Our Favorite 10 Good Bad Movies - Dread Central
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Our Favorite 10 Good Bad Movies

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Van Helsing

There’s a difference between guilty pleasure films and good bad movies. Guilty pleasure flicks really have next to nothing in the way of redeeming qualities, while good bad movies are generally loaded with awesome terribleness.

The following 10 films fall into the latter category, so if you’re on the prowl for a good bad movie, we’ve got you covered!

Van Helsing

Plan 9 from Outer Space
A longtime holder of the title “worst film ever made,” Plan 9 from Outer Space is actually a blast. From the flimsy set designs to the silver painted paper plates to the over-the-top-acting and nonsensible plot points, it’s all ridiculously charming. There’s just something special about seeing Vampira shuffling around, and truth be told, it’s impossible to not appreciate one last look at Bela Lugosi. The movie doesn’t make much sense, but holy shit is it fun!

Van Helsing
The CGI is terrible, the acting borders on embarrassing. Van Helsing is suddenly a ruggedly handsome superhero. And Dracula… well, that was a disgrace if ever there was one; no one less appropriate has ever been cast in that iconic role. Despite these flaws, there’s a breakneck pace to the film that feels quite thrilling. Sure, it’s a shit-heap of a film, but a few beers will have you thinking this is the future of Universal monster mayhem.

Sharknado
Where do you even start with Sharknado? A tornado brings a slew of man-eating apex predators to land. They fly, they boast a tireless hunger, and they’re susceptible to the wily ways of every B-movie star in the book. I suppose that’s a good starting point… and ending point.

https://youtu.be/wBgLpZEMT1s

Idle Hands
Once upon a time I believed Idle Hands was a good flick. And then I returned to the picture and discovered how terrible the dialogue is and how preposterous the concept of the film is. Those are high hurdles to clear. However, future viewings will ensure that I place my interest in the picture’s greatest strength: the inclusion of Jessica Alba. How can a movie be terrible with that lovely lady in a leading role?

Fear
The decision-making in Fear is so unbelievably ridiculous it can easily take you out of the viewing experience. Mark Wahlberg wasn’t even remotely near the refined performer he is now, which led to a series of cringe-inducing scenes from the focal maniac. But the problems stretch far beyond acting and shitty parenting. These young high school ladies spend plenty of time in adult establishments getting frisky with guys that look 15 years their elders. And poor Steve Walker – father to Reese Witherspoon’s Nicole… he’s just a sad helpless daddy who can’t even protect his daughter. At least that roller coaster ride saved this one from disaster!

The Island of Dr. Moreau
It’s easy to understand why The Island of Dr. Moreau (remake, mind you) ended up such a train wreck. Marlon Brando decided to be a diva and pushed to have his lines essentially axed, opting to improv a staggering portion of the film. And Val Kilmer wasn’t one to be out-diva’d: Kilmer complained constantly after failing to get his part radically reduced. Hell, he even went so far to declare supporting characters and their dialogue irrelevant. Two divas, a lot of crazy man-animal hybrids… and still the movie is an unexplainable blast.

Maximum Overdrive
For my buck, Maximum Overdrive was a blast of the movie. I carry some fond childhood memories of the pic, but a later-in-life return illuminated a few of the problems that Stephen King had directing the flick. Interestingly enough, dialogue is a big issue. Of course, there’s also the fact that no one can seem to outmaneuver a massive big rig… that’s not all too believable. And the pacing… well, the pacing could use a little help. Outside of that 10-minute intro when all the shit starts to hit the fan… things get ugly. But guess what? Most of us still love that ugliness!

Jennifer’s Body
Jennifer’s Body probably caught the worst rep – aside from Plan 9 from Outer Space – on this list. Interestingly enough, it’s easy to look beyond the cliché story foundation, and it isn’t too tough to laugh at Megan Fox’s outrageous one-liners. They’re juvenile and they’re snotty, but they’re also often quite hilarious. I can’t call Jennifer’s Body a true good movie, but I will – with pride – declare this one an awesome bad movie, and if you can’t find pleasure in staring at Megan Fox for 90 minutes… well, something may be wrong with you.

Anaconda
How has no one come to the realization that giant snake movies stink? Of all the massive animal versus man movies, the ones with snakes just don’t work. They never look real, they always look overly cartoonish, and we’re left to view them as B-movies, no matter how hefty the budget. Enter Anaconda… sure, the movie’s got terrible elements to it, like John Voight’s indecipherable accent (seriously, what the fuck is that?), a mountain of bad decision-making, and a few hokey looking set pieces. But how can you be mad at a movie that leaves Jennifer Lopez dripping wet and casts the awesome Ice Cube as the one man with his head on his shoulders? Anaconda is a pretty terrible flick, but it’s also terribly enjoyable.

Killer Klowns from Outer Space
Killer Klowns from Outer Space is widely considered a cult classic among fans of our ilk. I certainly fall into that batch of fans, but I am an honest guy, and if I’m being honest – Killer Klowns from Outer Space is a technical disaster with a ludicrous premise. The clowns themselves are so goofy they surpass humorous. Then there’s the cotton candy assault which… I don’t think I’d mind being involved in. Cocoon me up in that sugary greatness! The characters are constantly fumbling over themselves, and no one has any idea how to handle this problem, but I suppose that could be accurate. I know my local PD wouldn’t be prepared to confront alien clowns…

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Friday the 13th: The Game Welcomes Back Shelly Finkelstein This Monday!

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Earlier this past year, all of us Friday the 13th Part 3 fans we delighted when “Friday the 13th: The Game” added in Fox (Gloria Charles) as a playable character.

And now we have the announcement that another beloved character from Friday the 13th Part 3 will be joining the game this December.

Yes, Shelly Finkelstein (Larry Zerner) will be coming back to Camp Crystal Lake!

The Shelly playable character will be available for free with the latest patch. The new update will be coming for PS4 and Steam on Monday, Dec. 18th. The Xbox One patch to follow shortly.

Below you can watch the announcement trailer which was posted on Twitter earlier tonight.

After giving it a watch make sure to let us know how excited you are to see Shelly (aka the man who gave Jason his mask) back in action below!

Shelly Finkelstein hits Friday the 13th: The Game for PS4 and Steam on Monday, Dec. 18th.

Welcome Back Shelly!

The man responsible for 'handing' Jason his mask, Shelly Finkelstein will be coming back to Camp Crystal Lake to troll his fellow counselors…that is until Jason shows up! Get Shelly for free with the latest patch!The latest update will be coming for PS4 and Steam on Monday, Dec. 18th with the Xbox One patch to follow shortly!

Posted by Friday the 13th: The Game on Friday, December 15, 2017

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Graham Humphreys Reveals His Poster For An American Werewolf In London

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Graham Humphreys continues to cement his position as one of the top horror artists in the business with his stunning new poster for An American Werewolf in London. This piece was created as a private commission, and fans of John Landis’ 1981 classic are going to love it. You can view the final design of this incredible poster below.

Final design with text.

Graham also provided us with a detailed statement about the creation of the piece, along with a bunch of screen grabs taken throughout the process. If you scroll down to the bottom of the page, you can see how the final image looks before the text was added. In case you missed it earlier, you can also check out our extended interview with Graham here.

Exclusive Statement from Graham Humphreys
As a commercial artist and illustrator, there is only limited scope to make a job entirely your own – so with each project you are answering a brief in order to fulfill the needs of a client. Of course, the client may choose to give you free reign, though this is with the understanding that you are acknowledging their needs and thus expected to work within certain unspoken parameters. Mostly, these confines are defined by how a product is to be sold, licensing instructions and an understanding a market. With this in mind, the client is paying and thus nominally always right… though it would be unprofessional not to make them aware that other options might work better for them!

Without these commercial constraints, a private commission can remove the barriers because no market is to be met and there is only the artist and the private client to answer to. Creating a poster for a familiar and heavily licensed title is an entirely different prospect if it is not going to be generating money in the public domain and is thus essentially ‘fan art’. Unlike say, a T-shirt company ripping off someone elses art and charging money for the printed image, or perhaps a poster reproduced without permission by either the license owner or artist, then sold for profit.

Here, Dread Central have asked me to talk through one such commission, ‘An American Werewolf in London’, painted as a private commission for an individual that wishes to own a unique image that they themselves have made happen. NB: All likenesses and specific imagery (including the title and names etc) are subject to license and copyright and not for any use other than as examples of a work in progress (and of course, all rights are reserved!). Just need to make sure that it absolutely clear!

The client had commissioned two previous posters from me (as well as numerous poster designs from fellow artists), so a basic understanding of expectations had already been established.

My work begins by watching the film from beginning to end – to re-establish my own connection to the film (if one already exists). I saw ‘An American Werewolf in London’ (in London!) on it’s first run and the proximity to many of the locations (Tottenham Court Road tube station, Piccadilly Circus, being the obvious ones) made it instantly impressionable for me. Existing posters, in particular the official theatrical versions and various home-entertainment sleeves, focused on a limited image pool. My job was to find new ways of representing the film, free of the past baggage, but also to listen to my clients requirements.

Looking for a fresh perspective means avoiding the familiar stills that have defined the past marketing, this is achieved by making screen grabs from the DVD or blu-ray. As with most commercial jobs, I generally make a selection of about 40 images, then review these reducing the number to about 15 that have the best narrative potential, including a good visual range of actor expressions and reactions. My client required the Werewolf, London references, the moors, David and Jack, a full moon and the ‘Slaughtered Lamb’ pub sign… then whatever else I chose to include.

On the basis of the selected screen grabs, I make necessary light and contrast adjustments in photoshop, make them greyscale (removing the distraction of colour) and print them out at a size I can easily trace in pencil onto paper. All the pencil sketches are then scanned into photoshop, so that I can rearrange, resize and move around in order to determine the best layout, one which tells a story and has a visual impact. (I find it’s better to present sketched layouts rather than a photocomp’s, partly because the photographic material is usually of varying quality, but also because a pencil rough is more fluid and does not dictate the final impression).

Selected screen grabs.

Selected screen grabs 2.

My first idea involved a portrait of David looking lost and frightened (I felt this was essential to the story), the Werewolf with it’s head bursting through the cinema shutters/signage (the idea of breaking the fourth wall), the decomposing Jack (a perfect metaphor for David’ s own life falling apart), his nightmare of the home invasion (one of the most effective and horrific moments in the film, I felt), plus Brian Glover’s ‘Slaughtered Lamb’ local – a look that defines rednecks and racists the word over when confronted by ‘other’!). I also wanted to add the tube attack victim to open up the carnage. Although Jenny Agutter’s nurse added the romantic dimension for an audience that expects the convention, I wanted to concentrate on David’s story, so chose to only include her face as if she were painted on the shutters, ie. a film poster element.

I was surprised that the client didn’t want the home invasion creatures, nor the reference to the sleazy cinema hordings (which I thought made a good location gag – obviously not!), they also did not want the rotting Jack. It was disappointing to lose these great horror elements, especially as they’d particularly wanted ‘horror’! But a compromise was reached by including the transformation scene at the bottom, and reinstating the moors (which I’d thought unnecessary).

Fortunately, my second sketch was well received and the painting could commence.

On the basis of the selected screen grabs, I make necessary light and contrast adjustments in photoshop, make them greyscale (removing the distraction of colour) and print them out at a size I can easily trace in pencil onto paper. All the pencil sketches are then scanned into photoshop, so that I can rearrange, resize and move around in order to determine the best layout, one which tells a story and has a visual impact. (I find it’s better to present sketched layouts rather than a photocomp’s, partly because the photographic material is usually of varying quality, but also because a pencil rough is more fluid and does not dictate the final impression).

Once I have my sketch approved I reintroduced the photographic source material over the sketched parts, so that my layout remains exactly as approved and so that I’ll have the best possible likenesses to trace onto the watercolour paper.

Early sketched elements.

I usually have a basic idea of what colours I’m going to use. In this instance I knew that I wanted a silvery blue moonlight to bathe the entire image, but also the contrast of the orange glow of artificial lighting, the pub and cinema foyer. I knew the big splash of red in the wolf’s jaw would jump out, becoming the focal point. This painting took about three days to complete, the sketch process (including the grabs) about a day upfront.

Composition design.

The final painting was scanned and all the text added in photoshop.

My client will now make a full size poster print, to be framed, from the file I send him. Next up, ‘The Thing’!

Final painting before text was added.

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Syfy Renews Z Nation for a 5th Season; Season 4 Finale Airs Tonight!

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Syfy’s popular zombie series “Z Nation” just keeps shambling on, and tonight the two-episode Season 4 finale, “Mt. Weather/The Black Rainbow,” airs. If you’re a fan of the show, we have good news for you… it’s not over yet as David Latt of The Asylum has announced on Twitter the pickup of “Z Nation” for a 5th season! So you can expect lots more adventures with the gang in 2018.

Below is the official word from David along with a brief synopsis of what’s ahead tonight in the finale, which kicks off at 9/8c.

Synopsis:
In the mind-bending two-hour Season 4 finale, Warren and the team must stop Zona from launching operation Black Rainbow, which will cleanse the landscape of both zombies and humans. In Part 2 the secret of Warren’s Black Rainbow dream is unlocked when they reach their final destination. The cast includes Kellita Smith as Roberta Warren, Keith Allan as Murphy, Russell Hodgkinson as Doc, Nat Zang as 10K, Gracie Gillam as Sgt. Lilley, DJ Qualls as Citizen Z, Ramona Young as Kaya, Justin Torrence as President Donald Trump, Michael Berryman as The Founder, Micheal Daks as Mr. Sunshine, Anastasia Baranova as Addy, Sydney Viengluang as Sun Mei, Joseph Gatt as The Man, and Natalie Jongjaroenlarp as Red.

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