The little seen Kings And Desperate Men is one of the worst examples of Canadian tax shelter product.Keith Bailey is the proprietor of The Unknown Movies Page.
The little seen Kings And Desperate Men is one of the worst examples of Canadian tax shelter product.
The Filipino actioner Wheels Of Fire manages to be an above average example of 1980s post-holocaust cinema as well as an above average effort for prolific director Cirio H. Santiago.Not one of these reviews was like pulling teeth to write:
Cat-Women of the Moon (1953), which frankly looks depressingly timely again 67 years later…
Daughter of the Mind (1969), in which Ray Milland ain’t afraid of no ghosts, but the people he works for are very much afraid of Communists…
Forbidden World (1982), which is exactly the Alien ripoff you’d expect from New World Pictures…
Gretel & Hansel (2020), in which the title isn’t the only thing about the old fairy tale to get turned in a new direction…
Halloween 5: The Revenge of Michael Myers (1989), in which Moustapha Akkad pushes his luck just a little too far…
The Invincible Barbarian (1982), which might well have been the very first Italian Conan cash-in out of the gate…
and…
2020 Texas Gladiators (1983), in which we ponder the prospect of a movie to which Joe D’Amato and George Eastman were unwilling to sign their usual pseudonyms.
El Santo rules the wasteland-- and also 1000 Misspent Hours and Counting.
Despite its best efforts to be sleazy, Breeders is a cold and passionless exercise.
The delightful comedy Welcome To The Sticks proves that the French do have a sense of humor after all.
While Outlaw Blues is a fairly agreeable vehicle for Peter Fonda, it could have been a lot more than it actually is.
It doesn’t take long into watching Goddess Of Love to figure out why Vanna White didn’t have much of an acting career.
Jan 31
Posted by Braineater in New Reviews | 2 Comments

So, yeah; 2019. The Year of the Meat Grinder, apparently. I spent the last half of the year watching in despair as important deadlines went flying by, not least of which were my commitments to the Cabal. Bad enough that I disappeared for the last half of our Anniversary… I even missed commemorating my own site’s 20th Anniversary in November.
Thinking of which: twenty years ago, while the Braineater site was still getting started, there were a handful of movies I felt a compulsive need to comment on. Since my site was still embryonic, I created a user account on the IMDb — user name “barugon” — and opined. One of these movies was:
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Godzilla vs. the Smog Monster (1971)
…and it’s bewildered me that in the last 20 years I never returned to that capsule review to expand it. It’s one of those movies for which I feel a special affinity, not just because it figured so significantly in my childhood, but also because I felt I understood it — which was important, considering the general incomprehension this truly bizarre movie inspires.
It’s always seemed to me that most of the arguments for or against the movie were missing the point. I wanted to step in and provide a little wider context: not necessarily to change anybody’s mind about the quality of the movie itself, but to show how Godzilla vs. the Smog Monster was really an inevitable, pivotal artifact of its troubled time. So, having missed my original deadline for the B-Masters’ “At Long Last!” Roundtable, I’ve taken a deep breath, done more research, watched the entire Criterion Collection Godzilla set (the release of which has to be one of 2019’s only redeeming features), and come up with what I hope is a new way of looking at the eleventh installment of the Godzilla saga.
Jan 23
Posted by Greywizard in New Reviews | No Comments

Making The Norseman on a limited budget probably wasn’t the wisest move for a Viking-themed story.
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