
Despite its super low budget, eager cast of hokey actors and rather brief running time, this 1957 mix of sci-fi and comedy manages to work quite well thanks to a solid sense of humor and effectively scary use of special effects in one memorable sequence. That the film purports to be “A true story of a flying saucer” right at the beginning is the first in a long string of eyeball-rolling chuckles it hits you with.
After a teen couple out on a late night make-out session run over an alien with their car, they’re soon caught up as murder suspects once the remaining big-headed, bug-eyed, and short of stature creatures replace the body of their comrade with a human they’ve eliminated. Given that the aliens kill with finger needles that inject pure alcohol into their victims (ouch, *hic!*), it’s initially easy to see the couple’s alibi easily shot down by the cops.
Amusingly enough, that movie poster on the left calls Rocketship X-M a story about man’s “conquest of space”, but spoiler alert: it’s not quite that triumphant a voyage at all. Yeah, man makes it into space in that fancy silver craft, but if there’s a conquest here, it’s presented in a pretty stark manner that’s not conducive to anything resembling a “happy” ending. That said, this one’s yet another highly recommended classic that’s worth a look if you’ve never seen it before and yes indeed, it’s worth grabbing a few sci-fi loving friends to take along for the ride. Pack that space ice cream, some popcorn and maybe a clean hanky, but leave your thinking cap on that bedpost, buddy…
While the actual “science” in this low-budget 1950 sci-fi flick isn’t exactly realistic and indeed, laughable (hey, we didn’t send a man into space until over a decade later), this is still a pretty powerful film that manages to be memorable for a few reasons. Granted, it was rushed to theaters to beat out the superior (in every technical aspect, at least) Destination Moon, but the anti-nuke/anti-war message presented makes this gem resonate a bit more than George Pal’s classic (which can be seen as the 2001: A Space Odyssey of its time thanks to all that attention to detail). What works in this little film (shot over 18 days for under $100,000) is the script (from an uncredited Dalton Trumbo – look him up if you don’t know who he is) that adds an interesting layer of sentimentality to the characters. Oh, and the acting is first-rate as well all around.
Of course, you’ll probably be too busy rooting for the crew of the X-M to get out of the rather crappy situation they’ve found themselves in after their moon rocket ends up going WAY off course (as in not scientifically possible) rather than look to deeply for hidden messages. Then again, that excellent Ferde Grofe score plus the decent acting are compelling enough reason to sit down and enjoy this one for what it is. In other words, flush the insulting (but yes, quite amusing) Mystery Science Theater 3000 version and watch the original movie instead. Some films deserve to be better remembered for what they were back when they were released and not someone’s bastardized joke-book version that pays no respect to something that tried to bring a certain er, gravity to a formerly not so serious genre.
Yeah, it’s a short review, but this is one of those films that just needs to be seen more and talked about afterward. Enjoy the trip and as the old saying goes: be nice to the people you meet on the way up – you’re going to meet (most of) the same ones on the way back down…
OK, this week’s selection was relegated to a simpler internet search after my usual “secret” selection method (flipping through a big movie encyclopedia or DVD catalog and randomly pointing at a title on whatever page I stopped on) left me with a few too many controversial choices (Targets, Joe and Badlands came up on the first three pages I dropped a finger on) that, while great movies worth seeing, aren’t exactly films I want to go over at this point. So, I’m substituting a favorite “B” movie that’s awful and hilarious with a nice left hook for you sun worshipers out there who can’t seem to catch enough rays.
Hell, it’s been hot enough these past few weeks that I should have added this flick about a month or so ago. Anyway, the plot about a scientist who ends up turning into quite a crispy-faced creature doing no good things to the general populace after radiation exposure is pretty far out there, but you can say that about most 50’s sci-fi and horror flicks. This one works for me because it tries to play as serious and even gets away with it for a bit, but you’ll be smirking along soon enough…
An old favorite of mine from the days when it was in near constant rotation on Chiller Theater (on Channel 11, WPIX), The Flesh Eaters manages to mix campy humor and skin-crawling (albeit cheesy by today’s standards) shock effects. The script, by DC and Marvel Comics writer Arnold Drake, manages to be weird, funny and unsettling as it tells the tale of three people stranded on a small island after their small plane flies into a bad storm and is forced to land. They meet a German-accented mad scientist working on a rather nasty little project in the form of a massive bacteria colony that can dissolve flesh within a few seconds of contact. Unfortunately for the travelers, the doc has unleashed his experiment into the water around the island, making enjoying a quick swim kind of a no-go.
While the trio is trying to figure out how to get off the island and the doc is scheming away, they run into a shipwrecked beatnik who adds some comic relief to the proceedings. He’s also the victim of one of the surprisingly gory (for the time) death scenes, but I’ll let you check that out yourself. Anyway, things come to a head as the survivors need to deal with the mad scientist AND getting the hell off the island as one of their plans to destroy the microbes actually make it much stronger. Memorable cinematography and extremely well composed scenes give the film the look of a horror comic book, and at a relatively quick 87 minutes, this is one of those films that’s worth checking out if you’re curious about “B” movies of the era, the evolution of special effects or even how well a comic book author could do at scripting a film.
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