Shout at the Netflix: Mötley Crüe Biopic, ‘The Dirt,’ Drops in March
The long-awaited Mötley Crüe movie, ‘The Dirt,’ makes its global debut on Netflix in March, and it looks gritty and glamorous.
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Category: Streaming Movies
Prime in the Dustbin: Three Movies in the Miasma of Meh
These selections on Prime Video aren’t good or bad, but they are disappointing, kind of boring, and ultimately forgettable.
Prime in the Dustbin: ‘Santa Claus vs The Devil’ (1959)
Santa Claus takes on a demon from hell in a crazed, racist, colorful drug haze in ‘Santa Claus vs The Devil,’ which you should totally show to your kids
Prime in the Dustbin: ‘Maniac’ (1977)
The 1977 action movie, ‘Maniac,’ features a killer with no clear motive, a surly Oliver Reed, and a poncho. Sounds great. It is not.
Prime in the Dustbin: ‘Welcome to Blood City’ (1977)
An example of bad things happening to good movies, ‘Welcome to Blood City’ is a neat little flick that looks like a burnt ViewMaster reel.
Prime in the Dustbin: ‘Madhouse’ (1981)
The 1981 slasher, ‘Madhouse,’ relies on characters doing stupid things, so how can we be upset when they are violently murdered? We can’t.
Prime in the Dustbin: ‘The Cremators’ (1972)
‘The Cremators’ is hiding a fairly decent story beneath its low-budget trappings of fireballs, flashlights, and hippies by a lake.
Prime in the Dustbin: ‘The Heart is a Rebel’ (1958)
We take a gander at The Heart is a Rebel, a family drama from Billy Graham Ministries, and ponder the conundrum of reviewing faith-based films in a post-modern world.
Prime in the Dustbin: ‘Mausoleum’ (1983)
1983’s Mausoleum doesn’t make a lick of sense, but fans of old-school drive-in horror might find some enjoyment in its practical makeup effects and general silliness.
Prime in the Dustbin: ‘The Devonsville Terror’ (1983)
While The Devonsville Terror may look like another cheap video nasty from the 1980s, this movie has a lot to say about atrocious male attitudes towards women.
Prime in the Dustbin: ‘Spontaneous Combustion’ (1990)
Spontaneous Combustion may not be the best Tobe Hooper film, but it feels like the one that most accurately bears his thumbprint.