As the elderly ruler of a fictional Middle Eastern country, Amir (Reed Hadley, Zorro’s Fighting Legion), has a grand plan to beat his fast-approaching death — and, more importantly, the means to fund it: After his passing, he is to be wrapped in tin foil, be shipped to the United States and undergo secret surgery in which his brain will be transplanted into the body of a virile, strapping young lad. Amir’s scheme is quite ambitious; Al Adamson’s Brain of Blood is not.

Dr. Trenton (Kent Taylor, The Mighty Gorga) performs the illegal experiment, painstakingly protracted and presumably shown in real time. Although the doc has been blacklisted from every major medical institution, we know he is a legit cutter because of the anatomy skeleton and other science-class accoutrements in his laboratory. He’s just not the most ethical. When this mad scientist needs to “buy some time” to find that hot bod Amir desired, Dr. Trenton sticks the politician’s gooey gray matter into the nearest temporary brainpan: that of local simpleton Gor (John Bloom, Adamson’s Dracula vs. Frankenstein), a human can of Beefaroni whose face has been ravaged by redneck-poured battery acid. Sorry, Amir — consider your People’s Sexiest Man Alive dreams dashed.

As usual, Adamson’s wife, Regina Carrol (Blazing Stewardesses), all big breasts and mile-high hair, corrals the female lead. Playing Amir’s wife, she’s not thrilled with her hub’s new makeover; it’s a toss-up whether she has it worse than the women chained like pets in Trenton’s basement by his pint-sized assistant (Angelo Rossitto, 1947’s Scared to Death).

Everyone in the movie speaks with weird pauses, as if waiting for the cue cards to be turned (“There is no chance … for failure”), and the outdoor climax is filmed not unlike a high school play. In that scene, you’ll hear the words “That’s a very noisy little gadget you have there,” which double as a descriptor as good as any for Brain of Blood, an Adamson project so unmemorable, I didn’t realize until afterward that I had already seen it a decade ago, under the alternate title of The Oozing Skull. While we’re discussing titles, it’s worth mentioning that Brain of Blood often is believed to belong to the Blood Island franchise. Girl, it wishes it could be that good. —Rod Lott

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Two years before Journey 2: The Mysterious Island made a box-office splash, Jules Verne’s Mysterious Island did not. That’s the rosiest way to put it. While both films are very loose adaptations of Verne’s 1874 novel, this is the one nobody wanted or wants to see because it’s in the other one where The Rock bounces berries off his pecs — in 3-D!

In 1865, a Civil War unit led by Capt. Cyrus Harding (Lochlyn Munro, Freddy vs. Jason) hops into a hot-air balloon, hits a ripple in time, and crash-lands in today’s times on the title isle, which is now located in the Bermuda Triangle. The befuddled crew runs across the modern-day, resourceful beauty Julia Fogg (Gina Holden, Saw 3D: The Final Chapter) and her injured, airheaded sister, Abby (Susie Abromeit, Battle: Los Angeles).

Eventually, the girls tell the boys that, hey, they’re not in 19th-century Virginia anymore! Dialogue like this ensues:
• “What the heck’s a aeroplane?”
• “Colonel, you can’t seriously be listenin’ to a girl and a colored. They cain’t vote!”
• “What’s on yer face? It looks like you got Indian warpaint!”

There’s also a song that begins “‘Course I love yer biscuits / And your gravy, too,” but that’s beside the point.

Anyway, as these folks just wander about sandy beaches, the Syfy movie is kind of like the TV series Lost, but without the critical acclaim and massive fandom. In its place are invading pirates, killer bushes that growl like dogs, an active volcano and, as Capt. Harding puts it, “An octopus. A giant octopus.”

A turd. A giant turd. —Rod Lott

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Although nearly a half-century year old, Godmonster of Indian Flats remains startlingly relevant for our times. It’s a story of a God-fearing, anti-science populace clinging to the idea of yesteryear. It’s a story of a politician who abuses his power to enrich his own station in life, at the expense of the poorer townspeople. It’s a story of one African-American man trying to do what’s the right while forever under the thumb of a racist society that fears “the other.”

It’s also a story of a “damaged mongoloid beast,” but to the film’s credit, it could function with that plotline excised. I don’t want to live in a world in which such a removal were made — I’m only saying it could be done. More is bubbling beneath Godmonster’s matted-cotton surface than mere creature-run-amok chaos.

And holy moly, what a creature! One morning, to the amazement of all-business anthropology professor Dr. Clemons (E. Kerrigan Prescott, Fiend Without a Face) and mild-mannered sheep rancher Eddie (Richard Marion, Child’s Play 3), a half-developed embryo is birthed into the flock. Dr. Clemons notes the preemie’s condition is the result of chromosomal breakdown during cross-fertilization, and these 10 seconds form all the scientific explanation we as viewers need. The professor incubates the thing in his lab, where it grows into an 8-foot monstrosity that looks like a mange-ravaged Mr. Snuffleupagus or a walking tumor as depicted by a Nabisco Barnum’s Animal Cracker, or perhaps both.

When it gets loose and terrorizes the town, Godmonster morphs into a classic Western as members of the “vigilance committee” assemble on horseback to hunt it down and lasso that li’l doggie amid the mayor’s declaration of martial law. Needless to say, audience sympathy aligns with that of writer/director Fredric Hobbs (Alabama’s Ghost): squarely on the side of the deformed, misunderstood abomination, no matter how many schoolchildren he scares the shit out of or number of filling stations he somehow explodes. Godmonster of Indian Flats certainly hums an odd tune, but at least it hums. —Rod Lott

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Not to be confused with the recent M. Night Shyamalan film — but how I hope it is — the Split from 1989 is very much a prototypically bizarre YouTube clip stretched out into interminable movie length, so I guess that’s something to be technologically proud of.

Within minutes of pressing play, the screen is soon filled with bad teeth, bad accents and bad dialogue — including the classic line “We came for breakfast, not for AIDS!” — with the immediate start-stop bent going between this homeless man’s world and some sort of technologically unsound underworld, giving the movie an infinitely more intriguing first half-hour than many other futuristic-repressed films of the time.

The homeless man, actually, is a sort of quick-change artist, slipping in and out of one bad comedic persona after another; he’s also on the run from this nameless group of American computer-hacker types who are desperately trying to track down the man, whose real name we learn is the unlikely Starker (Timothy Dwight).

Apparently living off the grid, especially in a time when it was easier to, strange computer graphics come to life, pixelating and swirling, proving somehow that Big Brother really is watching Starker and, of course, brainwashing all of us. By the way: Everyone is living in some form of a dystopian future, but I only learned that from reading the back of the Blu-ray case — it still looks and feels like generic 1989 Los Angeles to me.

While writer/director Chris Shaw’s film drags as we follow Starker around from one supposed comedy bit after another, where he goes to art shows as an Austrian psychoanalyst and hangs out at a Terry Gilliam-esque woman’s house, for example, keep with it; if you persevere and give it a few minutes, Split eventually becomes an absolute cheesy mind-melt as it barrels down toward a typically dark and depressing ending that I’m not sure I really get yet, but I appreciated nonetheless.

Apparently one of the first films to use CGI — and it shows — Split was a very low-budget outing with a message bigger than it could possibly contain: Conformity is a soul-destroying beast and the only thing that can save us all is a fat urinal cake to be dropped in the water supply cleaning our clouded visions — something I’ve written about in clandestine pamphlets for years. —Louis Fowler

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Shot on video for Canadian television by the catchpenny production company known as Emmeritus, The Tower has nearly as many establishing shots of the building in question as its home country has provinces. According to those shots, the titular site varies in size between “skyscraper” to “office complex,” with only one thing for certain: It’s a building, eh.

Written and directed by Ghostkeeper’s Jim Makichuk, the movie opens with two men discussing possible problems with the tower’s safety, considering three people have vanished inexplicably from its floors of late. One of the guys declaratively states twice, “There is nothing wrong with the security of the Sandawn Building.” You know what that means: There is totally something wrong with the security of the Sandawn Building! And you, the viewer, stands to benefit.

Touted for its energy efficiency, the place is run by a $30 million computer system named LOLA (disembodily voiced by Monique Verlaan), developed by the blinky-eyed, mumble-mouthed boy genius Watson (Alfred Topes, punchable). What Watson somehow fails to notice is that LOLA has discovered sweet, sweet sentience, acquiring increasingly higher reserves of power via murder. After scanning various workers for potential heat gain, she absorbs them whole when they flip an electrical switch, press an elevator button, fuck against a copier, what have you.

On this particular Friday night, a soap opera’s worth of characters are trapped and in danger of LOLA vaporizing them for their BTUs, including:
• the dorky nightwatchman (George West) and his incredibly sexy girlfriend (Zuzana Struss, sexy) who sexily drops by for a sexy dip in the top floor’s pool;
• a past-his-prime ad man (Ray Paisley, Cold Creek Manor) and the sassy new copywriter (Kenner Ames, Canadian Bacon) working overtime on a Magic Marker posterboard campaign for something called Sparkle;
• the secretary (Jackie Wray) whose single-mom status will not surprise you when you see her hair;
• lovers (Jennifer Cornish and Paul Miklas) who plot to kidnap Old Man Sandawn (George T. Cunningham, Emmeritus’ Shock Chamber), who dips his ink in the company well because he’s married to a frowny crone (Dorothy Clifton, Emmeritus’ The Hijacking of Studio 4).

There’s also a black stripper/video vixen (Charlene Richards, Emmeritus’ Mark of the Beast) who legitimately wants to bed Watson, but we don’t have time to get into that.

Not to be confused with 2012’s Korean Towering Inferno rip-off or the 1993 Paul Reiser vehicle (although that Fox prime-time pic bears a plot similar enough to raise eyebrows) or any of many, many films bearing the same name, The Tower stands tall on its own. What other movie would show you computer graphics continually drawn and re-drawn, as if Makichuk were squeezing every penny out of the license for some AutoCAD shareware knock-off? Would have the balls to lure an elderly woman to her grave with the promise of a feather boa? Would dare present the same shot three times of two ladies climbing down a flight of stairs? Would stop itself to have a character literally look up the definition of “snake” … and then share the results?

As terribly dated as it is terribly acted, this Tower harnesses the power of pure entertainment — often accidental, but thoroughly genial. These days, that’s enough. —Rod Lott

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