Following a triumphant return in 2017, MST3K is back for another go-round on streaming service Netflix, and this time, they’ve bowed to the expectations of an audience that is keen to binge-watch. Season 12 is a tight six episodes, and the show’s already thin plot has been tweaked to explain that Jonah, Tom Servo, Crow T. Robot––and you—are going to be subjected to this latest series of world-shattering bad movie experiments in a row, force-fed in one continuous orgy of cinematic incompetence.
This doesn’t technically matter as concerns the real heart of the series: bad movies being riffed. But it is significant because the format has encouraged the producers to select movies that will speak to the greatest number of subscribers: they’re newer, they’re genre, and—unfortunately for us here in the land of weird movies—they’re pretty easy to digest. In the campaign to make the show a success, it feels like some of the inherent weirdness has been bleached out.
Mind you, they haven’t skimped on the awfulness. Our season kicks off with one of the most notorious bad movies of recent vintage: the blatant E.T. ripoff/unsubtle McDonald’s promotional cash-grab Mac and Me (1988). Unlike a lot of copycats, you can really feel the stress of trying to hit all of the original’s story beats while trying to heighten them for maximum payoff. Lonely fatherless child? Let’s put him in a wheelchair. Everyone loved E.T. dressed as a ghost? Wait till they see MAC in a bear costume leading a full-on dance number. Oh, and that other film moved truckloads of Reese’s Pieces? Think how much Coke we’re gonna sell. What makes Mac and Me weirdest are the gallons of flopsweat being generated by filmmakers who are desperate to surprise you into forgetting about the vastly superior predecessor. It’s a feature-length version of Daffy Duck’s ultimate trick.
If there is a more mercenary approach to filmmaking than the one exhibited by Mac and Me, it lives and thrives at The Asylum, and their ticket to the party is MST3K’s newest subject ever, Atlantic Rim (2013). A half-hearted riff on Pacific Rim with roughly a thousandth of that film’s special effects budget, the movie isn’t so much strange as it is sad. Like most Asylum mockbusters, it’s a con job designed to fool people who can’t quite remember all two words of the title of the movie they want to see, and as such isn’t really worthy of this show’s attention. The film goes through the motions while trying to show as little action as possible. Most of the fun to be had comes in the form of a gleefully cast-against-type Graham Greene, chewing scenery in a way he knows he’s unlikely to come by again.
Lords of the Deep (1989) is another movie hoping to piggyback on another film’s ambition (in this case, The Abyss), but hampered by what it can’t afford to show. There’s some entertaining sniping amongst the crew of an overworked underwater base, and star Priscilla Barnes’ interaction with strange ocean-dwelling creatures takes the form of trippy drug-like scenes that come as a surprise. Throw in a comically obvious villain, a body count that rises and falls, and a stilted distaff version of HAL 9000 and you get a movie that’s pleasantly odd, but not especially high on the WTF meter.
If Season 12 comes anywhere close to weirdness, it’s thanks to The Continue reading “IDIOT CONTROL NOW”: THE FILMS OF MYSTERY SCIENCE THEATER 3000 – THE GAUNTLET
? Of course, as the Medveds fancy themselves Christian critics, they might have been biased in not granting the title of “worst director of all time” to fellow fanatic Ormond; giving that award to our favorite transvestite director, to be frank, turned out to be an unintentional blessing for St. Edward D. Wood, Jr. (and to us).
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