I remember seeing the preview for “Shrunken Heads” back in 1994 during the end of a double feature from the video store and even then I thought the idea was a weird one. A kids movie about disembodied shrunken heads getting revenge on their murderer is unusual. “Shrunken Heads” is a strange god awful movie, but one that affords itself some nostalgic value so while it is a waste of talent and resources, it’s not totally a waste of time. Whether it’s Danny Elfman’s involvement as the sound track artist, or Meg Foster curiously cross dressed as an Italian mobster with a pomp haircut, every single move to this movie is confusing and often times disorienting.
Tag Archives: Fantasy
Goobers aka Mystery Monsters! (1997)
It seems Charles Band is in no short supply of excuses to bring small animals and monsters on the screen and “Mystery Monsters” is proof of it. At only fifty two minutes in length, Band’s 1997 (I miss the nineties) family film is much too rushed to even be considered worthy entertainment. Worse yet the film revolves around three magical monsters who seemingly do nothing and serve no purpose. We’re told they have to be minions of evil, but they’re moved around so awkwardly and lazily by the puppeteers it’s tough to imagine they can do much of anything worthwhile.
Puppet Master: The Legacy (2003)
Ah, the search for Toulon’s formula, this is what accounts for plot with “Puppet Master Legacy.” It’s not uncommon for horror films to feature clips from their earlier films, but the Puppet Master series has made it ridiculous by saving money through obvious manners. One is showing the puppets but only in their docile form, and two is padding the film with about as much filler as possible. This filler is clips from the past movies that the director uses to compensate for lack of fresh footage of the puppets. This method would later be included in the rank “Axis of Evil.”
Demonic Toys (1992)
With a screenplay by David S. Goyer, Charles Band’s brand of miniature madness presents the audience with something of an imagination and creativity. It’s “Demonic Toys,” another in a brand of Full Moon tiny terrors that I loved as a child and continue to to this day and for a Full Moon fan like yours truly, “Demonic Toys” has somewhat evaded me over the years. The 1992 horror film is a wicked entry in to Brand’s trademark creativity where director Peter Manoogian manages to make good use of the single setting piece he sets up for the audience.
X-Men: First Class (2011)
While I did ultimately enjoy “X-Men: First Class” as a film, I found myself giggling at the very opening. I found myself giggling for the simple fact that we finally are given a biographical detailing of Magneto. You know, the one we were supposed to get with a feature film but never did? I love how the writers manage to sneak in his biography while also chronicling the story of two powerful gentlemen with vastly different ideals. Because at the end of the day, the real story behind “X-Men: First Class” is the brotherhood of ideas, and the views on mankind that separate us in spite of common goals.
Passion Play (2011)
Director Mitch Glazer’s film is probably one of the funniest most pretentious art house flicks of the year. It’s one of the stupidest pieces of utter tripe ever conceived by man, an almost satirical look at artsy fartsy that dabbles in to a premise so ridiculous it’s barely competent enough be considered symbolic. Oh Megan Fox is a bird girl named Lily, but she doesn’t want to be a bird girl, but she’s so beautiful! Mickey Rourke wants to restore her beauty by keeping her wings in tact even though she destroys them every night, all the while confronting wandering Indians who come to his rescue, evil old carnies and the like, all of whom are obviously some form of delusions of grandeur by some coked up cowboy played by Rourke who stumbles through the film with a grumble.
Almighty Thor (2011)
Never ones to be outdone by the big budget action spectacular that is “Thor,” The Asylum continues their tradition of finely timed mock busters releasing “Almighty Thor” for the masses and what a dilly of a pickle it is. As a production it’s quite a creative bit of wannabe big budget entertainment, but deep down it lacks all the basic necessities of filmmaking that include competent special effects and solid performances. The second best option to Anthony Hopkins, Kevin Nash for one, is hilarious as the father Odin, who can barely squeeze out a bit of dialogue without panting.