Footloose (1984)

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2015-04-04

"Hell yeah, I'm Kevin Bacon." — “Hell yeah, I’m Kevin Bacon.”

Twitter Plot Summary: Kevin Bacon arrives in a small town that has banned dancing, and sets out to establish an end of year dance for his high school.

There’s little that could be considered as so definitively of its era as 1984’s Footloose, a film so cranked up on cheese and joyful 80s pop and hair metal songs that you either enjoy it for what it is or set yourself up to look like a heartless swine. What you can take away from it, whatever your opinion may be, is that it is a clear cut example of the classic movie archetype of kids rebelling against the system and the established order. These days the same story would probably be told in the form of a post-apocalyptic Young Adult novel adaptation. That’s ignoring the woeful 2011 remake, of course. We’d be better off denying the existence of that film and just moving along quietly.

It’s down to a frighteningly young Kevin Bacon, as small town newcomer Ren McCormack, to rebel against a small town’s decision to ban rock music and dancing – in other words, any possible fun that kids could have in that state – and to prove once and for all that youngsters do occasionally have the right ideas. Or, you know, something to that effect. You can tell immediately that something is slightly off given that the only way he knows to deal with his woes is through dance. At least he is a fan of Slaughterhouse-Five, that’s something he has going for him at least, even if the township doesn’t acknowledge Vonnegut’s text as a classic.

John Lithgow is always a welcome presence, especially when he gets to crank the villainy up as far as the dial will go (possibly up to 11 if Spinal Tap have any say in the matter), and he is impeccable as the antagonistic Reverend Shaw Moore. He’s a man with his own personal and tragic reasons for wanting to limit youth activities in his town, and he is ably met by an equally deep performance from Dianne Wiest as his wife Vi.

"What do you mean Third Rock From The Sun was rubbish? Lies!" — “What do you mean Third Rock From The Sun was rubbish? Lies!”

And where else would you get a tractor battle set to the tune of Bonnie Tyler’s Holding Out For A Hero? Or Kevin Bacon’s twinkle toes lighting up the dance floor? Or Sarah Jessica Parker’s poodle hairstyle? If that’s your sort of thing then Footloose is a perfect film, more so if you also have a penchant for quick-footed dance moves.

It’s almost, but not quite the polar opposite of Saturday Night Fever. Where that film was gritty and covered quite adult themes despite having a superb disco soundtrack, this is fluffy and light and has an equally superb pop rock soundtrack. Not that it doesn’t have its darker moments – Ariel (Lori Singer), the daughter of Rev Moore, is constantly putting herself into life or death situations as the only way she knows to rebel against her father’s strict beliefs. It may often be cited as a poster child for a typical cheesy 80s dance film, but imagine how bad it could have been if they had taken everything absolutely seriously? Actually, taking a glance at the 2011 remake, we’re better off with the original being precisely as it is, thank you very much.

Score: 3/5

https://www.youtube.com/watch?v=6nSXtZPKms4

Movie Soundtrack Highlights – Idina Menzel: Let It Go

By

Simon Prior

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2015-03-29

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This is the one I threatened to post a few weeks back in the “songs my niece likes” category. In hindsight it’s a very obvious choice, but then I also happen to like it a lot. True, it’s reached the point of excessive saturation thanks to endless replays, to the point where parents are no doubt bashing their heads against the wall just at the thought of the song, but hear me out before you start throwing things at me.

When I first saw Frozen at the cinema I knew instantly that Let It Go would be the standout track. There’s something about the theme of the song, the fact that Menzel has opportunity to belt it out with gusto in the final chorus, that really makes it an obvious choice for major media coverage. Not that the rest of the soundtrack is lacking – far from it – but Let It Go really had the emotion and big show tune sound going for it from the start. I for one listen to it quite regularly – it seems to work quite well with my writing sessions. Go figure.

So play it one more time, for old time’s sake, while you await the release of Frozen 2. You’re looking forward to it really.

Ninja Zombies (2011)

By

Simon Prior

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2015-03-28

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Twitter Plot Summary: A guy is handed the Hell Sword, which has the power to destroy an ancient evil which also involves zombies and ninja zombies.

Have you ever reached that point where you think your obsession with zombie films may have crossed a line? To have reached the ultimate nadir? I certainly have, because I have now seen Ninja Zombies. Well, most of it – half the film involves a liberal spray of post-production blood being splattered onto the lens. Onc- or twice this might be okay, but not every couple of minutes. In fact you could turn this into a drinking game, adding to the rules any moment where the action reduces to slow motion, or when the music stops abruptly as someone or something’s head is lopped off with a sword. For some, this might be the only way of being able to watch the whole thing without wanting to rip your eyes out.

A group of geeks, cosplay enthusiasts and jocks try and solve the mystery of the Hell Sword, contending with undead ninjas whilst almost never leaving their apartment. That is, when they are not playing video games, doing an internet geek show or play fighting with toy swords, of course. That’s as far as any attempts at in-depth characterisation go, but then this is a film called Ninja Zombies, what did you expect – Shakespeare?

This is entwined with Dameon (Michael Lee) having a recurring dream – presented in a disturbing desaturated style and excessive use of wibbly wobbly lens flare-style effects. Nice idea behind it, but the final presentation is nausea inducing. The excessive use of geek culture references is not handled well either. The people involved in making the film may be involved in that culture but it’s handled in a ham-fisted manner.

Despite the negatives, there is a pretty cool animated, “motion comic” sequence around the halfway point to illustrate (hah, I made a funny) a brief moment of exposition and narrative about the sword. Sadly it’s a moment which is all too brief and could have been filtered throughout the rest of the film almost like chapter points.

The ninja zombies don’t look too bad either in fairness, but that might be because you can only ever usually see their eyes and maybe their mouth. The idea behind them is similarly decent, it’s just lacking a little in execution. It says a lot about the tone of the film that Troma king Lloyd Kaufman shows up as himself, covered in promotional Troma stickers and acting like… Well, Lloyd Kaufman.

The good news is that I haven’t been put off from watching more zombie films because there are much worse examples of the genre out there. Ninja Zombies may not be a great film or even a good one, but despite its low budget and generally lacklustre performances it has odd moments where the jokes work and the story doesn’t try to overstretch itself by throwing in too many subplots. Even better, as things take a turn for the slightly more serious – but only slightly – leading into the finale, you start to forget about how truly cheap and low budget this is and, despite yourself, you may even end up enjoying it.

Score: 1.5/5

Remains (2011)

By

Simon Prior

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2015-03-27

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"Go on, give Granny a kiss!" — “Go on, give Granny a kiss!”

Twitter Plot Summary: A bunch of survivors hole up in a Vegas casino when a nuclear blast turns folks into zombies. Lance Reddick shows up for 5 mins then leaves.

Based on the comic book from Steve Niles, the same man that gave us 30 Days of Night, Remains is set in Vegas during a zombie outbreak, an outbreak caused by at least one huge nuclear explosion that turns most of the population into flesh eating zombies. Much of the action takes place within a fictional casino in Vegas, and centres mostly around four main characters. Three of them – Tom (Grant Bowler), Tori (Evalena Marie) and Jensen (Miko Hughes) are employees of the casino in one way or another, saved from the effects of the nuclear blast thanks to their coincidental proximity to an emergency bunker at the moment when it all goes wrong. The fourth guy, a self centred chap by the name of Victor (Anthony Marks), is an outsider who we meet throwing another survivor to the undead so he can make a safe getaway. Instantly, you get the impression that he’s not going to be of much use to the remaining survivors.

Zombie films tend to live or die, so to speak, on the basis of their production values, amount of gore, choice of casting, the style of zombie (fast, slow, intelligent etc) and the method through which the outbreak occurs. Fans of the genre are very easy to forgive almost any mistake made provided at least one of these areas hits its intended target, so with this in mind I would say Remains manages to provide just enough entertainment value to be a step above most films in the zombie genre, but still a long way off the mark from the likes of much of George Romero’s zombie films or even Zack Snyder’s Dawn of the Dead remake.

In this instance the main twist to the usual formula is that the zombies gradually grow less feral and more intelligent as time goes by, even preying on weaker zombies in a bid to be top dog. What it fails to do is make something of this plot point, saving any development for the final reel as if setting up a sequel rather than turning this idea into something special. This marks wasted opportunity number one. The second is in the characters themselves. They spend a lot of time sitting around not doing very much, which would otherwise be an opportunity to develop the characters and explore their inner thoughts, especially when the army arrives, led by Lance Reddick and accompanied by his medic daughter Cindy, played by Tawny Cypress.

"Hi, I'm Lance Reddick. I'll be your big name star for five minutes of this venture." — “Hi, I’m Lance Reddick. I’ll be your big name star for five minutes of this venture.”

A late development between Cindy and Tom isn’t handled particularly well, and provides a final act where the surviving character’s motivations are sadly obscured from the audience. This may have been the result of an edit for pacing reasons, but it would have benefited from just a little more depth as it’s a move that does require further explanation. It’s clear, meanwhile, that Reddick was only on set for a few days and is yet another example of a marquee name getting top billing despite only being present for around 10 minutes.

Rather fortunately, the special effects make up for any misgivings one might have about the direction of the story, as a nice use of practical and computer generated effects combine to good effect. There’s a few good moments for gorehounds, and the zombie makeup isn’t bad – much of it is improved by the white contact lenses worn by the zombie actors. But then at the back of your mind is a thought that won’t go away – that this is evidently a film adaptation of a comic book, and subsequently something of that original story has been lost in the act of translation.

Score: 2.5/5

Dungeons & Dragons: The Book of Vile Darkness (2012) review

By

Simon Prior

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The Dirty Doz... er, the Fancy Five? — The Dirty Doz… er, the Fancy Five?

Twitter Plot Summary: We’re back in the D&D universe, this time following an honourable knight made to do dishonourable things to save his father.

Seven years after the much improved Dungeons & Dragons sequel, we received this belated direct to DVD effort. Surprisingly, this actually feels like a much better film than the previous two as there’s a decent story running through the middle of it. Jack Derges is Grayson, a Knight with a very distinct sense of honour, and no doubt cast for his passing resemblance to the box office draw that is James Marsden. Or perhaps even his more passing resemblance to current Captain Kirk, Chris Pine. Either way, it’s clear he was hired for his looks and not much else besides.

Grayson joins forces with a small band of mercenaries (heavy on the tribal tattoos and makeup), each with the now expected power set that you would get to pick for your party in the D&D role-playing game. There are warriors, thieves, mages, and so on. His reasons for joining this crew are part of his desperate bid to rescue his father from a man who goes by the rather amusing name of Shathrax the Mind Flayer. I’ve always wanted to know what one of those did… that group of ne’er do wells spend much of their time seeking the Book of Vile Darkness for their master, and pillaging gold and other treasures as and where they can.

Meanwhile, there is an element of love story thrown in for good measure. Akordia (Eleanor Gecks, who clearly signed up on a “I’ll let you see my bum but that’s all” contract clause), is the leader of that little group but falls for the young human. It doesn’t really add much in the grand scheme of things, but at least it pads out the story to feature length – as does the extended five minutes of narrated exposition at the film’s opening.

It’s amazing what a decade of advances in special effects can do, too. If you compare this with the original Dungeons & Dragons movie, while this is a much, much cheaper affair the effects are on the whole far better and nicer to watch. The animation on the dragon in particular is impressive as it clambers sideways across the wall of its cave on its way to attacking the mercenaries who are after his stash of gold and trinkets. Suffice to say, this dragon could do with learning a thing or two from Smaug. Elsewhere the effects are often just as impressive. The CGI demon child who eats negative energy proves to have an interesting design and as close to a photo-real look as a twisted demon girl can have.

It seems odd to say it, but The Book of Vile Darkness is probably the best of the D&D series so far. Bearing in mind the films that preceded it, this is perhaps not the best way to describe it, but for once the combination of the fantasy world, the story and the special effects have combined to form something that, whilst not brilliant, is certainly an acceptable way of spending 90 minutes of your time. It just goes to show that, by not focusing almost exclusively on dungeons and/or dragons (even if they are in there to some extent) and show a bit of respect to the source material, you can make something that doesn’t require Jeremy Irons to act like he’s in a pantomime in order to be entertaining. A valuable lesson for all of us.

Dungeons & Dragons: Wrath of the Dragon God (2005)

By

Simon Prior

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"With this magical device, I can finally ditch the blue lips!" — “With this magical device, I can finally ditch the blue lips!”

Twitter Plot Summary: Damodar has returned and, a bit insane, decides to awaken the Dragon God from his slumber. Some heroes have to stop him, obviously.

For anyone who has seen/experienced/endured the first **Dungeons and Dragons** movie, fear ye not. Apart from the return of Bruce Payne as Damodar, this sequel has nothing to do with that train wreck of a movie. I can imagine a collective sigh of relief from the collected masses on hearing this. You can sleep easy. **Wrath of the Dragon God** isn’t too bad.

Its tone is far more appropriate than the first film. It is more serious in style but with the odd moment of levity where appropriate. It also proves to be less abusive with its CGI. While this is no doubt a budgetary reason, it is definitely something that stands in its favour. There’s a certain appeal to seeing practical locations in use instead of a green screen. And besides being cheap to film there, you can see why a lot of productions go to Eastern Europe to make films. In this instance it’s Bulgaria. The scenery makes for an attractive film. This is despite everything having a cold blue filter applied in post production.

The plot isn’t all that dissimilar to the first film. Set 100 years after those events, Damodar is still around. This is because Profion cursed him to exist as an undead entity (of course). After spending that amount of time as nothing more than a zombie, it’s no wonder that Damodar is a bit cranky. At least he’s been able to ditch the ridiculous blue lips this time. A small band of adventurers, including the budget Iain Glen – Mark Dymond – go on a quest. Their aim is to stop Damodar using the Orb of Falazure to wake the dragon god that lives in the mountain. So far, so standard fantasy fare. And, to be honest, it never elevates itself beyond that. But then if it did, it would not be as faithful to its source material.

“Jeremy Irons did WHAT in the first film?!”

There is of course an obligatory appearance from a dragon. The titular Dragon God in fact. The narrative has its own fair share of twists and turns on both sides of the good/bad divide. It is of further credit that many references to the original game are present. This may be lost on non-D&D players such as myself, but is a nice touch. In my case it added colour and depth to the world rather than being recognisable elements from the game. But at least they there rather than ignored and dismissed. Such close attention to detail is a marked improvement.

It may feel in places like an extended episode of Stargate SG1 circa Seasons 8-10, but that is hardly a criticism. Especially when you consider what this production achieves without big name actors. Or, indeed, an over the top effects budget. **Wrath of the Dragon God** is a solid but unspectacular sequel. By focusing on character and using effects sparingly, it suceeds. Regardless, this is leagues ahead of the 2000 film whether it intended to be or not. That can only be a good thing.

Dungeons & Dragons (2000) review

By

Simon Prior

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"I'M MAD AND MY MINION HAS BLUE LIPS! COME ON, I"LL HAVE THE LOT OF YOU!" — “I’M MAD AND MY MINION HAS BLUE LIPS! COME ON, I”LL HAVE THE LOT OF YOU!”

Twitter Plot Summary: The role-playing game gets the cinematic treatment, and everybody wishes it had never existed.

Kids of the 1980s will be well aware of the Dungeons and Dragons cartoon where a group of kids are given an array of special powers by the Dungeon Master, with each of their skills an attribute from Gary Gygax’s original role-playing tabletop game. The cartoon, which much like almost all other cartoons from that era is sadly lacking in story or character development, was still a lot of fun for its time and is entirely of its time. The same could be said of this travesty of a film, an adaptation that not only spits on the original concept but stabs it in the back, rolls it up in a rug, sets fire to it and then throws it off a cliff.

Jeremy Irons overacts for all he is worth as grand mage Profion, while a man with blue lips (a half exasperated Bruce Payne) follows him around everywhere. They plot, they scheme, they try and control some very badly animated dragons. You know, standard villainy. There’s a great scene where Payne has to gurn and grimace as he is impregnated by a slithery, computer generated creature as penance for his incompetence. In this one scene alone he almost achieves the same level of cheese as Irons does throughout the whole film. Seriously, Irons seems to only be here for the money and, if the behind the scenes footage is anything to go by, this role was a soul destroying experience. We feel your pain, Jeremy.

The plot somehow manages to pull together a myriad group of people in order to stop him, including a mage (Zoe McLellan), a dwarf (Lee Arenberg), a thief (Justin Whalin, the once and former Jimmy Olsen) his friend (a fractionally irritating Marlon Wayans) and an elf (Kristen Wilson), and to support this world’s force for good, a scarily young looking Thora Birch as Empress Savina – for all intents and purposes nothing more than a sub-par Queen Amidala.

The score is often overpowering, but at least it does a better job than many of the performances and special effects. To complain much about this would be futile however – the music drowns out much of the final, climactic and heavily computer generated battle. If they had turned the music down we would have had to have put up with yet more atrocious dialogue.

Jeremy Iron's super-exaggerated acting was met with bewildered expressions. — Jeremy Iron’s super-exaggerated acting was met with bewildered expressions.

Perhaps most disturbing of all is that the old man who sets all of is off is seeking the Rod of Savrille – just one letter away from events having a rather unfortunate Operation Yewtree vibe – that could have easily become a very awkward situation.

There’s only two good points to speak of, and they are a brace of cameos from Richard O’Brien and Tom Baker. Not only is he a fun presence, he also riffs on his past as the host of The Crystal Maze by making Ridley run a maze in order to retrieve a red diamond. Just as you start warming to this, he’s out of the story and we’re back to the main quest. For better or for worse. Tom Baker, formerly known as the Fourth Doctor, has a similar cameo and treats his 2 minutes of screen time as if he’s performing Shakespeare. He’s great, but is deserving of a far better film.

This is just one more example of a film made by people who lack any understanding of what drew fans to the original tabletop game in the first place, giving everything a Hollywood feel and approaching it from completely the wrong angle. Treating fantasy as a whimsical, lighthearted romp can work if done right and/or well. This film is neither.

Score: 1/5

The Divergent Series: Insurgent (2015) review

By

Simon Prior

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"I'm going to spend most of the film playing Angry Birds on my tablet. FYI." — “I’m going to spend most of the film playing Angry Birds on my tablet. FYI.”

Twitter Plot Summary: Tris Prior and her fellow insurgents (see what they did there?) take on the system in order to protect those who are Divergent.

Following the events of the first film, the sinister Jeanine (Kate Winslet) has managed to take full control of the city and has declared Tris (Shailene Woodley), Four (Theo James), Caleb (Ansel Elgort) and Peter (Miles Teller), as well as the other rebellious members of Dauntless as enemies of the state, ordering their capture. Meanwhile she is also very interested in a brand new MacGuffin which needs a Divergent to open it and may very well be the thing to unite everyone under one banner, or to separate them to the four winds.

After witnessing the lives of people in Abnegation, Dauntless and, briefly, Erudite in Divergent, we get to look into the lives of those in the remaining factions in Insurgent – namely Amity (selfless), Candor (truth) and, er, the factionless. This latter group live on the outskirts and underneath the faction-based society, and exist in such vast numbers that it’s surprising they haven’t decided to rise up and take control before now. This is just one of several inconsistencies that belittle Insurgent’s efforts to achieve the same level of quality as the Hunger Games series and its own preceding film.

The theme of rebellion and fighting against the system isn’t as well developed as that seen in the Hunger Games movies, acting almost as a backdrop to the relationship between Tris and Four. While in itself there is nothing wrong with this approach, there’s less investment in their mission and the consequences of their actions. It also feels like much of the exposition around the character’s motivations has been ditched in favour or action routines and lots of ponderous scenes where people stare at computer displays or stare at other people and smoulder in that way actors do in these young adult adaptations.

"You ate all the cookies?!" — “You ate all the cookies?!”

You get the impression that this is a transitional film, a clearing of the decks of some of the characters from the opening entry, including some surprising deaths, and the opportunity to explore new territory in what has become the standard pattern of adapting a three book series into four films. A fair amount of effort will be needed in the two parts of Allegiant when they finally arrive in 2016 and 2017 in order to make up for the shortcomings here.

Ponderous and overly serious, Insurgent seems to have weighty ideas above its station, not helped by how indecisive Tris’ characterisation is handled nor by insisting on giving us a list of characters who have taken at least one step backwards in their development since Divergent. The usual themes about a youngster finding and establishing their place in the world is present and correct, but that’s almost the only aspect that makes this entry to the series worthwhile and does little to counteract the disappointment. More importantly, it manages to reduce Kate Winslet to nothing more than the boring, pen pushing head of an admittedly macabre science experiment rather than the sinister and sly leader she has previously been presented as. This neutering of her character is sadly indicative of Insurgent as a whole.

Score: 2.5/5

https://www.youtube.com/watch?v=suZcGoRLXkU

Movie Soundtrack Highlights – Stan Bush: The Touch

By

Simon Prior

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2015-03-22

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I could hardly do a series of blog posts about songs from the movies without referring to one of my all time favourite films from my childhood. I’ve posted about this film at reasonable length in the past, but I didn’t really go into much detail about the soundtrack, which remains one of my all time favourites and subsequently one that I listen to quite frequently. Its mixture of rock tracks, instrumental pieces from Vince DiCola and, oddly, Dare To Be Stupid by Weird Al Yankovic (which works brilliantly in the context of the film) is 40-odd minutes of pure joy.

The highlight, arguably, is this track The Touch by Stan Bush. It plays a pivotal role in two key scenes in the film, the first being where Autobot leader Optimus Prime arrives on Earth and fights off all of the Decepticons attacking Autobot City. This is still the only moment in the history of film that gives me goosebumps every time I see it. The second moment is towards the end of the film where, with mild spoilers for anyone yet to see the film, the “turbo revvin’ young punk” Hot Rod takes hold of the Autobot Matrix of Leadership and becomes Rodimus Prime.

On that subject, I have recently listened through to most of Stan Bush’s albums both before and since The Touch was released, and while there isn’t much in his catalogue that stands out as much as The Touch and, to a lesser extent his other track from The Transformers: The Movie called Dare, he is still a respectable if mostly generic power ballad artist.

Sadly it seems that since this big hit Stan has been desperately trying to relive past glories by issuing a glut of remixes and reinterpretations of this one song rather than trying to do something new and equally as awesome, but therein lies the perils of fame. Outside of the Transformers fan base, are there many who can honestly say they know who Stan Bush is? In any case, if this proves to be his main legacy to the world of popular culture, then at least he can say he had his 15 minutes.

Jurassic Croc (2007)

By

Simon Prior

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2015-03-20

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"Oh Grud, it's a 1998 Godzilla reference!" — “Oh Grud, it’s a 1998 Godzilla reference!”

Twitter Plot Summary: A giant crocodile appears and bumps off some soldiers, who try desperately to stop it. And try to be heard over the bad audio mix.

Supercroc (aka Jurassic Croc here in the UK) opens with a laborious opening credit sequence with a small group of soldiers walking through a wood or a forest and just talking, talking and talking some more for good measure. This sets the tone for what follows, as despite the already short 85 minute running time it feels incredibly slow paced and lacking in tension when things start going horribly wrong. This is mostly due to sloppy editing and bad shot composition, but it’s further enhanced by bad acting and a yellowish filter on everything that leaves everyone looking like they have jaundice.

It’s obvious to anyone paying attention that this production was so cheap that they only used two or three locations – namely a forest, a small street and a small room acting as a military operations centre. Limiting the action to just a few locations can, in some instances, work well no matter the budget, but here it’s hampered by a script that is resolutely unadventurous. It boils down to a couple of appearances from the titular giant crocodile, a group of soldiers being gradually torn to shreds by the creature (usually off screen), and a group of admin and senior military staff back at base trying to figure out how to stop/kill the giant croc, and doing so in an incredibly boring manner.

This had potential to be a moderately enjoyable low budget creature feature, however the biggest mistake made is in the sound mix. Dialogue is often drowned out by sound effects and poorly structured music cues, meaning key elements of the story may be missed and further reduces any investment you may have had in the story. They don’t seem to have used proper microphones either – everything sounds like it was recorded using the camera’s on-board microphone which leaves everything sounding tinny and unpleasant. It’s made worse by the overly enthusiastic use of a variant of the Wilhelm Scream, which features twice in one particular scene in quick succession. Surely it would have been better to have had the actor actually perform a scream on location than to use stock library sounds? However you look at it, the poor sound takes you completely out of the story and leaves you struggling to hear what little plot there may be.

Unusually for The Asylum, this is not a mockbuster of some major cinematic release, but its influences are clear. Mixing up elements of The Lost World: Jurassic Park (the T-Rex on the loose in Detroit) and Lake Placid (giant gator/Croc causes epic destruction), and even 1998’s Godzilla but it manages to present itself as the poor, idiot cousin of those three concepts. A low budget isn’t necessarily an excuse for a bad film – if they had bothered to do anything interesting with the characters then it might have been salvaged.

I’ve seen my fair share of features from The Asylum, averaging from truly terrible to merely okay. In this case it’s almost entirely in the first category. The best bad movies seem to know that they’re bad and have a noticeable tongue in cheek tone. The worst bad movies are those that don’t even acknowledge that it’s cheap and plod along by treating everything with absolute seriousness. Supercroc is one of those films.

Score: 0.5/5

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