Podcasts about cult films

A film that manages to accomplish nothing, makes us dislike the mains, but still makes us like the movie.... "Harley Davidson and the Marlboro Man" is one wild, misguided ride that desperately tries—and fails—to turn its two lead dirtballs into lovable scoundrels. Instead of evolving into charming antiheroes, they remain gloriously repulsive, wallowing in a sea of their own filth, which only adds to the film's bizarre, unintentional humor. The movie seems to have tossed the rulebook out the window. Physics takes a permanent vacation when bulletproof trench-coats, which resemble oversized garbage bags, inexplicably defy every law of nature. And let's not even get started on the leads pulling off the 15-story jump, landing in a pool as if gravity were a mere suggestion. The relationship between the two HD and MM is as shallow as it is unconvincing—they barely share a shred of genuine care, leaving audiences to wonder if they even notice the people who care about them. Their nonchalant attitude toward life and each other underlines the film's overarching failure to deliver the kind of dynamic, heartfelt camaraderie that makes buddy-adventure movies worth watching. Then there's the so-called "Great Bank" and its cadre of villains. These bad guys are a mess of drug-dealing side-hustles and a squad of armed assassins who, in a twist that's almost as puzzling as it is amusing, seem like kind of folks who jam out to Kraftwerk. Their quirky, half-baked villainy adds yet another layer of absurdity to a movie already drowning in its own incompetence. In the end, "Harley Davidson and the Marlboro Man" is a complete failure as a buddy-adventure movie. Yet, in its relentless pursuit of over-the-top, ludicrous action and its blatant disregard for reality, it manages to stink it up just enough to be oddly enjoyable—a cult classic for fans of bad movies who appreciate a film that knows exactly how to be magnificently, laughably bad.

In this hilarious and heartfelt episode of Challenge Accepted, Thomas and Frank dive into The Unbearable Weight of Massive Talent — the meta-comedy where Nicolas Cage plays...Nicolas Cage. They unpack the unexpected bromance between Cage and Pedro Pascal, celebrate the movie's absurd charm, and debate its deeper emotional arcs. From meme-worthy LSD trips to Paddington 2 shoutouts, this episode is a love letter to cinema, friendship, and the ever-iconic Nic Cage. ⏱️ Timestamps and Topics: 00:00 – Intro and childhood Nic Cage nostalgia 00:44 – Pedro Pascal's rise and role as Javi 01:54 – Plot breakdown: bromance, mystery, and mayhem 04:01 – Favorite scene: climbing the wall, action + emotion 05:11 – Nic Cage's layered performance and real-life parallels 07:12 – Callback moments: auditions, inner Cage, and movie references 10:11 – The bromance blossoms: bonding through film and Paddington 2 12:13 – Real growth and Nic's family arc 14:19 – LSD scenes and meme moments 17:00 – Character growth and father-daughter dynamics 22:00 – Pedro's performance and personal connection to Cage 24:41 – Movie references: Con Air, Face/Off, and Cage classics 26:34 – Movie structure, pacing, and absurd humor 30:13 – Why this movie could've been a comedy cult classic 32:08 – Fun Facts: Nic wanted to swap roles, Pedro wrecked 14 cars 36:00 – Was this movie too absurd? Or just right? 39:05 – Final verdict and sequel thoughts 40:50 – Next week's challenge: Detective Pikachu vs. Super Mario Bros. Movie 42:02 – Call to action and outro

While horny teens were getting slashed left and right in the 80s, there also popped up a string of horror films focused on kids facing their own monsters. In this episode, we discussed The Pit (1981), Pulse (1988), and Lady in White (1988) with horror podcast host Brad Hargis of the show Old Man Brad. Check out Old Man Brad's podcast wherever you stream your favorite shows. https://linktr.ee/oldmanbradOriginal Music and episode audio mastering by Beau Hitt. Check out more of Beau's music at the link below.https://spoti.fi/3OcxTMSFollow us on :FacebookInstagramLetterboxd

We really were losing a war to vending machines? Electric State might just be one of the most staggering wastes of resources and talent to hit the screen in years. Armed with a ludicrous budget and an all-star cast, this movie squanders every ounce of its potential in a messy, juvenile attempt at sci-fi storytelling that only children—or perhaps the most forgiving of viewers—could enjoy. Let's start with the plot, or lack thereof. It's riddled with holes so large they could swallow entire scenes whole. Characters make inexplicable choices, key events seem to happen out of nowhere, and the emotional beats the film desperately tries to hit fall flat because nothing is earned. There's no weight, no coherence, just a loose string of visuals pretending to be a story. But hey, why write a decent script when you can drown everything in licensed music? Electric State goes full “James Gunn cosplay,” stuffing every scene with pop tracks that feel completely out of place. Instead of enhancing the emotion or tension, these needle drops undercut every serious moment and reek of desperation—like the filmmakers thought if they just played enough familiar songs, we wouldn't notice the soulless narrative underneath. Visually, yes, it's slick—but when you spend what this film spent, that's the bare minimum. The sad part is that behind the camera and in front of it are incredibly talented people. Directors, VFX artists, and A-list actors who should've known better are left adrift in a project that seems to have been greenlit purely based on aesthetics and IP potential rather than substance.   In the end, Electric State feels like the cinematic equivalent of handing a child the keys to a spaceship and hoping for the best. It's loud, shallow, and directionless, a bloated mess that burns money like rocket fuel and goes absolutely nowhere.

On this special episode the three of us sit down for a serious intervention - from bad movies! We discuss the Oscars winners that none of us saw. Wicked makes Jackie throw up. Sam praises Slow Horses and Gary Oldman's farting. We get an old staple of Pop Quiz, Hotshot. Sam complains about the supreme lack of Jello in our lives and Justin brings in a FilmStory about a dead director - WHO DUN IT!?   Enjoy and see you in a couple weeks!

Ah, Turbulence 3: Heavy Metal. A film so magnificently, obliviously ridiculous that it could only exist in the pre-9/11 era, where the greatest threat to air travel wasn't terrorism, but satanic heavy metal concerts broadcast live from a 747. Yes, that's the plot. And no, it does not get any smarter from there. Let's start with the hero we never asked for: Slade Craven (yes, that's his real name), a Marilyn Manson knockoff who looks like Hot Topic threw up on a scarecrow. This man struts onto the plane in full goth-rock regalia, sneering at everyone like he just walked out of a badly lit music video, but give him 30 minutes and he transforms from a moody poser into an airborne action hero, karate-kicking terrorists and saving the day with all the grace of a drunk dad at a Slipknot concert. Watching him go from “edgy Rockstar” to “Die Hard protagonist” is like watching Ozzy Osbourne suddenly pilot a space shuttle. It makes no sense, and that's why it's beautiful. The cast, if you can call them that, behaves less like humans and more like malfunctioning AI programmed by someone who thinks they understand human emotions. Dialogue is delivered with all the enthusiasm of a hostage video, and nobody reacts to anything with the appropriate level of concern. At one point, a terrorist hijacks the plane, and the reaction from the crew is roughly equivalent to someone realizing they forgot to pay their internet bill. And then there's Joe Mantegna, who spends every scene looking like he wandered onto the wrong set and refused to leave. His job is to play an FBI agent trying to make sense of the madness, but he mostly just stares into the abyss, radiating the same exhausted energy as a substitute teacher dealing with a class that just discovered energy drinks. You can feel him asking himself, Why am I here? The answer: we don't know, Joe. We really don't. The villains? Well, they think they're terrorists, but their actual motivation is so incoherent that by the time their master plan is revealed (summoning Satan via airplane concert???), you'll have given up on logic entirely. There's hacking, plane fights, a shockingly high number of fake Slade Cravens, and an ending so abrupt it feels like the film itself decided it had suffered enough. Turbulence 3: Heavy Metal is cinematic junk food at its absolute worst—and most entertaining. It's a movie that doesn't just jump the shark; it hijacks the shark midair, flies it into a storm, and then fights Satan on top of it. If you love bad movies, this one deserves a place on your shelf, right next to a can of expired Monster Energy and a broken Playstation 2 controller.

In this episode of Outside the Cinema, hosts Bill and Chris discuss cult films, focusing on listener requests and the unique animated horror film 'Violence Voyager.' They explore the film's visual style, character dynamics, and the dark themes that unfold as the story progresses. The conversation delves into the film's horror elements, the portrayal of children in danger, and the overall impact of the film's narrative and artistic choices. In this conversation, the hosts delve into the themes of callousness and decency in storytelling, exploring the mad scientist trope and its implications. They discuss the symbolism of puberty and change, particularly in the context of horror narratives. The artistry of animation and its impact on storytelling is highlighted, especially in the film 'Violence Voyager.' The hosts provide their recommendations and ratings for the film, emphasizing its unique visual style and storytelling approach. They also introduce the film 'Vordelac,' discussing its themes and character arcs. In this conversation, Chris and Bill delve into the intricacies of puppetry in film, particularly focusing on a specific movie that features a remarkable puppet character. They discuss the artistic choices made by the filmmakers, the visual aesthetics achieved through the use of 16mm film, and the character development throughout the story. The conversation transitions into a critique of another film, highlighting the differences in storytelling and execution. Ultimately, they provide their recommendations and grades for the films discussed, emphasizing the importance of character growth and thematic depth in cinema.

DEATH BY DVD PRESENTS : What's The Deal With Jeremy Berkowitz? An Interview with Jeremy Berkowitz. On this fresh from the grave episode we are proud to bring filmmaker Jeremy Berkowitz to the graveyard to discuss their art! Jeremy is a tremendously talented writer, director and actor and their feature film debut SYDNEY was released early 2025 for all to see. On this episode Jeremy discusses their work, Sydney, what made them want to be an artist and more. We dive deep into into Jeremy's world of art, from his start in stand up comedy to writing directing and starring in a feature film. I am so excited for you all to hear this episode, Jeremy creates dynamic art that drowns you in pure emotion and I truly hope you enjoy this episode and explore their art further. WATCH SYDNEY FOR FREE  : Tap here or copy the link belowhttps://www.sydneythefilm.com/VISIT THE OFFICIAL WEBSITE OF JEREMY BERKOWITZ: Tap here or click the link belowhttps://www.jeremyberkowitz.com/Don't forget, Death By DVD has its very own all original audio drama voiced almost entirely by Death By DVD!DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES Whoah, you're still here?  Check out the official YOUTUBE of Death By DVD and see our brand new program, TRAILER PARK! The greatest movie trailer compilation of all time. Tap here to visit our YOUTUBE or copy and paste the link below : https://www.youtube.com/@DeathByDVD ★ Support this podcast on Patreon ★

Fact: Real ninjas throughout history used jazz hands to assassinate their targets. "Dancing Ninja" might not be everyone's cup of tea, but if you're into a movie that revels in its own absurdity, you'll find a lot to love here. The film's corny jokes hit just the right note, and its satire—though subtle at times—adds a clever twist that keeps you on your toes. Every member of the cast and crew clearly put a tremendous amount of effort into the project, infusing each scene with passion and a genuine commitment to the film’s offbeat vision. And then there's David Hasselhoff—majestic, as always. His performance is a standout, lending the movie an unexpected layer of charm and gravitas amidst all the wild, no-holds-barred antics. "Dancing Ninja" isn’t afraid to take risks; it brings big old balls to the table and holds nothing back, making for a refreshingly bold viewing experience. In short, while this movie may not be for everyone, its unapologetic style and relentless energy are exactly what make it such a cult favorite. If you're in the mood for a film that dares to be different, "Dancing Ninja" is definitely worth a watch. Special Interview! with Harry Medved and Harry Pallenberg from "Locationland" on PBSSocal Harry and Harry have a great show in which they search out some of the hidden and forgotten locations and sets used in some of our favorite movies. Stinker Madness royalty Joe Dante and genius of the century Dana Gould guest on some of their episodes, among others. Be sure to check out their new episode about Plan Nine from Outer Space! Find all their content on YouTube:

In this never-to-be-repeated BFGE special, Sarah lets Emma choose the film as a special birthday surprise, and emma seizes the opportunity to subject Sarah to a whole new species of brutality: the 2001 romantic comedy nightmare "Bridget Jones's Diary."  This nihilist masterpiece centers on a tragic 32 year-old British woman who finally takes control of her life through a radical act of countercultural protest: by keeping a diary where she tracks her calories and talks about men.  Is Sarah just a huge bitch or is Emma delusional?  Perhaps we are both wrong.  Let us know.Like our stupid lil movie parties? Please drop us a rating on spotify/apple and follow us on instagram at: https://www.instagram.com/brutalfilmgirlpod/

On the latest edisio of Chin Stroker VS Punter, Paul and Mike take a look at Star Trek: Section 31, Star Wars: Skeleton Crew, Lord of the Rings: War of the Rohirrim, The Gorge, George Romero's Resident Evil. Episode timings: 00:00 - Intro 04:00 - Star Trek Section 31 REVIEW 21:21 - George Romero's Resident Evil REVIEW 34:16 - Lord of the Rings: War of the Rohirrim REVIEW 45:40 - Ghostbusters: Frozen Empire REVIEW 48:30 - The Gorge REVIEW 52:14 - Star Wars: Skeleton Crew REVIEW Subscribe (and review us) at Apple Podcasts Check out Mike's other show  The Rewatch Project Check out Mike's new video series covering 80's action TV shows Rolling Thunder Feedback appreciated at chinstrokervspunter@gmail.com and hang with us on facebook Video version of the podcast available on the Chin Stroker VS Punter YouTube Channel  

Episode 80 finds us back on air after a brief hiatus (and hospital visit!), with plenty of news to share about both the platform and our upcoming releases. We start by addressing the elephant in the room - our transition to GoCardless bank transfers for payments. This change came about because traditional payment processors (boo-hiss Stripe) weren't comfortable with our vintage nudie and erotica content, even though it represents only a small percentage of our library.We delve on our past and present theme months, with January's "Madness Takes Its Toll" exploring psychological and asylum-themed films, while February brings you "Filthy Fiftieth Feb," a look back at provocative cinema from 1975. We were particularly excited to introduce our new team members, Kalle and Tightsbury, who've been revolutionising our social media presence with creative edits and trailers.A major highlight is our announcement of upcoming Blu-ray releases. "Anita: Swedish Nymphet" is getting the deluxe treatment with multiple versions and extensive bonus materials, plus we revealed a partnership with Vinegar Syndrome for US distribution. We're also finally bringing "Thriller: A Cruel Picture" (also known as "They Call Her One Eye") to Scandinavian audiences.We shared our most-watched films of 2024, with "Vintage Erotica Anno 1970s" taking the top spot, followed by "The Swedish Sin 1969-2000." The endless popularity of "Summer with Vanja" continues to mystify us, while "The Intruders" surprisingly topped our "nice list" despite never having received a proper DVD release.Looking ahead, we're expanding our library with several exciting acquisitions. We've secured twelve restored Hungarian films, and we're particularly thrilled about bringing the complete "Lover's Guide" series to our platform - a groundbreaking educational series that made history in the UK. We're also filling some genre gaps with new additions in spaghetti westerns, Euro horror, and American high school comedies from the 1980s.Throughout the episode, we seem to keep returning to "Terror in the Midnight Sun" as our foundational film, being the first we ever released across various formats. We wrap up with an amusing (we think so) segment reading feedback from members who decided to leave Cultpix, showing both the challenges and entertainment value of running a niche streaming service dedicated to cult cinema.Cultpix is more than just a streaming site for classic cult and genre films, as we never tire of saying and we're expanding big time beyond just streaming, with our growing physical media presence and international partnerships setting the stage for what promises to be an exciting 2025 for cult film enthusiasts.

Max Pearson presents a collection of the week's Witness History interviews from the BBC World Service. Our guest is film critic and journalist Helen O'Hara who dissects what makes a cult film classic, after we hear about the making of the 1989 American film Heathers.We also learn about the French philosopher behind the theory of deconstruction and how the world first became aware of coral bleaching in the 1980s. As the climax of the American Football season approaches we look back at one of the most memorable moments from Super Bowl history. Contributors: Lisanne Falk - American star of the film Heathers.Helen O'Hara - film critic and journalist. Helene Cixous - lifetime friend of French philosopher Jacques Derrida.Agathe Hébras - granddaughter of Robert Hébras, survivor of the Oradour Massacre. Clive Wilkinson - the former co-ordinator for the Global Coral Reef Monitoring Network.Osi Umenyiora - two-time Super Bowl winner with the New York Giants.(Photo: Winona Ryder, Kim Walker, Lisanne Falk, and Shannen Doherty on the set of Heathers 1988, New World Pictures/Getty Images)

A Murder of Time - The old "write a best-selling novel and give it to your enemy for revenge" caper "A Murder of Crows" is a nonsensical thriller that manages to take an interesting premise and turn it into a complete mess. The plot centers around a "corrupt" lawyer named Lawson, played by Cuba Gooding Jr., who, after being framed for a murder he didn't commit, goes down a rabbit hole of trying to find out who did it. Rather than doing the smart thing—turning the evidence over to the authorities—he decides to get involved in a ridiculous scheme to clear his name. What follows is a convoluted, poorly paced disaster that defies logic at every turn. First off, the characters are flat and unconvincing. Lawson, somehow manages to look both confused and smug throughout the entire movie. The villain is so dubious, it's hard to take the stakes seriously. There's no sense of tension or urgency in the narrative—just a series of random, out-of-place events that feel forced and contrived. The dialogue is clunky, and the attempts at deep philosophical musings on fate and justice come off as completely hollow. The plot twists? They're ridiculous. Rather than being suspenseful, they're more likely to make you roll your eyes and wonder how the filmmakers managed to stretch such a thin idea into a feature-length film. The whole premise is absurd. From the moment the movie starts, it feels like the writers took a random collection of crime clichés and decided to throw them together without any real thought. It's hard to understand who this film was made for—perhaps the genre's most diehard fans who are willing to suspend all reason, but for anyone else, it's a frustrating and pointless experience. "A Murder of Crows" is a poorly executed thriller that doesn't deserve your time. Save yourself the trouble and skip it.

While Jackie Brown may not enjoy the same mainstream fame as Tarantino's other films, it is undoubtedly one of his most mature and thoughtful works. It's a film willing to take its time, diving into its characters' intricacies and motivations, making it a deeply satisfying watch for those willing to appreciate its subtleties.

Ever wondered what would happen if a group therapy session for people afraid of flying turned into a hostage situation? Neither did I, but Turbulence 2: Fear of Flying takes off with that premise and crashes it gloriously into the realm of “so bad it's amazing.” The Plot (LOL): The movie starts with a group of nervous fliers boarding a fancy plane to conquer their aerophobia. But mid-flight, surprise! Hijackers reveal their master plan: not only to take over the plane but also unleash a deadly chemical weapon for… reasons? A ragtag group of passengers—including a guy who conquered his fear of flying just in time—must outwit the hijackers, survive turbulence (the metaphorical kind too), and prevent the worst-case scenario. The Cast: Craig Sheffer plays the reluctant everyman hero, Ryan Weaver, who, let's face it, spends the whole movie with a mix of confusion and mild constipation. Jennifer Beals is the love interest-slash-voice of reason, adding just enough gravitas to remind us this movie had a budget. The villain? A generic, vaguely Eastern European bad guy whose motivations are so nonsensical you'll forget them halfway through the film. But hey, he's got a leather jacket and a bad attitude, so that's something! The Very Stupid Ending: Oh, the villain's "brilliant" plan? It unravels with 30 minutes left. Turns out, unleashing chemical weapons while on the same plane wasn't exactly a stroke of genius. The plot holes are large enough to fly a 747 through. By the time Ryan literally punches his way to victory (because in-flight security is no match for his fist), you'll be rooting for the plane to land just so everyone can go home and think about their life choices. Why It's So Good: The dialogue is so cheesy you'll get calcium poisoning. The special effects—mainly shaky cameras and stock footage of planes—make you nostalgic for middle school PowerPoint transitions. And the stakes? Well, let's just say the characters might survive, but logic didn't even make it through the opening credits. Final Verdict: Turbulence 2 is a disaster movie for people who love disasters—in every sense of the word. It's the cinematic equivalent of finding out your in-flight meal is a microwaved ham sandwich: disappointing, weirdly satisfying, and undeniably hilarious when you're at 30,000 feet. Grab some popcorn, and let this plane crash land straight into your guilty pleasure watchlist.

Grumpy Old Men but they can fart fire! In theory, Supervized could have been a quirky, heartfelt exploration of aging superheroes grappling with retirement, purpose, and the loss of their glory days. In practice, it's a tedious, joyless slog that squanders its promising premise on cheap gags, uninspired storytelling, and a finale so absurd it feels like the filmmakers gave up trying to make sense of their own plot. The story follows a group of retired superheroes living in a nursing home, a setting rife with potential for meaningful commentary or even genuinely funny moments. Instead, we're treated to a series of groan-worthy jokes about old age that feel like they were ripped from a 1990s sitcom. The humor never rises above the most obvious low-hanging fruit: people forgetting things, struggling with bodily functions, and being generally "out of touch." It's like the writers typed "old people jokes" into a search engine and just pasted the results into the script. The cast—featuring the likes of Tom Berenger, Beau Bridges, and Fionnula Flanagan—does its best to bring some life to the flat material, but even seasoned actors can only do so much with dialogue this uninspired. Berenger's attempt to imbue his character with gravitas falls flat amidst the ham-fisted writing, while Bridges is left to play the clichéd role of the wacky sidekick who barely lands a laugh. As the film stumbles through its predictable and uninspired first two acts, you might hope for a twist or some emotional payoff to salvage the experience. Unfortunately, what you get instead is a third act so spectacularly stupid it feels like a parody of itself. The plot collapses into a nonsensical mess involving a villainous conspiracy and a half-baked action sequence that looks cheaper than your average cosplay convention. Supervized is a movie for no one. It takes an almost-interesting concept and smothers it with tired jokes, clunky dialogue, and an insulting lack of imagination. If you want to feel crappy about getting old, there are better options—watch About Schmidt or even The Bucket List. At least those films respect their audience enough to deliver something resembling insight or emotional depth. Avoid Supervized at all costs. It's not just a bad superhero movie; it's an affront to anyone who was hoping for even the faintest spark of creativity.

THE SMACKDOWN IS BACK! AND NOT A MINUTE TOO SOON! JAMES GONIS, SHAWN SHERIDAN, LARRY STROTHE, and MATT WEINHOLD, start the year with a game that is really just an excuse for genre film nerds to read more. Can your inflated sense of film trivia entitlement handle... THE MAD MOVIE SMACKDOWN A.D. 2025!!!? MONSTER PARTY fans know the drill, but if you're late to the game, here's how it works: We each take turns thumbing through a genre film reference book, randomly stop on a page, blindly point at a film entry, and discuss said film with the group. What results is the kind of white-hot excitement you've come to expect from MONSTER PARTY! Joining us for this marvelous melee of meandering movie madness is a beloved return guest! You've listened in awe at his rapid-fire encyclopedic knowledge of obscure movies on our CULT FILMS episodes, and been yearning for his return. Not only is he a well-respected writer, editor, and film journalist, he is also the host of the long-running TV show, MEDIA FUNHOUSE! Please welcome back the always captivating... ED GRANT! (THE MOTION PICTURE GUIDE, TV GUIDE, MOVIES ON TV, FILMS IN REVIEW, PSYCHOTRONIC VIDEO, VIDEOSCOPE, THEE VIDEO MOVIE GUIDE, GROOVY MOVIES, TIME.COM) MONSTER PARTY STARTS 2025 WITH A SMACK! AND IT HURTS SO GOOD!  

Give that Joe guy a raise! Everything else though.... Fanatic, released in 1982 and later distributed by Troma under the title The Last Horror Film, is an ambitious yet confused attempt at blending psychological thriller, horror, satire, and social commentary. Directed by David Winters, the film follows Vinny Durand (Joe Spinell), a socially awkward taxi driver in New York who dreams of becoming a Hollywood filmmaker. Vinny's obsession with horror star Jana Bates (Caroline Munro) takes a dark turn when he follows her to the Cannes Film Festival, believing he can convince her to star in his debut film. Soon, people connected to Jana begin to disappear, leaving the audience to wonder if Vinny's fantasies have turned murderous. On the surface, Fanatic has all the trappings of a Taxi Driver knockoff, with Spinell's Vinny bearing eerie similarities to De Niro's Travis Bickle: a lonely man whose delusions of grandeur lead to a disturbing descent into obsession. However, where Taxi Driver offers a focused character study and searing critique of urban decay, Fanatic meanders between tones, never quite deciding what it wants to be. Is it a darkly comedic jab at the absurdity of the film industry, with its over-the-top Cannes sequences and caricatured players? A horror film dissecting the dangers of unchecked fandom? Or a social critique of anti-horror activists and censorship? The movie flirts with all these ideas but fails to commit to any, leaving the audience in a muddled state of uncertainty. There's undeniable charm in its chaotic ambition, but the result is a mishmash of clashing themes and tonal inconsistencies. What Fanatic does have, however, is Joe Spinell. His performance is nothing short of extraordinary, especially given the film's modest budget. Spinell imbues Vinny with a mix of vulnerability, creepiness, and manic energy that is utterly captivating. His ability to oscillate between pitiable and menacing elevates the film far beyond what one might expect from a low-budget production, especially one released by Troma. Spinell's portrayal is a masterclass in character work, showing what can be achieved even in a film with clear limitations. Despite its flaws, Fanatic has its moments of intrigue and campy fun. The Cannes backdrop offers a unique setting for a horror film, and there's an undeniable novelty in watching Spinell and Munro share the screen again after Maniac. But for all its ambition, Fanatic ultimately bites off more than it can chew. It's a film that tries to be everything and ends up being little more than a curiosity piece—worth watching for Spinell's mesmerizing performance, but a frustrating experience for those hoping for cohesion or a clear narrative purpose.

"Fair Game" is the cinematic equivalent of a rollercoaster ride designed by someone who forgot to include safety measures, plot coherence, or the laws of physics—and somehow, it’s a blast to watch. Starring William Baldwin as Miami cop Max Kirkpatrick and Cindy Crawford as Kate McQuean, a sexy lawyer who becomes the inexplicable target of a rogue KGB faction, this movie is a glorious 90 minutes of car chases, explosions, and dialogue so wooden it could be used to build a log cabin. The Plot (If You Can Call It That) Kate McQuean, a lawyer who apparently moonlights as a fashion model (judging by her perpetual runway-ready appearance), files a lawsuit involving a derelict freighter owned by the bad guys. Naturally, this lawsuit sets off a chain reaction where the Russian mafia—consisting of the most cartoonishly evil ex-KGB agents imaginable—decides she must die at all costs. Why? Because, apparently, the freighter is tied to their secret cyber-criminal empire. Enter Max Kirkpatrick, a Miami cop with a perpetually bemused expression and an impressive ability to dodge bullets and logic. After an initial attack on Kate’s life, Max takes her on the run in a series of increasingly absurd scenarios involving exploding cars, shootouts, and moments that seem ripped from a B-grade romance novel. Along the way, they grow inexplicably closer—because nothing says “true love” like dodging RPGs and trading awkward one-liners. The Stupidity of the Plot (An Ode to Roger Ebert's "The Idiot Plot") According to Roger Ebert, the "Idiot Plot" is a story that would be resolved in five minutes if everyone involved weren't complete idiots. Fair Game not only adheres to this definition—it raises it to an art form. Why Is Kate Still Alive?The bad guys spend the entire movie trying to kill her with the kind of overcomplicated schemes that would make a Bond villain cringe. Why not just, you know, shoot her during the first attack? Or during any of the many opportunities when she’s standing perfectly still? Because then the movie would be 10 minutes long, and we wouldn’t get to see Cindy Crawford clinging to a speeding train in a crop top. The Villains’ PlanThese are supposed to be elite ex-KGB agents, yet their plan revolves around a freighter, some random lawsuit, and an incomprehensible desire to destroy a woman who poses zero actual threat to their operations. Did these guys miss the "Espionage 101" class? Or did they just want an excuse to blow up every car in Miami? The RomanceMax and Kate’s relationship is the kind of thing you’d expect from a bad fanfiction. They go from mutual disdain to making out amidst a hail of bullets, because apparently surviving death traps is the ultimate aphrodisiac. Their chemistry is nonexistent, but who cares? The movie is too busy exploding everything in sight to notice. Physics Be DamnedFrom cars defying gravity to bulletproof mattresses, Fair Game operates in a universe where physics is optional. It’s like a live-action cartoon, but with more cleavage and sweat. The Verdict Fair Game is a masterpiece of unintentional hilarity. It’s a movie so inept that it loops back around to being entertaining. Baldwin looks confused, Crawford delivers every line like she’s reading a menu, and the plot...well, the plot is just an excuse for things to go BOOM. And honestly? We wouldn’t have it any other way. Grab some popcorn, suspend every ounce of disbelief you have, and enjoy the absurd chaos. Just don’t try to make sense of it. That way lies madness.

Don't have enough plot to get to 3 hours? Just restate the plot of the movie 3 times and give your movie an hour of free time. "Happy New Year" has all the makings of an enjoyable Bollywood blockbuster—a promising story, decent acting, likable characters, and a handful of genuinely fun sequences. On paper, this sounds like a surefire recipe for entertainment. However, the film quickly falls prey to the worst habits of Bollywood: unnecessary bloat, juvenile execution, and a lifeless narrative that seems more concerned with padding out its 3-hour runtime than telling a compelling story. The plot, while intriguing in concept, drags at a snail's pace, feeling like it's perpetually stuck in quicksand. Every time the story starts to gain momentum, it's bogged down by excessive filler, cheesy humor, or melodramatic detours that add nothing to the overall experience. The immaturity of the film's tone further undercuts its potential, making even its heartfelt moments feel contrived and insincere. At its core, "Happy New Year" feels like a hollow vehicle designed to sell records of its overhyped soundtrack. Any spark of originality or excitement is sucked out in favor of cookie-cutter dance numbers and uninspired montages. The result is a film that overstays its welcome, exhausting the viewer long before the credits roll. It's a shame because there are glimmers of a much better movie buried underneath the excess. Unfortunately, this could have been an entertaining caper but ended up being a tedious slog instead. Bollywood can do better, and audiences deserve better.

It's really no wonder the Nazis lost the war. They are just too stupid. Antichristmas! If you've ever wondered what would happen if a department store Santa got tangled up in a Nazi plot involving an evil elf, virgin sacrifice, and the Fourth Reich, then boy, do I have the movie for you. Elves (1989) isn't just a bad movie—it's a certifiable fever dream of absurdity, incompetence, and the kind of misguided ambition that makes it impossible to look away. Strap in, folks, because this isn't your average Christmas horror flick; it's a trainwreck wrapped in tinsel and doused in eggnog-flavored LSD. The Elf: Discount Gremlin in the Clearance Bin Let's start with the titular "elf." If you're expecting some sinister, well-designed creature, think again. The elf in Elves looks like it was cobbled together with paper mâché, a glue gun, and leftover Halloween masks from a garage sale. It's about as mobile as a garden gnome and spends most of its time menacingly staring—or, more accurately, just sitting there while the actors pretend to be scared. This thing couldn't terrorize a toddler, let alone usher in the apocalypse. The Plot: A Nazi Conspiracy, But Make It Festive You know a movie is destined for greatness when the plot hinges on Nazis breeding an elf to create the Antichrist. And the plan? Have said elf mate with a virgin before midnight on Christmas Eve. Because, of course, that's the logical way to bring about the Fourth Reich. Never mind that this plan relies entirely on the elf being both horny and punctual. The sheer stupidity of it all is chef's kiss. It's like someone spun a wheel of bad ideas and just ran with everything it landed on. The plot holes are big enough to fly a sleigh through. For instance, how is this elaborate Nazi elf scheme thwarted? Mostly by the combined incompetence of everyone involved. It's almost laughable how easily the heroes stumble into foiling it—imagine if someone like, I don't know, the mall cop had been paying attention. They'd have wrapped this whole thing up in ten minutes. Dan Haggerty: Santa's Hungover Cousin Dan Haggerty stars as Mike, a chain-smoking ex-detective who looks like Santa's cousin who didn't make the Nice List. Haggerty spends the entire movie sleepwalking through his lines with the charisma of a wet sock. His delivery is so wooden it's a miracle he doesn't spontaneously combust near the Christmas tree. And drunk? Oh, you bet. Whether he actually was or he's just an acting savant, there's an undeniable “boozy uncle” energy that only adds to the film's charm. Watching him go toe-to-toe with Nazi elves is a gift that keeps on giving. The Scenes: Bonkers with a Bow On Top Every scene in Elves feels like it was conceived in a vacuum of logic and coherence. Highlights include: A little boy staring at his sister's nude body and then getting into a tickle fight with her. Yipes! The icy cold mom getting electrocuted in the tub and teaching Ben Kingsley about death scenes. The elf randomly stabbing people, despite having no visible motor skills. Dan Haggerty barging into a Christmas dinner only to have the dad explain the Nazi/Virgin/Elf/Impregnate scheme in front of his family. By the time the movie wraps up, you'll be questioning your life choices but also kind of thankful for the chaos you just witnessed. Final Thoughts: The Christmas Catastrophe You Didn't Know You Needed Elves is a rare gem that transcends badness and loops back around into brilliance. It's not a movie; it's an experience. From the laughable special effects to the sheer audacity of its plot, to Dan Haggerty looking like he'd rather be anywhere else, Elves is the gift that keeps on giving. Gather your friends, crack open some drinks, and bask in the glow of a movie so insane it's practically a holiday tradition waiting to happen. Merry Christmas, you filthy animals. ⯑⯑

In this episode, hosts Bill and Chris discuss potential cult films of 2024, focusing on 'Infested' and 'What's Inside'. They also promote 'Infinite Santa 8000', a unique animated film, and delve into a conversation about conspiracy theories related to drones. The episode culminates in a review of 'What's Inside', exploring character dynamics and the film's themes. The conversation delves into the themes of social media's impact on relationships, the consequences of past actions, and the exploration of identity through a body-swapping game. The hosts discuss the characters' shallow lives, the opulence of the wedding setting, and the complexities of their intertwined histories. As the story unfolds, the characters face moral dilemmas and existential crises, leading to a fatal incident that changes everything. The conversation delves into the dynamics of character relationships, plot twists, and the consequences of actions in a film. The speakers analyze the motivations behind characters' decisions, the effectiveness of plot twists, and the overall character development throughout the movie. They also discuss their personal feelings towards the film's themes and their recommendations for viewers. In this conversation, Chris and Bill delve into the intricacies of a horror film featuring spiders, discussing its visual storytelling, character development, and the social commentary embedded within the narrative. They explore the film's ability to build tension and deliver jump scares while also critiquing its pacing and character depth. The discussion culminates in their recommendations and grades for the film, highlighting its strengths and weaknesses.

It's definitely not "garbage day" at Kim's place. Get a broom, woman! Oh, Silent Night, Deadly Night 4: Initiation. Where do I even begin with this glorious, messy fever dream of a movie? This isn't just bad—it's transcendentally bad. The kind of bad that rockets past mere mediocrity into the stratosphere of so-bizarre-you-can't-look-away. It's like a snowglobe filled with pure nonsense, shaken up, and dumped all over the screen. Let's start with the story—or whatever approximation of a story this is. Something about witchcraft? Reincarnation? Slugs? And Christmas? The plot (if you can call it that) unravels like a stream-of-consciousness poem written by someone halfway through a mushroom trip. Every scene feels like it was written in isolation, handed off to a new writer, and then smashed together without a second glance. It's the cinematic equivalent of someone trying to explain their nightmare to you: incoherent, surreal, and yet, oddly captivating. Each moment begs the question: "What the heck am I even watching?" And honestly, I'm not sure if the world's greatest philosophers, theologians, and Reddit theorists combined could figure it out. And oh, the acting. Special mention goes to our lead actress, whose performance is... something else. She delivers her lines with the charisma of a day-old bagel, and her reactions to the increasingly absurd situations around her are so wooden they could give Pinocchio a run for his money. Yet somehow, this adds to the film's charm. Her complete inability to sell the madness she's surrounded by only amplifies the chaos, like she herself wandered onto set accidentally and decided to just roll with it. Now let's talk about the gross-out factor. This movie is disgustingly, gleefully out of place with its grotesque visuals. Slugs. Melted corpses. Weird ritual goo. It's like someone decided to combine The Fly with Rosemary's Baby but threw in some festive tinsel as a last-minute afterthought. And yet...it's fascinating. You can't help but marvel at the sheer audacity of it all. Christmas horror should not involve this much slime, and yet here we are, neck-deep in it. But truly, the crowning jewel of Initiation is its sheer unintelligibility. You will laugh. You will cry (out of confusion). You will desperately wish for a panel of scientists to explain why there's a scene where giant bugs crawl out of a man's stomach. And still, you'll love every nonsensical moment because it's so unabashedly weird and earnest in its ridiculousness. If you're looking for a holiday classic that's as delightfully deranged as a fruitcake filled with live eels, Silent Night, Deadly Night 4 is your movie. It's the perfect trainwreck to watch with friends, preferably with a few spiked eggnogs, as you collectively try to figure out just how this movie ever got made. Spoiler alert: you won't. But the fun is in the attempt.

In this episode of Outside the Cinema, hosts Bill and Chris discuss two films from 2024 that could potentially become cult classics. They focus on 'Exuma', a Korean horror film that delves into themes of family curses and supernatural occurrences. The conversation explores the film's dense narrative, cultural significance, and the palpable atmosphere that builds throughout the story. The hosts share their thoughts on the film's execution, character development, and the unique aspects of Korean horror cinema. In this conversation, Bill and Chris delve into their reviews of two films, discussing their impressions, themes, and character motivations. They explore the nuances of storytelling in horror films, the impact of cultural context, and the effectiveness of supernatural elements. The discussion transitions smoothly between the two films, allowing for a comprehensive analysis of each, while also highlighting the emotional and psychological layers present in the narratives. In this episode, Bill and Chris delve into the films 'Oddity' and 'Tremors', discussing their aesthetics, character performances, and overall impact. They provide recommendations and grades for both films, highlighting the unique qualities that make 'Tremors' a standout creature feature. The conversation also touches on the cultural significance of these films and includes a segment from Reverend Scott reviewing other movies.

In this episode of Outside the Cinema, hosts Bill and Chris discuss Bill's recent vacation experience at an all-inclusive resort in the Dominican Republic, sharing frustrations about the resort's lack of true inclusivity and poor food quality. They transition into reflections on Thanksgiving traditions, noting how family gatherings have changed over the years. The conversation evolves into a discussion about the evolution of holiday traditions and the pressures of maintaining them. The hosts then promote their merchandise before diving into movie reviews, specifically focusing on 'Terror Train 2' and 'Doom Asylum'. In this conversation, the hosts delve into the horror film 'Terror Train 2', discussing its slasher elements, character dynamics, and how it serves as a sequel to the original. They explore the nostalgia associated with horror sequels, the effectiveness of the film's writing, and the overall impressions of the movie. The discussion then shifts to 'Doom Asylum', highlighting its bizarre tone and character interactions, ultimately reflecting on the nature of 80s horror films and their tropes. In this episode, Chris and Bill delve into the peculiarities of the film 'Doom Asylum,' reflecting on its bizarre tone and slapstick elements. They also discuss Kristen Davis's career trajectory, particularly her role in 'Sex and the City.' The conversation shifts to a critical analysis of the 1998 remake of 'Psycho,' where they express their disdain for the film's execution. Finally, they review 'Heretic,' highlighting its thought-provoking themes and strong performances.

Greetings Cultpix fans! Django Nudo and the Smut Peddler are back with Episode 79 of Cultpix Radio, where we finally crawled back onto the airwaves after a two-month hiatus. Here's what went down during the extended radio silence:The BIG Topics:Why we've been MIA: Turns out credit card companies aren't fans of our "abusive" content (their words, not ours). Stripe kicked us off their platform because apparently showing classic cinema with occasional nudity makes us as risky as selling firearms and dodgy supplements. Who knew?The Great Payment Saga: After trying 35+ different payment solutions and getting rejected for having films containing everything from "strangles" to "berserk" content (seriously, they flagged a family comedy), we're moving to direct debit payments. Take that, censorship!Growing Strong: Despite the payment drama, we've grown 80% in the first six months of this year and were going strongly until we were de-platformed. Not too shabby for an "abusive" platform!Recent Theme Months and Weeks:Satanic September: Hell yeah!Arts-ploitation: When arthouse meets exploitation, featuring heavyweights like Buñuel, Coppola, and LynchThe Jaeckin/Kristel Connection: His name is NOT pronounced Just Jackin'Black November: A diverse collection of films including some fascinating South African B-scheme movies from the 80sComing Up:Estonian Fantasy Week: Including "Arabella the Pirate's Daughter" (think Pippi Longstocking meets pirates)Dirty Docu December: 31 days of "educational" documentaries from the 70s, including the extremely scientific "Sex and Astrology"Apps for big screen viewing are finally coming! (Touch wood)Special shoutout to our favourite user comment: "Your website is dogshit." Thanks for the constructive feedback, matey! A more sincere thank you to our friends and collaborators Kalle and Tightsbury for all their recent video help.And yes, for those wondering - our upcoming Blu-ray releases will have slip cases. Because nothing says "quality cinema" like a good slip case.Stay abusive, stay exploitative, stay with Cultpix!

So the kaiju is a half-turkey/half-shopper hybrid. That helps.... a little. Black Friday had the potential to be a fun and memorable addition to the horror-comedy genre. The premise of retail workers battling zombified Black Friday shoppers is clever, relatable, and ripe for satirical commentary on consumer culture. Unfortunately, the execution leaves much to be desired, resulting in a film that struggles to rise above mediocrity. While the movie isn't outright terrible, it's glaringly uncreative. From the predictable character archetypes to the formulaic progression of the plot, it feels like a patchwork of familiar tropes we've seen countless times before. There's the disgruntled manager, the plucky misfit hero, and the obligatory chaos of people turning into monsters, but none of it is done in a way that feels fresh or inventive. The humor, which should have been the film's saving grace, rarely lands. It relies on stale, low-hanging jokes rather than sharp wit or clever dialogue. Even the horror elements fall flat, with generic creature designs and uninspired set pieces that fail to leave an impression. The film tries to balance comedy and scares but ends up doing neither particularly well. That's not to say Black Friday is without merit. The cast, which includes horror veteran Bruce Campbell, brings some charm to the proceedings, and there are a few fleeting moments of entertainment. But these highlights aren't enough to compensate for the lackluster script and lack of originality. In the end, Black Friday is a forgettable experience. It's not a bad movie, but it's far from memorable. With its promising concept, it could have been so much more, but as it stands, it's just another derivative entry in a genre filled with better alternatives. Watch it if you're bored, but don't expect to be wowed.

We open up the floor to you the listener on this weeks episode of the ChinStroker VS Punter film and TV Podcast with some listener feedback. We discuss: Episode timings: 00:00 - Intro 08:40 - Our memories of working at a multiplex cinema in the 90's 37:20 - Elvis Movies 43: 41 - Our sci-fi TV rankings 49:48 - VR Gaming Subscribe (and review us) at Apple Podcasts Check out Mike's other show  The Rewatch Project Check out Mike's new video series covering 80's action TV shows Rolling Thunder Feedback appreciated at chinstrokervspunter@gmail.com and hang with us on facebook Video version of the podcast available on the Chin Stroker VS Punter YouTube Channel    

What is the point of any of this??? What does life even mean anymore?!?! Watching Alone in the Dark is like stepping into a surreal nightmare where logic, talent, and coherence take a permanent vacation. Directed by Uwe Boll, the film somehow manages to turn a moderately creepy video game series into a cinematic trainwreck so inexplicably bad it's almost mesmerizing. Let's start with Tara Reid, whose performance as "Dr. Aline Cedrac" is the kind of thing you'd expect from someone who Googled “archaeologist” five minutes before arriving on set. Reid delivers lines like she's trying to remember if she left the oven on, her scientist character less "Indiana Jones" and more "lost intern who wandered into the wrong set." Her chemistry with Christian Slater is nonexistent—though to be fair, Slater himself looks like he's plotting his escape mid-scene. The plot is the cinematic equivalent of dumping puzzle pieces from three different games onto the floor and calling it "art." Something about ancient artifacts, a secret government agency, monsters from another dimension, and the unexplained disappearance of common sense. Characters reference backstories and motivations that the movie never bothers to show or explain, leaving viewers wondering if they accidentally skipped an hour. But don't worry—it wouldn't make sense even if you had the context. Nothing in this world adheres to any internal logic. The creatures are impervious to bullets until they suddenly aren't, characters forget their own objectives, and physics behaves like it's being controlled by a drunken toddler with a dartboard. There's a moment when flashlights become pivotal to survival, except the characters don't seem particularly invested in keeping them working. Why? Who knows! Consistency is for amateurs. Then there's the action, if you can call it that. Imagine someone yelling, “Action!” and the cast collectively deciding to flop around and fire guns into the dark. The choreography is stilted, the editing is headache-inducing, and the monster effects are so bad they look like rejected renders from a 90s PC game. Somehow, Uwe Boll takes things that should be inherently exciting—gunfights, explosions, and supernatural horror—and makes them as thrilling as watching beige paint dry. And yet, in its complete and utter failure at being a movie, Alone in the Dark achieves a kind of perverse charm. It's like a black hole of quality so dense it warps reality into something entertaining. You can't help but laugh at the absurdity of it all—the wooden acting, the nonsensical dialogue, the budget-bin special effects. It's a film you watch with friends, drinks, and the understanding that you're witnessing a masterpiece of mediocrity. Verdict: Alone in the Dark is not just bad—it's spectacularly, gloriously, hilariously bad. For aficionados of cinematic disasters, it's a must-watch. For everyone else? Save yourself.

What happens when a B-list horror film tackles small town romance, anthropology, and…vampire bureacracy? This movie takes us to a vampire-infested Salem's Lot, where the acting is about as wooden as the stakes they should be driving into these vamps' chests. The lead actors deliver their lines with the enthusiasm of someone half-listening to a bad knock-knock joke, and I swear the child actor spent more time looking at the camera than playing a convincing kid. But it doesn't matter, because that's part of the charm. The vampires in A Return to Salem's Lot redefine what it means to be bloodsucking undead. First, they feel the need to sit you down for a full-blown vampire lecture series, explaining their origins and why they drink blood as if they're some misunderstood subculture rather than, you know, predators of the night. The amount of time they spend philosophizing about vampirism makes you wonder if they're vying for tenure at the local community college rather than dominating the human race. They're so bad at being vampires, it almost seems like they're on a trial period—experimenting with their nocturnal lifestyle, second-guessing their fangs, and generally acting like vampires who accidentally got bitten and are just trying to make the best of it. Then, out of nowhere, comes Van Meer—the anthropologist-turned-vampire-slayer who actually gives this movie a reason to exist. The man is a total badass, with the wisdom of Gandalf and the "not here for this nonsense" energy of every grumpy old man who has ever lived. Van Meer doesn't just kick vampire ass—he clobbers it, struts into scenes like he's about to win an award for "Best Scene Stealer in a Horror Flick" and delivers lines with such unearned gravitas that you can't help but root for him. So, is A Return to Salem's Lot a good movie? No. But is it an awesome movie? You bet your fangs it is. If you're in the mood for vampires who suck at being vampires and a hero who looks like he walked in from an entirely different (better) movie, this one's worth sinking your teeth into.

Join Vara and Roxy as they dive into the world of classic cult films that defined the '80s, '90s, and early 2000s! From gritty, unforgettable scenes to iconic lines, they explore the movies that left a lasting impact on pop culture—and still resonate with fans today. Whether you're a lifelong fan or new to these cinematic gems, get ready for a lively discussion filled with behind-the-scenes stories, memorable moments, and the quirky charm that only cult classics deliver.    Roxy Perez Tik Tok: Thepoproxx Instagram: Poproxx428 Facebook: Roxy Perez Curvy Model The VCR Show ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Thevcrshow.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevcrshow@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: @thevcrshow 

Maybe the "safety bar" is the problem with your death machine. If you're looking for a horror movie that makes you laugh, wince, and question your own sanity, The Mangler is an absolute gem. Based on Stephen King's short story, this 1995 film takes a wild swing at horror and lands somewhere deep in the realm of “so bad it's good.” At its core, The Mangler has one of the most baffling plots imaginable. The villain? A haunted, soul-sucking industrial laundry press. Yes, you read that right—a laundry press that inexplicably develops a bloodlust. It's so absurd that you can't help but be intrigued. How do you make a piece of machinery terrifying? You'll just have to watch and see, but let's just say the movie's plot twists somehow take this ridiculous concept and push it even further, to dizzying, laugh-inducing extremes. The dialogue is a beautiful mess, filled with lines that are equal parts stilted and unintentionally hilarious. The characters often sound as if they're making things up on the spot, adding to the overall bewilderment as you try to understand what's going on in the film's world. Then, of course, we have Robert Englund and Ted Levine giving some of the most over-the-top performances you'll ever see. Englund, clad in makeup that makes him look like a human-machine hybrid nightmare, completely commits to his role as the evil factory owner with a sadistic glee that's infectious. Levine, as the grizzled cop, is both confused and determined, delivering every line with a mixture of desperation and bemusement that's just... amazing to watch. You get the sense he might be wondering what's going on as much as the audience is. Together, these elements make The Mangler a fascinating train wreck, a "what the heck is going on" rollercoaster that's perfect for fans of unintentionally funny horror. It's a riotously bizarre film experience that you simply have to see to believe. Whether you're a horror fan or just someone who enjoys the absurd, The Mangler is the perfect bad-good movie for a night of laughs and confusion. Grab some popcorn, suspend all disbelief, and enjoy the twisted, baffling spectacle that is The Mangler.

Gee, I don't know. Who could it be...? Could it be....SATAN???? Look, if you're going to watch Split Second, leave logic at the door, forget everything you know about biology, physics, or coherent storytelling, and just hold on for one wild, wonderfully ludicrous ride. This movie is a masterclass in "so bad it's good" cinema, a staggering tribute to neon-lit nonsense where none of it makes sense, but you'll be too busy laughing, cringing, and cheering to care. The plot? A near-future London suffering from the Great Flood of Questionable Sets, where a grizzled Rutger Hauer, rocking sunglasses indoors and some of the best action-movie hair around, plays a detective haunted by a shadowy, possibly-mutant killer that may or may not be Satan himself. Or is he a mutant? Or some kind of sewer-dwelling rat-beast with demonic tendencies? We never really figure it out, and that only adds to the glorious nonsense. Hauer's character, Stone, has the personality of a rabid bulldog and the caffeine intake to match, which, let's be real, might be the best part of the entire movie. Every scene sees him grinding through his lines like he's auditioning for Die Hard meets Mad Max, and his chemistry with his awkward partner, Dick Durkin (Neil Duncan), feels like it was lifted from a buddy cop fever dream. The scenes where Durkin goes from bumbling sidekick to gun-toting maniac after his own rapid-fire character development are cinematic gems that feel like they belong in an entirely different movie—and yet, they're perfect. As for the villain, well, if there were a Golden Globe for “Most Bizarre, Undefined Movie Monster,” this one would win it. The creature's appearance is equal parts Venom and religious cyborg, and its motives? Who cares! Sometimes it's better not to ask questions. All we know is that it's drawn to hearts (as in, literally ripping them out) and seems to have an unhealthy obsession with Hauer's character, for reasons the movie wisely decides not to explain. Is the movie dumb? Absolutely. Is it chaotic? You bet. But if you're looking for a good time, Split Second delivers the kind of gleeful, cheesy absurdity that's just begging for a midnight viewing with friends. So grab your popcorn, turn off your brain, and embrace the gloriously baffling thrill ride that is Split Second.

Well, you could always just lock the door that contains aliens hell-bent on destroying lives, MacCready. Hobgoblins (1988) is the kind of classic cinematic disaster that bad movie connoisseurs dream of. It's a true gem in the "so-bad-it's-good" genre, serving up every ridiculous trope you could hope for with a straight face. The budget is, to put it kindly, non-existent. You can almost hear the coins jingling in the director's pocket as they make every possible corner-cut. The "hobgoblins" themselves—clearly puppets—are so laughably bad that you can't help but wonder if they were purchased at a yard sale. They wobble, flop, and seem to be more interested in starring in a middle school production than in wreaking havoc. The acting? Let's just say the cast appears to have been picked up from a local mall food court. The dialogue delivery is awkward at best and painful at worst, with a cast that seems genuinely confused as to whether they're in a horror film or a comedy. But therein lies part of its charm: this is a movie that doesn't know what it's doing, and it's doing it with complete sincerity. The plot is a fever dream that barely holds together. Some sort of government warehouse holds dangerous creatures (because of course it does), and these hobgoblins have the power to make people's fantasies come true—though how or why is a question the film couldn't be bothered to answer. The rules of the film's universe break constantly, which somehow adds to the chaos and comedy, especially when you stop trying to make sense of it. Why are the hobgoblins doing any of this? Who cares! This is all about the ride. If you're into riffing, Hobgoblins is a riffer's paradise. The unintentional humor is endless, and every scene begs to be torn apart by a quick wit. Between the atrocious puppetry, nonsensical plot twists, and wooden performances, you're in for a treat if your idea of fun is mercilessly mocking a film. To be clear, Hobgoblins is not for everyone. It's the cinematic equivalent of a dumpster fire: fascinating to watch, but only for those who appreciate the beauty of the burn. For the advanced class of bad movie lovers, though, this is a must-watch. It's a perfect storm of everything you love to hate about bad movies, and it will leave you grinning at its sheer ineptitude.

Sure, it's super budget and leads with a crazy murder theme but that's not enough to stay in the game. "Splatter University" starts with a flash of promise, diving right into the action with a bloody opening scene that hints at a thrilling ride ahead. Unfortunately, that promise quickly fizzles out, and what follows is an hour and a half of filler material that seems thrown in just to pad the runtime. The film struggles to build any real momentum, relying on scenes that add little or nothing to the central plot. Instead of ratcheting up the tension or developing the mystery, it meanders through pointless side plots and unengaging character moments that make it tough to stay invested. For a movie in the slasher genre, you'd expect more focus on building suspense or delivering scares, but instead, "Splatter University" leaves you counting down the minutes until it's over. Ultimately, this film falls short of delivering the thrills it promises and ends up a slog. With plenty of superior slasher flicks from the same era, "Splatter University" is an easy one to skip.

I GOT SOMETHIN' TO SAY! Well, a coupla somethin's, really. A shocking update about Death By DVD, some sick Satanic sounds AND Pater Noster & The Mission Of Light discussed on this fresh from the grave episode that you really should hear. I'm workin' on something much bigger than this program and I tell you all about (what I can tell you) it, so quit reading and hit play now! TAP HERE TO WATCH PATER NOSTER AND THE MISSION OF LIFE FOR JUST 4 BUCKS  (or copy and paste the link below)https://www.indiegogo.com/projects/pater-noster-and-the-mission-of-light-horror-film#/ ★ Support this podcast on Patreon ★

If you've ever wanted to have a bunch of random stuff coming at you, well this is for you. Not so much for anyone else though. "Comin' At Ya!" is an odd entry into the world of Spaghetti Westerns, one that leans heavily on its 3D gimmicks to differentiate itself from the pack. However, once you strip away the over-the-top, in-your-face 3D stunts, what’s left is a fairly standard, if not forgettable, Western. The plot is basic, the characters serviceable, and while it checks off most of the genre’s boxes—dusty landscapes, gunfights, and a revenge story—it doesn't bring anything particularly new or exciting to the table. The real selling point is the 3D, but even that feels more egregious than entertaining. Spears, snakes, and babies fly at you in a barrage of visual tricks, but the novelty wears thin quickly. Instead of making the movie so bad it's good, the 3D elements just end up feeling like a desperate attempt to spice up an otherwise average film. It’s a fun time capsule of early 80s gimmick cinema, but beyond that, "Comin' At Ya!" is more of a curious footnote in Western history than a must-watch cult classic.

On the audio version of the latest ep of ChinStroker VS Punter Paul and Mike talk about A WHOLE LOAD of what they have been watching including: Episode timings: 00:00 - Intro 01:08 - Rings of Power 19:51 - The Films of Powell and Pressburger 26:04 - The Lone Gunmen 35:20 - Final Destination 42:42 - Nothin But a Good Time: The Uncensored History of Hair Metal 54:20 - Night of the Comet 01:03:040 - Gary 01:12:08 - The Creation of the Humanoids Subscribe (and review us) at Apple Podcasts Check out Mike's other show  The Rewatch Project Check out Mike's new video series covering 80's action TV shows Rolling Thunder Feedback appreciated at chinstrokervspunter@gmail.com and hang with us on facebook Video version of the podcast available on the Chin Stroker VS Punter YouTube Channel  

Join hosts Mark Opennheimer and Travis Timmerman as they dive into the world of bad movies with Matt Strohl, author of 'Why It's Okay to Love Bad Movies.' The episode explores 'bad' films like 'Dancing It's On,' the creative triumphs of low-budget movies, and the merits of B-movies. The conversation then shifts to the controversial film 'Cannibal Holocaust,' examining its place within the Mondo genre, its ethical implications, and its raw portrayal of colonialism. Explore both the delight of unconventional cinema and the moral questions surrounding graphic content. [00:00] Introduction and Guest Introduction [00:28] Discovering 'Dancing It's On' [02:07] The Twitter Incident [07:39] The Value of Bad Movies [08:31] Bad Movie Love vs. Ridicule [12:13] The Artistic Merit of Bad Movies [15:56] The Role of Bad Movies in Aesthetic Life [33:02] The Enigmatic Creative Process [33:50] Ed Wood's Unconventional Genius [37:25] Cult Films and Their Unique Appeal [39:12] The Phenomenon of Film Modi [43:44] The Genuine vs. The Performative in Bad Movies [49:51] Production Houses and Their Impact [57:31] The Morality of Immoral Films [01:04:41] Concluding Thoughts on Cinema

Sean Comer, Alexis Hejna, Pat Mullin and Mark Radulich present their The X Trilogy Movie Review. The X film series consists of American horror films based on an original story written by Ti West. The series includes the original film X, its prequel Pearl (both 2022), and its sequel MaXXXine (2024). The overall plot of the movies centers on two characters, Maxine "Max" Minx and Pearl, both portrayed by Mia Goth.The first film, X, was met with critical acclaim, and was a success at the box office. A tribute to slasher films of the past, the picture was deemed a horror film classic and impactful, anticipating its influence on the future of the genre. Its prequel, Pearl, was also critically acclaimed, with some stating that it inadvertently improved the premise of the previous installment, and was also a success at the box office. The third film, MaXXXine, was released on July 5, 2024. It received generally favorable reviews from critics and became the highest grossing film in the series.X is a 2022 American slasher film written, directed, produced and edited by Ti West. It stars Mia Goth in dual roles: a young woman named Maxine, and an elderly woman named Pearl. The film also stars Jenna Ortega, Martin Henderson, Brittany Snow, Owen Campbell, Stephen Ure, and Scott Mescudi. Set in 1979, the film follows a cast and crew who gather to make a pornographic film on an elderly couple's rural Texas property, but find themselves threatened by the homicidal couple.Pearl is a 2022 American horror film directed, produced, and edited by Ti West, and co-written by West and Mia Goth. It is the second installment in West's X film series and a prequel to X (2022). Goth reprises her role as the title character, with a supporting cast featuring David Corenswet, Tandi Wright, Matthew Sunderland, and Emma Jenkins-Purro. Pearl serves as an origin story for the title villain, whose fervent aspiration to become a movie star led to her committing violent acts on her family's Texas homestead in 1918.MaXXXine is a 2024 American horror film written, directed, produced, and edited by Ti West. It is the third installment in West's X film series following X and Pearl (both 2022), serving as a direct sequel to the former. Mia Goth reprises her X role as Maxine Minx, starring alongside Elizabeth Debicki, Moses Sumney, Michelle Monaghan, Bobby Cannavale, Halsey, Lily Collins, Giancarlo Esposito, and Kevin Bacon. In the film, Maxine sets out for fame and success in 1980s Hollywood while being targeted by a mysterious killer.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59

Grieco didn't need sticky spy shoes. He could have just used his hair gel to stick to any wall. "If Looks Could Kill" starring Richard Grieco is a delightful surprise that defies expectations in the best way possible. Known for his more serious and brooding roles, Grieco takes a refreshing turn in this zany action-comedy, delivering a performance that's as energetic as it is unexpected. This movie is the epitome of early '90s charm: it's corny, it's cheesy, and it's packed with jokes that initially might make you roll your eyes, but stick around, because much like someone with an unstoppable case of bad gas, it soon becomes a riot of laughs. The first few jokes might make you groan, but before you know it, you're giggling at every ridiculous quip and over-the-top stunt. It's almost like the movie dares you to not take it seriously—and that's where the fun really begins. The plot is absurdly entertaining, following Grieco's character, Michael Corben, a high school student who accidentally gets mistaken for a secret agent while on a school trip to France. The ensuing chaos is a roller coaster of wild car chases, explosive gadgets, and villainous plots that seem like they were pulled straight from a comic book. The humor is relentless, with each scene seemingly trying to outdo the last in terms of sheer goofiness. The villains are over-the-top caricatures, the action sequences are delightfully exaggerated, and Grieco's transformation from clueless teenager to accidental hero is a joy to watch. The film doesn't shy away from leaning into its own silliness, and that's exactly what makes it so endearing. "If Looks Could Kill" might not win any awards for subtlety, but it's an absolute blast if you're in the mood for something lighthearted and fun. It's the kind of movie that you start watching with a skeptical smile, and by the end, you're laughing out loud, appreciating the fact that sometimes it's okay to just enjoy a film for its pure, unabashed absurdity. It's a cult classic for anyone who loves their action comedies with a hefty dose of cheese.

They put commercials on this platform and we then give us this garbage? Maybe time to switch to cable.... "Jackpot" (2024) is an absolute disaster from the get-go. The plot is so implausible that it feels like it couldn't exist in any universe, let alone ours. Nothing about it makes sense, and from the opening scenes, you're left scratching your head, wondering why the writers even bothered. The jokes? If you can call them that—seem unfinished, like someone wrote the setup and forgot to add the punchline. You're constantly waiting for a laugh that never comes. It's awkward, and the humor falls completely flat. The core premise of Jackpot (2024) is so utterly absurd that it crumbles under the weight of its own illogic within the first few minutes. The entire film revolves around the idea that if you win a massive lottery, you are immediately hunted by the entire state of California. Yes, you read that right—if you're lucky enough to hit the jackpot, your life instantly turns into a non-stop manhunt, where literally everyone is out to kill you. So, naturally, the question that comes to mind is: Why in the world would anyone buy a lottery ticket? Think about it—nobody in their right mind would want to win, because the moment they do, their life is effectively over. Instead, the incentive in this ridiculous world is to not win, but to track down and kill the unlucky winner. This bizarre twist undermines the entire concept of a lottery in the first place. Lotteries exist because people want to win huge amounts of money. In Jackpot, the goal seems to be the opposite—everyone is actively rooting for someone else to win so they can hunt them down. This paradox creates a plot that is fundamentally impossible. If no one wants to win, the lottery can't work. It's like creating a race where the objective is to lose but expecting everyone to keep competing. The action sequences are equally frustrating. They're so vague and poorly choreographed that it's nearly impossible to tell what's going on. It feels like you're watching someone play a video game with the brightness turned down and no clear objectives. And then, they go ahead and kill Sean William Scott in the first ten minutes. Seriously? That's an instant walk-away moment for me. If you're going to take out one of the few redeeming qualities of a movie so early on, what's even the point? "Jackpot" is an absolute failure, and I wouldn't recommend it to anyone looking for a coherent story, solid laughs, or even enjoyable action. Skip it.

The hosts and guest discuss their top five cult classic movies, including Evil Dead 2, The Big Lebowski, and The Rocky Horror Picture Show. They also mention other cult classics like Reservoir Dogs and Idiocracy. The conversation gets lively and humorous as they share their personal experiences and memories associated with these films. #beer #baf #moviepodcast #season4 #podcastlife #comedy #podcastlovers #2024 #cocktails #hilarious #podcasts #moviereview #podcastsofinstagram #moviefacts #liquor #drinkreview #barrelagedflickspodcast #barrelagedflicks #moviereviews #subscribe #drunkpodcast #podcast #barrelagedchicks #podcastsofyoutube #youtube #viral #drinkreviews #thetastingroom #guys #brothers #moviefacts #debates #arguments Please leave a LIKE on this video if you enjoyed our show and Subscribe to our YOUTUBE CHANNEL. Don't forget to follow us on Instagram for show updates, plus behind-the-scenes photos of the drinks we've enjoyed on the show and pint review cards! "If you're enjoying our show, please consider leaving us a 5-star review on Spotify, Goodpods, or Apple Podcasts! Your support means the world to us." Don't miss out on our exclusive offers and ways to support the show: - Elevate your beard game with amazing products like Beard oil, Balm, Cologne, and more from [Copper Johns Beard](https://copperjohnsbeard.com). Use code BAF10 at checkout for a 10% discount! - Fuel your day with kickass coffee from [Coffee Bros](http://coffeebros.com). Use code BAF10 at checkout for 10% off your order! - If you would like to support our podcast, head over to our [PATREON](https://www.patreon.com/barrelagedflickspodcast). - Explore our selection of T-shirts, Hoodies, Tank tops, and more at our new Barrel Aged Flicks podcast Store: [What a Maneuver](https://whatamaneuver.net/collections/barrel-aged-flicks-podcast). And don't forget to follow us on social media for updates: - Instagram: [@barrelagedflickspodcast](https://www.instagram.com/barrelagedflickspodcast/) - Facebook: [Barrel Aged Flicks Podcast](https://www.facebook.com/barrelagedflickspodcast) Also, CHECK OUT BARREL AGED CHICKS PODCAST, our sister podcast: - [Apple Podcasts](https://podcasts.apple.com/us/podcast/barrel-aged-chicks-podcast/id1675542641) - [Spotify](https://open.spotify.com/show/620zXgp0ksEU5Cnt1bXAaO?si=8a95dd9c039644b8) - Instagram: [@barrelagedchicks](https://www.instagram.com/barrelagedchicks)n

You can't put lipstick on a pig but you can wear its eyebrows and escape the law! *"Thunder" (1984) is one of those films that's so bad it's almost good. From the over-the-top acting to the bizarre plot, it's a movie that knows how to entertain, even if it's not in the way it intended. The acting is hilariously exaggerated, with characters delivering lines in a way that makes you wonder if they were trying to win an award for the most awkward performance. It's hard not to chuckle at the sheer silliness of it all. The plot is a strange mishmash of clichés, with twists that come out of nowhere and leave you scratching your head. It's like the filmmakers threw every idea they had into a blender and hoped for the best. The result? A weirdly captivating story that keeps you watching, if only to see what ridiculous thing happens next. The action sequences aren't exactly top-tier but are great. The choreography is clunky and poorly executed, the stunts are dangerous, and the explosions are way too big. But, honestly, that's part of the charm. There's something fun about watching a chase scene where the car crashes look like everyone died but the characters have little injury. Sure, the movie can drag at times, especially when it takes itself a little too seriously. But the unintentionally funny moments more than make up for the slow patches. If you're in the mood for a laugh and don't mind a bit of 80s cheese, "Thunder" is definitely worth a watch. Just don't expect anything Hall of Fame-worthy!

In this harrowing episode of BFGE, the ladies watch "Martyrs": a 2008 French-language psychological horror film written and directed by Pascal Laugier.  The film centers on a young woman's quest for revenge against the people who kidnapped and tormented her as a child, which leads leads her and a friend on a terrifying journey into a living hell.  In this ep:Sarah and Emma showcase their own martyrs du jourEmma is "actually traumatized" and considers quitting the podcastThe ladies debate whether the film is misogynistic or just misanthropicCome profoundly suffer with us!Follow us on instagram at: https://www.instagram.com/brutalfilmgirlpod/

You think you can take me? Well go ahead on and watch this stinker from Greydon Clark. "Final Justice" (1984) is a film that occupies a peculiar space in the action genre, and how much you'll enjoy it hinges heavily on your tolerance for low-budget absurdity. At the center of this bizarre movie is Joe Don Baker's portrayal of Thomas Jefferson Geronimo, a tough-as-nails Texas cop who, unfortunately, ends up being more laughable than intimidating. Baker's Geronimo feels like a caricature of every 1980s action hero, but without the charisma or the compelling edge needed to pull it off. Instead, we're left with a character that stumbles through the movie with more groans than grins. The action sequences, intended to be thrilling, often border on the ridiculous, with character decisions that are so baffling they verge on parody. Whether it's Geronimo's relentless pursuit of criminals across Europe or the frequent and illogical shootouts, the film constantly challenges the suspension of disbelief. And yet, these moments might be where some viewers find their entertainment—if you're into movies that are so bad they're good, this could be your thing. Unfortunately, much of the film is bogged down by long stretches of tedium, where plot elements are repeated to the point of exhaustion. What might have been intended as humorous instead feels like a never-ending loop of dullness. The narrative itself is a mess, a baffling mix of cop clichés and bizarre plot twists that don't seem to lead anywhere meaningful. In the end, "Final Justice" is a movie that might appeal to a niche audience who enjoys dissecting and mocking bad cinema. But for most, it's likely to be an exercise in patience. If you have a taste for the absurdly bad and can appreciate it for its sheer ridiculousness, there might be something here for you. Otherwise, you may find yourself wishing for a more competent action flick.

A great movie if you're part of the "under the sweater/over the bra" crowd, but even they won't remember that they saw it. Tarot (2024) is an absolute masterclass in how not to make a horror movie unless you are just providing background noise for teenagers to make out. If you ever wondered what happens when you throw every horror cliché, plot hole, and half-baked character motivation into a blender, this is it. The result is a film so dumb and poorly thought out that it almost circles back around to being entertaining—for all the wrong reasons. From the get-go, Tarot feels like a checklist of horror tropes. Creepy old woman? Check. Spooky house? Check. Jump scares every five minutes? Double check. It's as if the writers Googled "horror clichés" and decided to use every single one, especially stealing from Evil Dead and Final Destination. But that's not even the worst of it. The plot is an incoherent mess, with gaping holes large enough to drive a truck through. Characters make baffling decisions with motivations that seem to change depending on the scene—or, more likely, on the whims of whoever was holding the pen that day. The acting? Let's just say that calling it appalling might be too kind. Every line is delivered with the enthusiasm of someone who just realized they left the oven on at home. The humor, if you can call it that, is cringeworthy at best. It feels like the movie is trying desperately to be self-aware, but instead, it comes off as painfully awkward. And yet... there's something about Tarot that makes it oddly watchable, at least for certain audiences. If you're a fan of bad movies, you'll probably find some enjoyment in how ridiculous it all is. It's also the perfect flick for teenagers looking for an excuse to make out in the back row of the theater while pretending to watch the screen. In short, Tarot is a trainwreck of a horror film, but if you enjoy watching a disaster unfold, you might just find yourself entertained—for all the wrong reasons.

The Lucio Fulci movie that more people should be talking about may just be so weird its good? "Conquest" is one of those bizarre gems that defies logic, reason, and possibly all known laws of filmmaking. From the opening frame, you're catapulted into a world where absolutely nothing makes sense—and that's the beauty of it. The plot (if you can call it that) revolves around two warriors, Mace and Ilias, who embark on a quest to stop an evil, topless sorceress who wears a metal mask and is clearly compensating for something. Why? Who knows! The movie doesn't bother to explain, and honestly, it doesn't matter. The action scenes are a special kind of weird. Imagine slow-motion combat sequences where everyone moves like they're underwater, yet somehow, limbs are still getting chopped off left and right. The gore is gratuitous, and I mean gratuity with a capital G. There's blood spraying everywhere, heads getting smashed for no reason, and enough fake entrails to make you wonder if they bought out an entire Halloween store. The nudity? Oh, it's there—just about every 10 minutes, the film throws in a random naked person for no discernible reason other than, well, why not? If you're looking for plot relevance, you're in the wrong movie. The special effects and costumes are so corny and cheesy that you almost feel like you're watching a live-action cartoon—except way more violent. The monsters look like they were assembled out of leftover Muppets, and the villain's henchmen wear masks that make them look like rejected extras from a bad '70s sci-fi show. And the music? Imagine a synth-heavy score that somehow makes everything feel both epic and hilariously out of place, like if someone played a disco track during a gladiator battle. It's that level of weirdness. In the end, "Conquest" is like a fever dream wrapped in a bad acid trip dipped in melted cheese. It's one of those rare films where everything is so bizarrely wrong that it becomes impossibly right. If you love movies that make you question your life choices, while also making you laugh at how absurdly terrible they are, "Conquest" is your golden ticket. Enjoy the ride—you'll never forget it, no matter how hard you try.

On this week's very special episode of BFGE, Sarah and Emma enlist the services of a third friend, Melbourne-native Angelique, to watch Rolf de Heer's singular and indescribable Australian absurdist black comedy "Bad Boy Bubby".  The film centers around the titular Bubby: a man who has spent thirty-five years trapped in a small room with his abusive mother.  After he finally manages to escape, his adventure into a dazzling and nihilistic life begins.  The ladies drill down on the tough questions in this one, including:Is Angelique still Australian enough to watch this film?Is this just Nick Cave's origin story?Was the original cut of this film actually 4 hours long?Does God hate fat sluts?Does Little Caesars know where Tubi is placing its "Crazy Puffs" ads?Come and join the Bubby band with us!Bad Boy Bubby is currently free to watch on Tubi (ily tubi