I’ve written at length about what makes a good bad movie, but what makes a BAD bad movie? This is what I’d like to talk about in today’s review because I think I found the perfect example. Here is a movie that is so bad, so incompetent, so mind-numbingly lazy, that I can’t just overlook its flaws and give it the benefit of the doubt like I normally would. This is a movie that is insultingly and aggressively terrible. Yes folks, I’m talking about VEROTIKA.
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Will be screening on June 24th at 3p.m. at Manhattan’s Dolby Screening Room, 1360 Avenue of the Americas. Tickets can be purchased online.
“The boy is impertinent!”
Ro-man is not quite an ape. And he’s not quite a man. He’s kind of a sentient alien who is smart enough to destroy civilization but not smart enough to be able to breathe Earth’s atmosphere sans his diving helmet. He’s a complicated Ro-man and no one understands him but his woman. Phil Tucker’s “Robot Monster” is a post apocalyptic survival film that conveniently evades all glimpses at the actual invasion and aforementioned apocalypse. The evil Ro-Man have invaded and destroyed Earth because—well—humans are bad. And to add insult to injury they monitor the remaining survivors in hopes of capturing and or destroying them.
They can never seem to make up their minds on that mission statement.
A sniper duo sent to the edge of a war zone to kill the head of a dangerous organization end up wandering the woods followed by something, before killing the incorrect target from bad intel and needing to stick around until they can eliminate the correct target. Something is definitely following them and getting closer.
Tickets are now on sale at Fathom Events; coming to theaters nationwide for a special one-night engagement on Wednesday, June 21st at 7pm, local time.
A lot of the media likes to use the words “Indie film” whenever referring to a movie that isn’t entirely mainstream. The word has been homogenized over the years, as films like “Mad Heidi” are lost in the shuffle. “Mad Heidi” is a real indie film that worked hard to get a distribution deal, and it is here for us to gorge on. According to the press release, “Mad Heidi” initially made waves for its innovative crowdfunded approach, bypassing traditional financing tactics to ensure that the film’s original vision was preserved while placing profits back in the hands of the creators and backers. Even if neo-grindhouse isn’t your cup of tea, “Mad Heidi” deserves a lot of love for its willingness to embrace its indie roots, while also being literally as cheesy as it can possibly be.
With Stephen King’s “The Boogeyman” now in theaters and wreaking havoc, I thought it’d be fun to take a look at five great horror movies for nyctophobes. If you’re terrified and absolutely petrified of the dark, these five movies use the darkness not just as a plot device, but as their primary setting. Things that go bump in the dark are what these movies thrive on offer some pure terror, and I highly recommend them as chasers for “The Boogeyman.”
Chris McKay’s take on the Dracula dynamic with Renfield has a lot going for it, but it also has so much stacked against it from the starting gate. In a year teeming with Dracula iterations, “Renfield” has a real shot at standing out among the other interpretations of Bram Stoker’s lore, but never really rises to the occasion. That’s mainly because while the concept is interesting “Renfield” never decides what it wants to be. It wants to be a satire on “Dracula,” and a commentary on abusive relationships. It tries to be a cop action, a buddy comedy, a vampire film, and straddles the dangerous line of being a satire on the abuser and abused relationship at times.
Bomani J. Story’s horror film is one part family drama, one part Frankenstein, and one part Re-Animator. Deep down beneath its grue and gore is a very relatable and heartbreaking tale of a family divided by death and a girl determined to beat it. Much of “The Angry Black Girl and Her Monster” is centered around young Vicaria, a literal mad genius who is convinced that she can cure death, and like most mad geniuses, she finds out along the way that what is dead should stay dead, and that her madness might be symptomatic of the world she lives in.