Stinker Madness - The Bad Movie Podcast

Maybe the "safety bar" is the problem with your death machine. If you're looking for a horror movie that makes you laugh, wince, and question your own sanity, The Mangler is an absolute gem. Based on Stephen King's short story, this 1995 film takes a wild swing at horror and lands somewhere deep in the realm of “so bad it’s good.” At its core, The Mangler has one of the most baffling plots imaginable. The villain? A haunted, soul-sucking industrial laundry press. Yes, you read that right—a laundry press that inexplicably develops a bloodlust. It’s so absurd that you can’t help but be intrigued. How do you make a piece of machinery terrifying? You’ll just have to watch and see, but let’s just say the movie's plot twists somehow take this ridiculous concept and push it even further, to dizzying, laugh-inducing extremes. The dialogue is a beautiful mess, filled with lines that are equal parts stilted and unintentionally hilarious. The characters often sound as if they’re making things up on the spot, adding t

Gee, I don't know. Who could it be...? Could it be....SATAN???? Look, if you're going to watch Split Second, leave logic at the door, forget everything you know about biology, physics, or coherent storytelling, and just hold on for one wild, wonderfully ludicrous ride. This movie is a masterclass in "so bad it's good" cinema, a staggering tribute to neon-lit nonsense where none of it makes sense, but you'll be too busy laughing, cringing, and cheering to care. The plot? A near-future London suffering from the Great Flood of Questionable Sets, where a grizzled Rutger Hauer, rocking sunglasses indoors and some of the best action-movie hair around, plays a detective haunted by a shadowy, possibly-mutant killer that may or may not be Satan himself. Or is he a mutant? Or some kind of sewer-dwelling rat-beast with demonic tendencies? We never really figure it out, and that only adds to the glorious nonsense. Hauer's character, Stone, has the personality of a rabid bulldog and the caffeine intake to match, which,

Well, you could always just lock the door that contains aliens hell-bent on destroying lives, MacCready. Hobgoblins (1988) is the kind of classic cinematic disaster that bad movie connoisseurs dream of. It’s a true gem in the "so-bad-it's-good" genre, serving up every ridiculous trope you could hope for with a straight face. The budget is, to put it kindly, non-existent. You can almost hear the coins jingling in the director's pocket as they make every possible corner-cut. The "hobgoblins" themselves—clearly puppets—are so laughably bad that you can’t help but wonder if they were purchased at a yard sale. They wobble, flop, and seem to be more interested in starring in a middle school production than in wreaking havoc. The acting? Let's just say the cast appears to have been picked up from a local mall food court. The dialogue delivery is awkward at best and painful at worst, with a cast that seems genuinely confused as to whether they’re in a horror film or a comedy. But therein lies part of its charm: thi

Sure, it's super budget and leads with a crazy murder theme but that's not enough to stay in the game. "Splatter University" starts with a flash of promise, diving right into the action with a bloody opening scene that hints at a thrilling ride ahead. Unfortunately, that promise quickly fizzles out, and what follows is an hour and a half of filler material that seems thrown in just to pad the runtime. The film struggles to build any real momentum, relying on scenes that add little or nothing to the central plot. Instead of ratcheting up the tension or developing the mystery, it meanders through pointless side plots and unengaging character moments that make it tough to stay invested. For a movie in the slasher genre, you'd expect more focus on building suspense or delivering scares, but instead, "Splatter University" leaves you counting down the minutes until it's over. Ultimately, this film falls short of delivering the thrills it promises and ends up a slog. With plenty of superior slasher flicks from th

If you've ever wanted to have a bunch of random stuff coming at you, well this is for you. Not so much for anyone else though. "Comin' At Ya!" is an odd entry into the world of Spaghetti Westerns, one that leans heavily on its 3D gimmicks to differentiate itself from the pack. However, once you strip away the over-the-top, in-your-face 3D stunts, what’s left is a fairly standard, if not forgettable, Western. The plot is basic, the characters serviceable, and while it checks off most of the genre’s boxes—dusty landscapes, gunfights, and a revenge story—it doesn't bring anything particularly new or exciting to the table. The real selling point is the 3D, but even that feels more egregious than entertaining. Spears, snakes, and babies fly at you in a barrage of visual tricks, but the novelty wears thin quickly. Instead of making the movie so bad it's good, the 3D elements just end up feeling like a desperate attempt to spice up an otherwise average film. It’s a fun time capsule of

Grieco didn't need sticky spy shoes. He could have just used his hair gel to stick to any wall. "If Looks Could Kill" starring Richard Grieco is a delightful surprise that defies expectations in the best way possible. Known for his more serious and brooding roles, Grieco takes a refreshing turn in this zany action-comedy, delivering a performance that’s as energetic as it is unexpected. This movie is the epitome of early '90s charm: it's corny, it's cheesy, and it's packed with jokes that initially might make you roll your eyes, but stick around, because much like someone with an unstoppable case of bad gas, it soon becomes a riot of laughs. The first few jokes might make you groan, but before you know it, you’re giggling at every ridiculous quip and over-the-top stunt. It’s almost like the movie dares you to not take it seriously—and that's where the fun really begins. The plot is absurdly entertaining, following Grieco’s character, Michael Corben, a high school student who accidentally gets mistaken for

They put commercials on this platform and we then give us this garbage? Maybe time to switch to cable.... "Jackpot" (2024) is an absolute disaster from the get-go. The plot is so implausible that it feels like it couldn't exist in any universe, let alone ours. Nothing about it makes sense, and from the opening scenes, you're left scratching your head, wondering why the writers even bothered. The jokes? If you can call them that—seem unfinished, like someone wrote the setup and forgot to add the punchline. You're constantly waiting for a laugh that never comes. It’s awkward, and the humor falls completely flat. The core premise of Jackpot (2024) is so utterly absurd that it crumbles under the weight of its own illogic within the first few minutes. The entire film revolves around the idea that if you win a massive lottery, you are immediately hunted by the entire state of California. Yes, you read that right—if you're lucky enough to hit the jackpot, your life instantly turns into a non-stop manhunt, where li

You can't put lipstick on a pig but you can wear its eyebrows and escape the law! *"Thunder" (1984) is one of those films that's so bad it's almost good. From the over-the-top acting to the bizarre plot, it's a movie that knows how to entertain, even if it's not in the way it intended. The acting is hilariously exaggerated, with characters delivering lines in a way that makes you wonder if they were trying to win an award for the most awkward performance. It's hard not to chuckle at the sheer silliness of it all. The plot is a strange mishmash of clichés, with twists that come out of nowhere and leave you scratching your head. It's like the filmmakers threw every idea they had into a blender and hoped for the best. The result? A weirdly captivating story that keeps you watching, if only to see what ridiculous thing happens next. The action sequences aren't exactly top-tier but are great. The choreography is clunky and poorly executed, the stunts are dangerous, and the explosions are way too big. But, hones

You think you can take me? Well go ahead on and watch this stinker from Greydon Clark. "Final Justice" (1984) is a film that occupies a peculiar space in the action genre, and how much you'll enjoy it hinges heavily on your tolerance for low-budget absurdity. At the center of this bizarre movie is Joe Don Baker's portrayal of Thomas Jefferson Geronimo, a tough-as-nails Texas cop who, unfortunately, ends up being more laughable than intimidating. Baker’s Geronimo feels like a caricature of every 1980s action hero, but without the charisma or the compelling edge needed to pull it off. Instead, we're left with a character that stumbles through the movie with more groans than grins. The action sequences, intended to be thrilling, often border on the ridiculous, with character decisions that are so baffling they verge on parody. Whether it's Geronimo's relentless pursuit of criminals across Europe or the frequent and illogical shootouts, the film constantly challenges the suspension of disbelief. And yet, these

A great movie if you're part of the "under the sweater/over the bra" crowd, but even they won't remember that they saw it. Tarot (2024) is an absolute masterclass in how not to make a horror movie unless you are just providing background noise for teenagers to make out. If you ever wondered what happens when you throw every horror cliché, plot hole, and half-baked character motivation into a blender, this is it. The result is a film so dumb and poorly thought out that it almost circles back around to being entertaining—for all the wrong reasons. From the get-go, Tarot feels like a checklist of horror tropes. Creepy old woman? Check. Spooky house? Check. Jump scares every five minutes? Double check. It’s as if the writers Googled "horror clichés" and decided to use every single one, especially stealing from Evil Dead and Final Destination. But that’s not even the worst of it. The plot is an incoherent mess, with gaping holes large enough to drive a truck through. Characters make baffling decisions with motiv

The Lucio Fulci movie that more people should be talking about may just be so weird its good? "Conquest" is one of those bizarre gems that defies logic, reason, and possibly all known laws of filmmaking. From the opening frame, you're catapulted into a world where absolutely nothing makes sense—and that's the beauty of it. The plot (if you can call it that) revolves around two warriors, Mace and Ilias, who embark on a quest to stop an evil, topless sorceress who wears a metal mask and is clearly compensating for something. Why? Who knows! The movie doesn't bother to explain, and honestly, it doesn't matter. The action scenes are a special kind of weird. Imagine slow-motion combat sequences where everyone moves like they're underwater, yet somehow, limbs are still getting chopped off left and right. The gore is gratuitous, and I mean gratuity with a capital G. There's blood spraying everywhere, heads getting smashed for no reason, and enough fake entrails to make you wonder if they bought out an entire Hallo

Stick around or don't move, but Reb Brown is gonna give you the laughs. "Robowar" (1988) is a cinematic masterpiece of unintentional hilarity. This unapologetic rip-off of "Predator" is an absolute must-watch for fans of 'so bad it's good' cinema. From the moment Reb Brown graces the screen with his over-the-top action antics and unintentionally comedic acting, you'll be hooked. Brown's performance is a perfect blend of earnestness and absurdity, making every scene he's in a joy to watch. The plot, if you can call it that, is a shameless copy of "Predator." However, instead of being an edge-of-your-seat thriller, "Robowar" delivers non-stop laughs. The antagonist, "The Hunter," is a laughably awful attempt at creating a menacing villain. With a costume that looks like it was thrown together from spare parts and a performance that can only be described as cartoonish, "The Hunter" is more likely to make you chuckle than cower in fear. Let's not forget the music. Oh, the music! It's so fantastically bad that

Just because it doesn't have a story or characters or any basis in reality doesn't mean its bad, right? "Twisters" (2024) is a whirlwind of nostalgic fun that takes you back to the golden era of 90's blockbusters. While it may lack a compelling story, character depth, and a meaningful journey, it's a film that embraces its cheesy charm with gusto. From the first gust of wind to the last dramatic tornado scene, "Twisters" is an exhilarating ride that doesn't take itself too seriously. The visual effects are stunning, with the twisters themselves serving as the true stars of the show. Each tornado scene is more breathtaking than the last, making you feel like you're right in the middle of the storm. The action sequences are over-the-top in the best possible way, providing plenty of edge-of-your-seat moments that are perfect for popcorn munching. The film's cast does a commendable job with what they're given, adding to the overall campy appeal. Their performances, coupled with the tongue-in-cheek dialogue, ke

"High Concept" apparently means "really stupid and poorly thought out". Junior (1994) is a film that desperately tries to blend comedy, science fiction, and social commentary but ends up being a tedious and unenjoyable mess. Despite the star power of Arnold Schwarzenegger, Danny DeVito, and Emma Thompson, this movie falls flat in nearly every aspect, leaving the audience bored and disappointed. First and foremost, Junior is painfully boring. The premise of a man becoming pregnant, while initially intriguing, quickly loses its novelty. The plot drags on without any real momentum or excitement. Scenes that are meant to be humorous or touching instead feel forced and uninspired. The pacing is sluggish, and the film fails to maintain any level of engagement, making it a chore to sit through. Moreover, Junior manages to be offensively tone-deaf to the concept of motherhood. The film's portrayal of pregnancy and childbirth is shallow and insensitive, reducing these profound experiences to mere comedic fodder. Th

For an 80's boobie movie, this sure does feel wholesome somehow. "State Park," the 1988 comedy that has quietly garnered a dedicated cult following over the years, stands out as a delightful anomaly in the landscape of 80s teen comedies. This movie, often described as a summer version of the era's quintessential skiing flicks, turns all the expected tropes on their head with a refreshing blend of humor and heart. What truly sets "State Park" apart is its light and inoffensive approach to comedy. At a time when many of its contemporaries leaned heavily on raunchy and often cringe-inducing jokes, "State Park" opts for a more wholesome brand of humor. The jokes are clever and endearing, making it a perfect watch for those who appreciate a good laugh without the discomfort that often accompanies 80s comedies. This restraint in humor has aged remarkably well, allowing "State Park" to retain its charm and appeal to new generations of viewers. Set in a picturesque summer camp, the movie channels the energy and an

So this entire movie is just being recounted during a police interrogation? Face it, R.O.T.O.R. is one of the best bad movies there is. "R.O.T.O.R." is a cinematic gem that defies all conventional standards of quality to deliver an experience so bad it's absolutely good. This 1980s sci-fi action flick is a masterclass in unintentional comedy and bewildering plot choices, making it a must-watch for fans of hilariously awful movies. From the very first frame, "R.O.T.O.R." sets the tone with its laughably earnest attempt at a futuristic police thriller. The plot, centered around a rogue robotic cop named R.O.T.O.R., is as absurd as it sounds. The storyline is riddled with nonsensical twists and turns, leading to moments of pure, unadulterated confusion that are nothing short of entertaining. The acting is delightfully wooden, with performances that feel like they were plucked straight out of a high school drama club. Each line delivery is a treasure trove of over-the-top seriousness, adding layers of unintend

I'm sorry, I already forgot everything about this movie. And so will you. "A Family Affair" (2024) is a film that struggles to rise above mediocrity in almost every aspect. From its trite and mundane script to its overall tone and feel, which screams Hallmark Original, this movie is a disappointment on multiple levels. The plot is as predictable as it gets, with clichéd dialogue and uninspired story arcs that fail to engage or surprise the audience. It feels like the writers took every tired trope they could find and stitched them together into a barely coherent narrative. There is no depth, no innovation, and certainly no spark to elevate the story from the realm of the forgettable. Adding to the film's woes is the atrocious makeup, which somehow manages to make its lead actors look weirdly unnatural. Instead of enhancing their features, the makeup seems to have been applied with a heavy hand, creating an off-putting appearance that distracts from their performances. The music is another glaring i

Don't go running in the park at night! It's not smart! If you ever find yourself yearning for a film that epitomizes the phrase "so bad it's good," look no further than the 1984 classic Alley Cat. This cinematic gem stars Karin Mani as Billie, a karate black belt street justice fighter whose commitment to poor decision-making is nothing short of legendary. Alley Cat’s plot is a tangled mess of incoherence and absurdity. Billie, our fearless heroine, seems to have an inexplicable obsession with venturing into the park at night. You’d think that after the first few attacks and a trespassing arrest, she might reconsider her nocturnal strolls. But no! Billie’s dedication to wandering into danger is rivaled only by her proficiency in delivering high kicks to hapless thugs. Watching Billie’s nightly park excursions is like watching a moth repeatedly fly into a flame. Each visit is an invitation for trouble, and trouble eagerly RSVP's every time. It's almost as if Billie is playing a demented game of tag with the

Did Stephanie ever have to worry about the incinerator? "Stuff Stephanie in the Incinerator" is a delightful surprise that defies all expectations. As someone who was anticipating the typical over-the-top antics synonymous with Troma releases, I was completely taken aback by the film's unique charm. This movie is not just another exploitative romp; it's a cleverly written, weirdly funny, and remarkably well-directed gem that stands out in the world of low-budget cinema. From the moment the film begins, it's clear that this is not your average Troma fare. The writing is sharp and unexpectedly nuanced, weaving a narrative that is as engaging as it is bizarre. The story, filled with twists and turns, keeps you guessing until the very end. It's a testament to the screenwriter's talent that a plot this offbeat can remain so coherent and entertaining throughout. Humor plays a crucial role in "Stuff Stephanie in the Incinerator," and it's executed with a finesse rarely seen in B-movies. The comedic elements are w

Look into your future and see if you're gonna be in any other movies. Looks bleak!  "Madame Web" is a masterclass in how not to make a superhero movie or really any movie for that matter. From start to finish, it's a torturous slog through wooden acting, a plot riddled with more holes than Swiss cheese, and an antagonist so one-dimensional and implausibly powered that it feels like the writers stopped caring halfway through. The acting, if it can even be called that, is painfully stilted. Each line is delivered with the enthusiasm of someone reading a grocery list, making it impossible to connect with any of the characters. The supposed chemistry among the cast is non-existent, leaving the audience to endure awkward interactions and flat dialogue that makes the lengthy runtime feel even longer. As for the plot, it seems the writers threw coherence out the window but more likely were shackled by the studios fidgeting from the "men in ties" department. The story is a tangled mess of nonsensical events t