B Movies That Are Actually Awesome

It can be challenging to precisely define the characteristics of a B-movie, as opinions may vary among different people. However, a general agreement exists that a B-movie either has a minimal budget or exudes an informal and raw atmosphere. Additionally, these films often contain elements of cheese, and they give off a sense of being passion projects for everyone involved in their production.

In this collection, the key factors we considered for every movie included were consistent. Most of these films were produced with minimal budgets, some even without major studio distribution. They all carry an underdog spirit or “scrappiness,” and they each have their moments of cheese. However, it’s important to note that what you won’t find here are poor-quality movies. While there is a certain appeal to B movies with their quirky charm, we aimed to highlight films that genuinely strived for greatness and succeeded in achieving it.

These films aren’t just poorly made masterpieces; rather, they’re not the kind of movies that receive universal critical acclaim but are still considered genuinely good by both audiences and critics. In fact, it often takes some time for critics to appreciate certain ones, yet they remain awesome nonetheless.

The Rocky Horror Picture Show

The Rocky Horror Picture Show” isn’t simply a B-movie; it is THE B-movie. An unassuming film adapted from an unremarkable stage musical that didn’t garner much attention upon its debut, it swiftly attained the iconic cult status that other films strive for but seldom achieve. Remarkably, a specific theater in Portland has maintained weekly screenings of this movie since 1978, persisting with this tradition even during the COVID-19 pandemic when the majority of U.S. theaters were instructed to shut down.

The legendary late-night screenings of “The Rocky Horror Picture Show” are all about campy enjoyment, as viewers often dress up, synchronize actions with the film, throw props at specific moments, and interact verbally with the screen itself. It’s important to remember that beneath its interactive cult status, “Rocky Horror” is a solid movie in its own right. The film boasts catchy tunes, dedicated acting by stars such as Tim Curry and Susan Sarandon, and an engaging plot that takes unconventional and intriguing twists.

The narrative revolves around a young duo (Sarandon and Barry Bostwick) who stumble upon an unusual castle inhabited by Dr. Frank-N-Furter, an alien transvestite with a questionable nature (played by Curry), after their vehicle breaks down. They are warmly welcomed by him and his lively group of dancing oddballs. It might seem like the story is merely a device to link musical numbers, but it consistently keeps audiences engaged, serving as a delightful tribute to the classic sci-fi and horror B movies that preceded it.

A Boy and His Dog

Back in the day, before the Fallout video game franchise started shaping and inspiring TV shows, movies, and even a Prime Video adaptation like The Dark Knight Rises, it was already drawing inspiration. One significant influence was a lesser-known sci-fi film titled A Boy and His Dog. In an interview with The Escapist back in 2009, one of the original Fallout game designers, Jess Heinig, revealed that on numerous fronts, A Boy and His Dog greatly influenced Fallout, from the concept of subterranean survivor communities to the eerie presence of glowing mutants.

In the popular “Fallout” video games, canine companions have consistently held significant positions, echoing the theme of a beloved 1975 movie titled “A Boy and His Dog.” This film, starring Don Johnson as Vic, depicts a post-apocalyptic world in 2024, following nuclear war that has transformed the earth into a desolate wasteland. In this bleak landscape, Vic shares a unique bond with his telepathic dog, and together they journey across the barren land, initially seeking a woman to fulfill Vic’s physical desires. However, their pursuit eventually leads them to an enigmatic underground society that harbors darker intentions than they may initially appear.

As a fan, I wouldn’t blame anyone for finding the dark humor in “A Boy and His Dog” unsettling, especially when it comes to the casual portrayal of Vic’s quest for sexual encounters without explicit consent. However, if you can overlook that aspect—and it’s important to note that this very selfishness ultimately lands him and his dog in trouble—you’ll discover a gritty yet groundbreaking blend of science fiction and comedy in “A Boy and His Dog.

Night of the Comet

If the name Thom Eberhardt rings a bell, it’s probably because you recognize him as the filmmaker behind ’90s family-friendly comedies like “Captain Ron,” “All I Want For Christmas,” and “Honey, I Blew Up the Kid.” However, his initial foray into the world of cinema was quite different. He made his mark by creating subversive B horror movies with a sci-fi touch, with the 1984 cult classic “Night of the Comet” being one of his most notable works. This film, which satirizes the valley/mall girl culture of the early ’80s, depicts a world under threat from an intergalactic event similar to the one believed to have caused dinosaur extinction – Earth passing through a comet’s tail.

Instead of completely erasing humanity like the dinosaurs, a comet’s radioactive debris transforms those exposed into zombies. Among the survivors are Reggie (Catherine Mary Stewart) and Sam (Kelli Maroney), who react to what appears as the end times with casual indifference. Given that they were among Joss Whedon’s inspirations for creating Buffy Summers, their nonchalant attitude seems fitting.

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Unlike how it wiped out the dinosaurs, a comet’s radioactive dust turned those exposed into zombies instead. Among the survivors are Reggie (Catherine Mary Stewart) and Sam (Kelli Maroney), who show an unconcerned response to what looks like the apocalypse. Since they were among Joss Whedon’s inspirations for Buffy Summers, their laid-back attitude seems fitting.

Among the unique qualities that make “Night of the Comet” stand out from many ’80s B-movies is its lighthearted approach to a potentially serious premise. From my perspective as a fan, this post-apocalyptic scenario is portrayed with a casual, Gen X teenager attitude – a world-ending event is met with an indifferent “oh well” and a casual chew of gum.

The Evil Dead

1981’s “The Evil Dead,” often underrated due to its sequel improving upon it significantly, remains highly influential on its own merits. Notably, it retains more of the charm associated with B-movies than the slicker, higher-budgeted “Evil Dead II.” This film marked the screen debut of Bruce Campbell, a renowned horror genre star who managed to achieve mainstream fame while maintaining his status as a beloved B-movie icon throughout his career in numerous major productions.

As a devoted horror enthusiast, I’ve always been captivated by the unique charm of “The Evil Dead”. While many critics of its time overlooked the schlocky horror genre, this film stood out as an exceptional example of B-horror movies that garnered positive reviews from the very beginning. In fact, Kevin Thomas from the Los Angeles Times, in his contemporary review (via newspapers.com), hailed it as “an instant classic”.

Over the years, the movie’s allure has only intensified, resonating with each new wave of horror aficionados exploring the genre’s rich history. These fans instantly recognize the extraordinary feat that first-time feature filmmaker Sam Raimi and his resourceful cast and crew accomplished on a shoestring budget, completely disregarding Hollywood norms – a timeless B-movie example to inspire future filmmakers.

Five Element Ninjas

One popular subgenre of B movies, notably during the 1970s and early ’80s, was martial arts films. At the pinnacle of this genre stood Shaw Brothers Studio; it’s no surprise that Quentin Tarantino featured their logo at the beginning of “Kill Bill.” Their productions are undeniably part of any conversation about the greatest kung fu movies ever made. If a martial arts movie you’ve watched has exaggerated sound effects for kicks and punches, lots of shouting, rapid zoom-ins, excessive acting, it was likely produced by Shaw Brothers Studio or at least bears their influence.

As a passionate gamer immersed in the world of martial arts films, I’ve come across several Shaw Brothers masterpieces that deserve recognition, such as “The One-Armed Swordsman,” “Five Deadly Venoms,” “King Boxer,” and “The 36th Chamber of Shaolin.” Yet, among these iconic titles, none encapsulates the essence of what Shaw Brothers excelled at and epitomizes B martial arts movies quite like the 1982 classic, “Five Elements Ninjas.

This movie isn’t mainly about the intense rivalry between ancient Chinese masters and their students, but rather the spectacular action scenes, excessive emotions, extravagant costumes, and delightfully cheesy sound effects it offers. The filmmakers understand that these are exactly what you’re eager for, and they deliver them in a dazzling, golden presentation, just like the costumes of the warrior heroes themselves.

Dead Alive

To many moviegoers who frequent mainstream films, Peter Jackson may not have been a familiar name before he took charge of the colossal project known as the live-action “Lord of the Rings” film trilogy. Although he did direct “Heavenly Creatures” in 1994 and “The Frighteners” in 1996, these films did not receive the critical acclaim or box office success required for a new director to gain recognition. In fact, it wasn’t until after the triumph of “The Lord of the Rings” that people began to take notice of Jackson’s previous work.

Enthusiasts of B-movies had long been admirers of Jackson’s work, not primarily due to his eccentric black comedy musical featuring puppets, “Meet the Feebles,” but more so for his 1992 production, “Braindead” or “Dead Alive” in North America. This film chronicles the story of an overbearing mother who becomes a zombie after being bitten by an infected monkey. Instead of killing her, her adult son decides to keep her confined and drugged rather than ending her life.

Without a doubt, this outcome proves detrimental for all parties involved, and the subsequent chaos unfolds with some of the most revoltingly entertaining visuals ever presented in a cinematic production. Remarkably, it even holds its own against renowned horror directors such as Lucio Fulci and George A. Romero. Yet unlike many B-grade horror films that venture so far into graphic violence, “Dead Alive” manages to remain captivating, amusing, and genuinely strong in quality – not to mention skillfully crafted.

Faster, Pussycat! Kill! Kill!

Filmmaker Russ Meyer primarily gained fame through his exploitation films, seldom venturing beyond their gritty nature. Upon its premiere in 1965, “Faster, Pussycat! Kill! Kill!” was largely disregarded as just another example of this genre. Few critics took the time to evaluate it, instead categorizing it alongside the so-called erotic films of the era — and those who did, offered little praise for it. They saw it as a film centered around three well-endowed women who frequently removed their minimal clothing, seemingly catering to what was assumed to be an exclusively male audience interested in scantily clad women rather than anything else.

Over time, the movie “Faster, Pussycat! Kill! Kill!” has undergone a shift in perception, with some arguing that it advocates for feminism. The primary characters – Varla (played by Tura Satana), Rosie (Haji), and Billie (Lori Williams) – spend their days dancing at bars and nights cruising the desert in vehicles. Despite using their allure to manipulate men, they never relinquish control over their personal ambitions.

After starting off with less recognition, the film “Faster, Pussycat! Kill! Kill!” has now gained a respectable 75% rating on Rotten Tomatoes. Critics have praised it, saying that director Russ Meyer’s love for camp gives this wild ride an exciting, vibrant energy. Although it didn’t match the box office success of “Beyond the Valley of the Dolls,” one of the biggest NC-17 films ever, many believe that “Faster, Pussycat! Kill! Kill!” offers a truer reflection of Meyer’s cinematic style.

The Warriors

In a nutshell, the storyline resembles a video game scenario: A group called The Warriors face off against various rival gangs, each characterized by extreme quirks and flamboyant attire. The climax involves a final, epic confrontation. However, when “The Warriors” debuted in 1979, such video games didn’t exist yet. Instead, it was the movie that served as the blueprint for numerous beat-em-up and fighting games developed throughout the 1980s and subsequent years.

In a later career, director and co-writer Walter Hill achieved broader popularity with films like “48 Hrs.” and “Red Heat”; however, “The Warriors” showcases him at his best – creating raw, stylish B action movies. Considering the large cast, the division of this cast into more than 20 distinct gangs, and the stunning cinematography that beautifully depicted the griminess of late-’70s New York City, it’s surprising to discover that “The Warriors” was produced with a budget under $5 million.

In a raw, authentic style, the film’s events unfold, with costumes that appear handcrafted, giving an impression of DIY creativity. However, the grand scale of the storyline implies a budget significantly larger than “The Warriors” had, perhaps even tripled. If ever remade, studios would likely invest tens of millions, yet they’d fall short in capturing the genuine charm and essence of the brilliant original production.

Coffy

Few B movie genres have ever left such a lasting cultural impression as the Blaxploitation genre did. The popularity of this genre grew so much that even the James Bond film “Live and Let Die,” released in 1973 during the height of the Blaxploitation trend, attempted to emulate the genre (albeit with a white male lead in a tuxedo). However, while the Blaxploitation genre launched many leading men into stardom, the women who starred in their own Blaxploitation films often struggled to attain the same level of recognition – except for Pam Grier.

Among Grier’s most iconic roles is that from the 1974 Blaxploitation film, “Foxy Brown.” This role was significantly reinforced when Quentin Tarantino created “Jackie Brown” in 1997, also featuring Grier as the lead character. However, a strong argument can be made that Grier’s finest work during this period was “Coffy,” a film that could also be considered one of the last genuine Blaxploitation B-movies before the major studios became more involved and the genre started to transition into a more mainstream form. In this movie, Grier portrays Flower Child Coffin, a nurse who secretly works as a prostitute in order to track down those responsible for her sister’s death.

In the Blaxploitation genre, revenge was a frequent theme, but “Coffy” came out ahead of when this trope had become overused. Additionally, it was released before it lost some of its impact due to numerous other tough, muscular males taking on the act of revenge.

Escape from New York

Throughout his professional journey, John Carpenter has managed to thrive in a sweet spot, straddling the line between B-movies and big-studio productions. He’s garnered enough backing from the latter to bring his ideas to life on screen, while maintaining the DIY, passionate ethos and creative freedom associated with the former. Along this cinematic path, he has also crafted some of the most enduring anti-heroes in film history; arguably none more significant than Snake Plissken (played by Kurt Russell), the main character from “Escape from New York.

In a twist of events, a notorious criminal known as Snake is facing imprisonment at an advanced prison complex that spans the entire borough of Manhattan. He’s offered a way to shorten his sentence if he can save President Donald Pleasance, who has been kidnapped by fellow inmates following a crash of Air Force One within the city limits. The narrative unfolds with a sequence of imaginative action scenes, bound together by John Carpenter’s distinctive blend of offbeat wit and eccentricity. Among all actors, Russell delivers the perfect interpretation of a Carpenter-style action protagonist better than anyone else before him.

In a unusual turn of events for Carpenter films, the director himself didn’t make a sequel to the 1996 movie “Escape from L.A.” It might be best if this film remained undisturbed, gathering dust alongside other forgotten science fiction movie sequels. If you’re yearning for more Snake-related escapades, it would be wiser to engage with the highly regarded “Metal Gear Solid” video games. The main character of these games, Solid Snake, openly acknowledges his inspiration from Snake Plissken.

2025-03-22 23:32