The Onion Movie (2008)

Spun off from the ever-popular humor website of fake news, The Onion Movie isn’t as bad as its five-year sit on the shelf would suggest. It’s just that with a couple of producers behind Airplane! and The Naked Gun series involved, you’d expect something funnier. Although unceremoniously dumped to DVD, it has its moments — enough to warrant a watch.

Using the Onion News Network as a loose wraparound, the sketch-filled satire has old-guard anchor Norm Archer (Len Cariou, 1408) deliver quick headlines and introduce on-the-scene reports. Some are so stupid in concept, you wonder how they survived the first draft, like neck belts in cars. Others are so dead-on, you wonder if they might not be seen as humor by half the viewing audience, such as a child’s accidental fatal shooting of himself being dubbed as an exercise of the Second Amendment, “hailed by gun-rights activists as a victory for America and the Constitution.”

Popping in here and there are a few repeat characters, most notably Melissa Cherry (sexy Sarah McElligott), a Britney Spears-esque pop tart who denies any sexual content in her songs, even when the videos for them feature such acts as her being taken doggy-style by a giant blue teddy bear. Steven Seagal plays himself in a faux trailer for the actioner Cockpuncher — his catchphrase: “I don’t think you have the balls” — and other cameos include Michael Bolton, Rodney Dangerfield and Meredith Baxter Birney, the latter cooking cats.

As with granddaddy Kentucky Fried Movie, the scattershot Onion Movie zooms through bits so fast, at least you can’t get bored: a terrorist training video, an ad for a celebrity roast, a film-review TV show that critiques The Onion Movie in progress, a commercial for a gay cruise, a show called Little-Known Racial Stereotypes (“Did you know blacks love taffy?”) and a group of friends who tire of playing a murder-mystery game, so they instead host a role-playing rape. Hey, I never said they were in good taste.

Something truly tasteless would open with … oh, say, a nun drinking from a jar labeled “APE CUM.” That’s saved until the end. —Rod Lott

Buy it at Amazon.

Audrey Rose (1977)

Lil’ Audrey Rose, age 5, is killed within the first minute of the film that bears her name, burning to death with her mother in their overturned car, following a head-on collision on the highway. Several years later, a man in a novelty beard (Anthony Hopkins, The Silence of the Lambs) is seen stalking the Templeton family all over New York City, from Central Park to their 11-year-old daughter’s private school.

What links the two events? As Elliot Hoover (Hopkins) tells Mr. and Mrs. Templeton (Rollerball‘s John Beck and Heartbreak Ridge‘s Marsha Mason) after persuading them to meet him, he firmly believes that the soul of his dead daughter, Audrey, resides in the body of their very much alive one, Ivy (Susan Swift, Halloween: The Curse of Michael Myers, in a great child-actor performance). Naturally, the parents think he’s nucking futs, but you know, come to think of it, Ivy has been experiencing some violent nightmares. Soon, she’s throwing herself all over their West 67th apartment like she’s going for the gold at a gymnastics tourney, all while supposedly asleep.

Judging from his work helming 1963’s The Haunting and, to a lesser degree, 1949’s Curse of the Cat People, director Robert Wise once knew what worked in horror — especially that which is suggested rather than seen — but exhibits that skill only in Audrey‘s first half. Before taking a huge shift in story direction, Wise achieves a creepy uneasiness that will remind viewers of The Exorcist‘s early scenes, as an apple-cheeked only child not suffering from a lack of parental love and attention suddenly becomes inexplicably abnormal.

What kills the momentum? Hoover tries to convince the Templetons to allow him access to Ivy, in order to free Audrey’s soul that cries out for help. This leads to the film becoming a courtroom drama, like Kramer vs. Kramer for the pro-reincarnation community. Stock footage of funeral practices in India is about the least of the back half’s problems when one considers a lengthy hypnosis session and an ending so terrible, it’s insulting. Letting Frank De Felitta (The Entity) adapt his own novel was perhaps not so Wise, Bob. —Rod Lott

Buy it at Amazon.

Galaxy of Terror (1981)

Look, there is no way in the universe that a movie starring Edward “Stare as Blank as Empty Space” Albert and Joanie Cunningham (er, Erin Moran) is going to be quote-unquote good. So know that going in, lower the bar on your entertainment value, and you might find the B-movie schlockfest Galaxy of Terror to be a guilty pleasure of modest proportions.

Marketed as an Alien rip-off, but thematically closer to Forbidden Planet, Galaxy is your typical Roger Corman cheapo that drops a gaggle of mismatched space personnel onto a planet where every fear is made real. If it is at all prescient, peoples of the future will be solely afraid of goopy rape-worms and giant leeches, with a modicum of psychological self-doubt thrown in. But only a modicum, as no audience pays to watch Robert Englund (Freddy Krueger of the Nightmare on Elm Street series) do battle with himself. Bring on the rape-worm!

The real pleasures here are half-inadvertent and half-inspired. Future soft-porn dynamo Zalman King (Wild Orchid) apparently understood “acting” to be “yelling.” The sexual dynamics between Albert and Mr. C’s daughter have a creepy brother/sister vibe. The rape-worm scene is disturbing for all the wrong reasons, obviously thrown in to give some unwarranted nudity to undiscerning pervs who don’t mind that the object of their fetishization is GETTING RAPED BY A GIANT WORM! As much as I’ve tried, I actually cannot make the whole of the plot make any sort of narrative sense. I’ve probably given it more thought than the screenwriter.

True pleasure comes from veteran Ray Walston (TV’s My Favorite Martian), bringing his usual twinkling charm to his scenes and providing the only watchable performance. And substantial kudos go to future powerhouse James Cameron for bringing an unexpected sense of style in his work as production designer. The landscapes are suitably dark and brooding (echoing his work just five years later in Aliens); the sets are fairly intriguing; and on the whole, the movie looks a hell of a lot better than it really deserves.

And you have to love Twin Peaks‘ Grace Zabriskie as a maverick, disaster-haunted space pilot who has my vote as the worst pilot of all time. Her ship loses power mid-flight; she hits some switches for two seconds; then slouches forlornly as she says, “Well, I’ve done all I can do.” I haven’t laughed that hard in years. It’s all in the delivery. —Corey Redekop

Buy it at Amazon.

Femme Fatale (2002)

Long derided for ripping off Alfred Hitchcock, Brian De Palma instead entered the new millennium with an erotic thriller that looks like he’s ripping off Brian De Palma ripping off Alfred Hitchcock. I generally love the guy, but Femme Fatale is one of his worst pervo-mysterioso efforts (but not at bad as the utterly flaccid The Black Dahlia).

Rebecca Romjin (then using her brief “-Stamos” tag) stars as a double-crossing diamond thief who escapes her Parisian partners by assuming the identity of a dead woman. As that ruse starts to unravel, she attempts to use disgraced paparazzi photographer Nicolas Bardo (Antonio Banderas, Desperado) to protect herself and make off with millions of dollars.

The plot is overly complex for a script so simple-minded, and seems to exist only for the clever, it-all-comes-together ending, rendered in De Palma’s usual slow-motion style. It’s a set piece that, like Fatale‘s opening bathroom seduction at the Cannes Film Festival, is the kind of thing that De Palma does so damned well. It’s everything in between that he does not so well, and as writer and director, he has no one to blame but himself.

Romjin actually acquits herself quite admirably and manages to bare her breasts. She gets a lot more dialogue than she did as blue-skinned seductress Mystique in the X-Men franchise; unfortunately, a lot of that dialogue is along the lines of “You don’t have to lick my ass — just fuck me!” —Rod Lott

Buy it at Amazon.

The Garbage Pail Kids Movie (1987)

In the 1980s, we as a nation did some crazy things. We grooved to Toto. We bought “Baby on Board” signs. And we allowed the phrase “a Topps Chewing Gum Production” to appear on theater screens. I blame all the cocaine.

Until Tim Burton unleashed Mars Attacks!, The Garbage Pail Kids Movie was the only film in cinema history based on trading cards. Rather than use a slew of the Cabbage Patch Kids parodic and puerile characters, this PG-rated adaptation hand-picked seven: Valerie Vomit, Windy Winston, Foul Phil, Nat Nerd, Messy Tessy, Ali Gator and Greaser Greg — respectively known for barfing, farting, pants-pooping, pants-peeing, snotting, eating toes and possessing a switchblade. They’re all played by little-people actors in bizarre costumes with minimal facial movement, rendering them more nightmarish than intended.

The Garbage Pail Kids live in a trash can carelessly contained within the detritus of Manzini’s Antiques, owned by the flamboyant, suspiciously single Cap’n Manzini (Anthony Newley, Doctor Dolittle). His lone employee is the 14-year-old apparently homeless orphan named Dodger (Mackenzie Astin, TV’s The Facts of Life), whose in-store scuffle with bullies accidentally lets the brats out of the can. Although Windy Winston greets Dodger by farting in his face, the boy becomes fast friends with the lot, yet pines for a frizzy-haired skank named Tangerine (telenovela actress Katie Barberi).

While helping Dodger nail Tangerine’s attention and affection through the power of trashy fashion, the Garbage Pail Kids are more interested in making mayhem. To wit, they steal a soda truck (“We’re the Pepsi generation!” exclaims Valerie), sneak into a movie theater to see Stoogemania (shown in clips to pad the running time and grant comparative sophistication), crash The Toughest Bar in the World (where Winston lets loose a toot so noxious, it removes the mustache from the bartender’s face), and watch Dodger bathe (but let’s not get into that).

Director/co-writer Rod Amateau (you can’t spell “amateur” without him!) made a legendarily bad film here, but it’s watchable in group jaw-dropping sections of mockery. For a movie made for children, it possesses several scenes of questionable taste, like having the Garbage Pail Kids rip off models’ dresses at Tangerine’s climactic fashion show. What’s worse: That the movie has its titular things sing an original song about teamwork or that Astin spends the third act in a little Chippendale’s bow tie? —Rod Lott

Buy it at Amazon.

Random Genre & Cult Movie Reviews