As a cinephile who has spent countless hours immersed in the world of films, I find myself drawn to both critically acclaimed masterpieces and the lesser-known gems that often slip through the cracks. The former provide us with profound insights about humanity, while the latter offer a unique charm that can’t be replicated by their more polished counterparts.
So, what exactly is a B-movie? Originally, it referred to the old Hollywood practice where two movies were shown at cinemas – first came the major studio or A-picture, followed by a cheaper B-movie. Nowadays, this term applies to any low-budget, non-studio production, often falling under genres such as horror, action, or science fiction. You can find countless new B-movies on streaming platforms every day, all fighting for viewers’ attention with elements like sex, violence, former celebrities, and a vague resemblance to more expensive productions.
Many B-movies, often considered some of the poorest films ever produced, aren’t all trash. For instance, “Night of the Living Dead” (1968) redefined horror conventions yet remains a typical B-movie; the same goes for “Slacker,” “Clerks,” and “The Evil Dead.” Since the advent of talkies, every decade has had its fair share of popular and successful B-movies, and the 1990s were no exception. Here’s a list of ‘90s B-movies that are worth watching for their concealed quality or unintended humor.
One False Move
A low-budget indie thriller that catapulted Bill Paxton into leading roles, introduced Billy Bob Thornton as a screenwriter, and kick-started Carl Franklin’s directing career was “One False Move.” This film may have remained under the radar in 1992 if not for its successful run as a sleeper hit. Made on a budget of $2.5 million, it was a hard proposition due to its first-time director, Carl Franklin, who was previously an actor, and a first-time feature writer in Billy Bob Thornton himself. Bill Paxton was the most recognized name among the cast, but he was primarily known for his character roles in films like “Aliens.” The film languished unreleased for almost a year until its producers managed to secure a series of festival screenings.
The film titled “One False Move” left both critics and viewers spellbound. It revolves around a group of ruthless criminals played by actors including Thornton, Cynda Williams, and Michael Beach. However, these criminals meet their match in the sheriff of a small town, portrayed by Paxton. The film’s impact is derived from its minimalistic style and the raw brutality of its violent scenes, as described by the Washington Post. But instead of being a Tarantino-esque bloodbath spectacle, this movie offers a thoughtful exploration of characters, challenging traditional perceptions of heroes and villains.
Night of the Living Dead (1990)
The 1990 version of “Night of the Living Dead” was primarily driven by economic reasons since director George A. Romero didn’t benefit much financially from the 1968 original due to copyright issues. To make up for lost earnings over the years, he decided to remake it. Co-written by Romero and directed by special effects maestro Tom Savini, this updated version maintained the original’s structure but also introduced fresh elements, with Patricia Tallman’s character Barbara being a notable change. In contrast to her meek, victimized portrayal in the first film, she emerged as a fighter in this remake.
According to Savini, the movie was a genuine nightmare to work on due to various issues, such as multiple edits to secure an R rating that turned off horror enthusiasts. Initially panned in 1990 as a duplicate of the pioneering original, Savini’s film has become cherished by horror fans today, with many reviewers praising its excessive gore and innovative twist on Barbara as its standout features. Even Savini himself acknowledges its quality. “I watched it impartially, and it’s solid,” he said to Famous Monsters of Filmland (via It Came From… blog). “The actors are excellent, the tension is there. Simply put, it’s good!
Neon City
1991’s “Neon City” stands out among the many post-apocalyptic movies that flooded home video screens in the ’80s and ’90s. It boasts several unique features, such as Michael Ironside, a cult favorite, portraying a bounty hunter guiding a group of survivors through an America devastated by ecological catastrophe. The film also takes advantage of its striking Salt Lake City locations. As TV Guide points out, Director Monte Markham skillfully utilizes the breathtaking Utah landscapes and manages to shoot the confined truck interior with dynamic and fluid cinematography.
In contrast to many reinterpretations of “Road Warrior,” “Neon City” doesn’t boast the budget for high-octane stunts. Instead, it constructs tension through a life-or-death narrative (much like John Ford’s “Stagecoach,” as several critics have pointed out, “Neon City” is essentially a futuristic remake of this classic). The film also benefits from an eclectic cast that includes singer-actress Vanity, former footballer Lyle Alzado, Juliet Landau known for “Buffy the Vampire Slayer,” and Richard Sanders famed from “WKRP in Cincinnati.” While not the best post-apocalyptic tale, “Neon City” manages to rise above many others.
The People Under the Stairs
Although popular with his fans, “The People Under the Stairs” doesn’t quite make the top tier of Wes Craven’s best movies, like “A Nightmare on Elm Street” or “Scream.” A box office and critical hit in 1992 (even Gene Siskel liked it), “People” shares elements with Craven’s finest films: two memorable villains, a likable hero (Brandon Adams of “The Mighty Ducks”), gruesome violence, some transgressive moments, and the sociopolitical commentary that had been a part of his work since “Last House on the Left.” Jordan Peele even considered a remake as recently as 2023.
It’s possible that “People” hasn’t had the same staying power as other Craven classics because it hangs on a truly nasty premise. The villains are a deviate pair of wealthy landlords (Everett McGill and Wendy Robie, who played the Hurleys on “Twin Peaks”) prey on others in literal and figurative terms: they victimize their largely Black tenants with rent hikes and evictions while also turning a horde of abducted children into cannibalistic monsters.
Although not as gruesome as the early horror film “Last House on the Left” directed by Craven, the concept is still deeply disturbing (and reportedly inspired by a real incident). In this movie, Craven skillfully infuses fear with elements of excitement, humor, and indignation in his commentary on wealth and extravagance, making it worth a more careful examination.
Stone Cold
The movie “Stone Cold” was intended to launch Brian Bosworth’s acting career following his short, contentious time in the National Football League. Although it didn’t ignite his acting career (he’s still active in film and TV work), “Stone Cold” remains an extravagantly action-packed film that is delightfully excessive. It’s full of macho stunts (like a motorcycle versus helicopter scene that the New York Times called “quite impactful”), cheesy dialogue, exaggerated performances, and the blatant disregard for narrative consistency that makes 90s B-action films such a guilty pleasure.
In “Stone Cold,” everyone involved – director Craig R. Baxley, Bosworth, Lance Henriksen, and William Forsythe – are all fully dedicated (with Henriksen giving it an extra boost due to his intense scene devouring), ensuring a high-octane delivery that they believe makes “Stone Cold” the most mind-boggling action movie ever. While “Stone Cold” may not reach those heights, it strives to be entertaining and even goes above and beyond to make its generic action feel like premium quality.
Dead Alive
Peter Jackson, the renowned director of “Lord of the Rings,” kick-started his cinematic journey with budget-friendly films produced in his homeland, New Zealand. His early works, such as the 1987 movie “Bad Taste,” were characterized by a heavy dose of dark comedy and splatter effects. Jackson’s third horror production, “Braindead” or “Dead Alive” (released in North America as “Dead Alive”), from 1992, was no exception – it was filled with gore and zombies. However, “Dead Alive” also signified Jackson’s filmmaking prowess, showcasing his ability to blend humor and grand-scale action sequences, skills that would prove beneficial in his future projects.
The premise is totally absurd — mutant rat-monkey hybrids cause a zombie outbreak in a 1950s-era New Zealand suburb — allowing Jackson to design an endless parade of ways in which the human body can be torn apart. But the violence is ridiculous and revels in its own gross absurdity. The bloodshed eventually reaches surreal proportions when Jackson’s hero (Tim Balme) eliminates a crowd of zombies with a lawn mower and later, when he faces a skyscraper-sized version of his dead mother, both of which Jackson handles with a deft technical skill that belies his film’s paltry $3 million budget. The result is “the most hilariously disgusting movie ever made,” as the Los Angeles Times proclaimed.
The Borrower
Following the stunning impact of “Henry: Portrait of a Serial Killer” in the mid-1980s, filmmaker John McNaughton sought a suitable follow-up project. In an interview with The Flashback Files in 2017, he revealed his rejection of numerous horror scripts until encountering “The Borrower,” a darkly humorous tale about an alien outlaw banished to Earth, disguised as a human. Due to its body’s rejection of the disguise, this alien is compelled to obtain new heads from unwilling victims every few hours.
McNaughton found delight in the concept of the interchangeable alien heads, a notion that reminded him of actors adopting different personas. He explained, “It gave me something more to grasp onto than just the standard fear tactic of a monster leaping out from behind a tree to terrify and consume.” The film, titled “‘The Borrower’“, offered an equal blend of gruesome horror and quirky humor, a balance greatly enhanced by Antonio Fargas and Tom Towles, who had previously starred in “Henry”. Though released in 1988, it wasn’t until 1991 that it hit the screens. It garnered modest acclaim from publications like the New York Times, which aptly labeled it as “intentionally both absurd and grotesque.
Tales from the Hood
The 1990s saw relatively few horror anthology films, but one that stood out was “Tales from the Hood,” directed by Rusty Cundieff. This lesser-known film from the ’90s, produced by Spike Lee and released in 1995, offers a mix of chilling moments and incisive social commentary that remains pertinent today.
The film’s unique narrative structure, featuring an enigmatic funeral director (Clarence Williams III) who narrates tales of four newcomers, sets the stage for conventional horror elements such as vengeance from the deceased, psychic abilities, witchcraft, and unconventional medical practices. However, instead of relying solely on these horror tropes to deliver a chilling climax, director Cundieff and writer Darin Scott employ them as a springboard to explore a more profound fear – the risks and challenges faced by African Americans in America.
The film “Hood” addresses themes of police brutality, systemic racism, and the repercussions of violence. It skillfully blends aspects reminiscent of “Boyz N the Hood” and “Tales from the Crypt,” according to Variety, resulting in a gripping combination of both drama and horror. The messages and scares resonate equally powerfully, the acting is convincing – particularly Williams’ chilling portrayal as the morbid mortuary owner – and the limited budget is masked by impressive visual effects. Notably, “Tales from the Hood” spawned two sequels in 2018 and 2020.
Frankenhooker
Clearly, a movie titled “Frankenhooker” is bound to offend sensibilities due to its inappropriate and crude nature. Directed by Frank Henenlotter, who also made “Basket Case”, this 1990 comedy tells the story of a hobbyist scientist (James Lorinz) who seeks to revive his deceased fiancee, Elizabeth (Patty Mullen), following her gruesome demise at the hands of an industrial lawnmower. In a macabre twist, he assembles her from cadavers sourced from New York City prostitutes. These women meet their untimely ends via a drug that causes them to violently explode upon use. However, Elizabeth 2.0, regrettably, embodies the literal sum of her parts – she is a reanimated sex worker, eternally shambling after potential customers only to kill them with a shock of electricity.
As a gaming enthusiast diving into the world of horror movies, “Frankenhooker” might seem crude and exploitative at first glance. But it’s got that quirky, over-the-top humor reminiscent of films by John Waters or “The Greasy Strangler”. Fangoria puts it perfectly: Henenlotter takes what could have been grotesque and uncomfortable, and turns it into something so absurdly outrageous, you can’t help but chuckle. The actors really bring their A-game here. Lorinz is side-splitting as a streetwise, fast-talking Frankenstein, but Mullen’s post-reconstruction Elizabeth truly steals the show. She’s like a modern take on Mary Shelley’s monster – physically clumsy and yearning for human connection, but with a twist – she’s got the style of an MTV video vixen, complete with oversized eyes and a detachable head.
Highway to Hell
1992’s “Highway to Hell,” a fantasy-comedy road trip take on Dante’s “Inferno,” was often played on home video and cable TV. This film, directed by Dutch director Ate de Jong, provides an enjoyable dose of action and suspense, features witty mythology and afterlife jokes, and boasts numerous amusing cameos, such as Ben Stiller, Jerry Stiller, and Gilbert Gottfried.
In a creative and humorous approach, De Jong skillfully utilizes barren landscapes in Utah and Arizona for filming, incorporating clever visual jokes. For instance, he designs handcuffs fashioned from human hands and a sign acknowledging the construction of the main road by the Good Intentions Paving Company. The cast, headed by Chad Lowe and Kristy Swanson, relish the opportunity to deliver comedic performances. Additional scenes featuring the eccentric Stillers (Ben as a diner cook, Atilla the Hun opposite Gottfried as Hitler, Jerry as a cop, Anne Meara as a waitress, and Amy Stiller as Cleopatra) significantly enhance the humor. The film’s unique elements, such as these, garnered positive reviews from critics like Billboard, who commended it for being “a smart, witty, and incredibly imaginative take on the Orpheus legend.
Freaked
Freaked” is more than just a chaotic satire on the flaws of celebrity lifestyle or a humorous take on mad scientist stories (portrayed by Randy Quaid). It’s essentially an opportunity to witness Keanu Reeves in a unique dog-like character, Mr. T in female attire, and John Hawkes as a cowboy with bovine traits. Conceived by “Bill and Ted” actor Alex Winter and TV veteran Tom Stern, “Freaked” received numerous positive reviews prior to its release, with Entertainment Weekly commenting, “The film leaves you in a joyful, bewildered state.” Unfortunately, the movie suffered due to a shift in management at 20th Century Fox, leading them to only release it in two cinemas during fall 1993.
Without a doubt, the film “‘Freaked’” unapologetically embraces bizarre elements and delights in off-color humor. A notable aspect is the recurring character, an overzealous admirer of the detestable former child star Ricky Coogin (portrayed by Winter). This fan experiences extraordinary ordeals such as being ejected from planes, hurled through shattered windows, and eventually mutating into a wide-eyed creature. However, the film’s onslaught of grotesque scenes and psychedelic visuals feels less overwhelming than a consistent and humorously twisted mental journey; what other words could encapsulate a movie that grants a claw hammer the ability to have its own heartfelt flashback sequence?
Shakes the Clown
As a devoted admirer, I’d like to highlight some of Comedian Bobcat Goldthwait’s directorial masterpieces. From the bitingly satirical “God Bless America” and the chilling found footage horror movie “Willow Creek,” to the heartwarming documentary “Call Me Lucky” about my fellow humorist, Barry Crimmins – these are just a few of his remarkable works. However, let’s not forget his early venture into directing with the ultra-low-budget film, “‘Shakes the Clown,’” a wildly surreal comedy about an alcoholic party clown (played by Goldthwait himself) who descends into self-destruction in a strange alternate world of clowns.
In the perspective of “Shakes,” clowns are depicted in a grim and unfavorable manner. They grapple with substance abuse, violence, and mental health problems; for each spectator who found it amusing, many more were shocked. The general consensus among critics was that the humor became tiresome quickly, as expressed by TV Guide: “The joke loses its charm rapidly.” Nevertheless, a loyal fan base has persisted in supporting this series. Admirers commend its dedication to its offbeat concept; the Austin Chronicle’s review noted, “‘Shakes’ possesses its own warped sense of logic, one that’s simple to accept and adhere to.” Fans have also lauded its cast, featuring stars like Adam Sandler, Tom Kenny, Kathy Griffin, and an unforgettable scene with Robin Williams as a mime tutor.
Cronos
In contrast to what one might expect from Guillermo del Toro’s 1992 debut, “Cronos,” the film doesn’t have the feel or quality of a B-movie, except perhaps in its plot about an artifact granting eternal life but with vampiric consequences. The movie is directed with great skill, beautifully captured by Oscar winner Guillermo Navarro, and boasts standout performances from Federico Luppi and Ron Perlman, marking their first collaboration with del Toro. It’s surprising that a film of such quality was made on a budget typically associated with B-movies, which was only $2 million.
If you appreciate Guillermo del Toro’s style, then “Cronos” is definitely worth checking out. Even if you’re not familiar with his other works, “Cronos” offers a rich viewing experience that blends terrifying horror with moments of humor, empathy, and a deeply moving narrative. The relationship between Luppi, the device’s owner and victim, and his caring granddaughter Tamara Shanath is particularly touching. Moreover, “Cronos” marked del Toro as an exceptional talent who could seamlessly create both genre films and mainstream movies. As The Ringer noted, “‘Cronos’ served as a precursor to his future works; it’s half horror, half historical tale – much like the best of del Toro’s subsequent creations.
There’s Nothing Out There
Kevin Williamson’s script for “Scream” earned praise for its nods to slasher movie conventions, but a different horror film touched on similar themes about half a decade earlier, prior to its 1996 release. The 1991 movie “There’s Nothing Out There” by writer-director Rolfe Kanefsky is a classic B-movie with its rough special effects, excessive nudity, and amateur acting. However, it also showcases a self-referential element through Mike (played by Craig Peck), whose familiarity with horror movies becomes crucial when his friends’ weekend retreat faces danger from an alien predator.
As a gamer, I can vouch that “Out There” hits the mark thanks to Mike’s clever and spot-on humor (“Hey Nick, you ever come across the term ‘foreshadowing’?”). Kudos to Kanefsky for elevating it beyond B-movie standards, with top-notch camera work on a shoestring budget and meticulous editing, all thanks to his dad. This combination of talent earned the film accolades from heavyweights like the New York Times, who praised it as “Mr. Kanefsky shows enthusiasm and potential.” Since then, he’s been a busy bee, cranking out dozens of independent features and TV movies.
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2024-10-13 14:31