I understand director Jeff Leiberman for his anger about his film being mocked on “Mystery Science Theater.” But I also understand why “Squirm” was such good fodder. Intentionally silly or not, “Squirm” is not a good movie, nor is it a good horror movie. It’s barely competent storytelling. I never could quite comprehend why “Squirm” was such a classic, but oddly enough it’s that movie that always rose to the surface to play on late night cable, or in drive in theaters. Don Scardino is laughably miscast as Mick, the hero of “Squirm” who visits his girlfriend Geri in her small Southern town for a romantic rendezvous. Of course, them hill folk don’t take too kindly to Mick’s straight forward attitude.
Tag Archives: Science Fiction
Mr. Peabody & Sherman (2014)
Seeing as I never liked the original animated shorts the movie is based on, I was very skeptical toward “Mr. Peabody and Sherman.” There hasn’t been much interesting entertainment mined from the Rocky and Bullwinkle short series. Surprising enough, “Mr. Peabody and Sherman” doesn’t just adapt the shorts, but expands on them, injecting heart, characterization, and isn’t reliant on pop culture nods and winks to keep the audience entertained. It’s that refreshing element that makes this adaptation such a stellar piece of animation.
The Simpsons: Simpsorama
“Futurama” deserves so much better than to become a sight gag in future episodes of “The Simpsons,” but hey, at least “Simpsorama” is a hilarious meta-crossover. Not to mention it’s kind of a closer to the “Futurama” series that gets the official goodbye by Matt Groening’s first really popular show. It’s a respectful and dignified farewell to what was a great companion to “The Simpsons.” Not to mention, an animation crossover I actually give two craps about. At least “Futurama” deserved this crossover.
Alien (1979)
As its successors, carbon copies, and wannabes have shown, “Alien” is a film that easily could have taken its premise and diluted it in to exploitation or just another stock monster movie. There’s something eerie and absolutely unnerving about “Alien” from the moment it begins. Director Ridley Scott, paired with the brilliance of H.R. Giger and Dan O’Bannon, spawns a truly creepy tale of a phallic alien hatching in the belly of an old ship that begins wreaking havoc on its surrogate caretakers. It takes a powerful woman to conquer the male manifestation with a protruding orifice, one who defies all kinds of gender stereotypes and tropes.
Frankenstein Meets the Wolf Man (1943)
Director Ron William Neill’s “Frankenstein Meets the Wolfman” is a sequel to “The Wolfman” and a prequel to “Abbot and Costello Meet Frankenstein.” One of the many future crossovers for monsters, Neill’s movie is often incoherent, but at least delivers on the promise of the wolf man meeting Frankenstein. They only do battle for about four minutes in the finale, but technically they cross paths, so your expectations should be low for this sequel. The reasoning for bringing the characters together stretches all ideas of logic and suspension of disbelief. So “Frankenstein Meets the Wolf Man” is really a process of asking the audience to willingly ignore its inconsistencies and wait for the monsters to meet up and fight.
Seymour, Audrey, and the Price of Obscurity
Real depth can come from the most surprising sources, things which at first glance are commercial grabs, but which, when mined, show greater depth. On the one basic hand, Star Wars is ships in space shooting at each other and guys beating on each other with laser swords. On the other hand, the critical hand that studied at a college, it’s an examination of our yearning for a call to adventure lost in the grit of seventies cinema.
Consider Little Shop of Horrors, one of the movies that came out of the well of nostalgia that is the eighties. Many remember it as a musical. Many remember it as a comedy. Many remember it as a horror flick. Few, if any, read much into it.
Earth vs. the Spider (2001)
Director Scott Ziehl’s “Earth vs. The Spider” is an often overlooked and extremely obscure film, and for good reason. It’s a relative rip-off of David Cronenberg’s “The Fly,” and let’s face it: There’s no reason to call this movie “Earth vs. The Spider” at all. I fondly remember this being featured on Cinemax here in America in a Stan Winston horror movie showcase. His company rehashed American International Pictures films, but in name only. As is the case with “Earth vs. The Spider,” which isn’t a masterpiece, but isn’t bad for a hokey shamelessly derivative monster movie.