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Dar reunites with Seth and his home planet in order to save his bro, but screw everyone else. I need a hero, but could I get someone besides this Dar guy?

So if you're a big fan of Dar, well this one isn't for you. It sure exposes Dar to be a cadre of negatives. He's dumb as dirt. He's a bit of a dick. He only thinks with his dick. He doesn't give much of a crap about his friends or the other citizens of his planet. And lastly and most importantly, he's not even a damn Beastmaster. His friends (the lion (who was a tiger before), the hawk and his two ferret pals) refuse to do as he commands but even past that a damn camel bucks him off. The man who controls beasts gets bucked off a dromedary. Inexcusable. Dar sucks in BM:III.

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A believe it or not commercial success, but working more like a confused mess that doesn't know who they want watching it, Burt Reynolds teams up with a precocious scamp to take down a drug ring - because early 90's.

Talk about 90's stereotypes and whatever rules to life. Of course, the kid doesn't have parents - it's 1993! Of course the cops cave to his demands to be a cop despite being 10 - it's 1993! Of course, Burt Reynolds drives over everyone's yards without consequences - its 1993! Pop Rocks for a drug prop? You betcha its 1993!

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Knocking off Beverly Hills Cop while showcasing Gary Daniels as a cheaper JCVD but forgetting that he can't act past his gob being open, White Tiger can't figure out what it is or what it should be so it just manages to be mid-90s karate mush.

Why doesn't the movie work or why did I absolutely wish I'd watched something else? Well I'll tell you who's fault it is. It isn't Cary Tagawa. He's fantastic, of course. And he's allowed to go to 11 so it's not director Richard Martin's fault either. It's not even Gary Daniels fault despite his lack of acting, as the big draw is the fight sequences which he co-choreographed with prolific stunt-man Lauro Chartrand. So whose fault is it that White Tiger is a total boring slog of a film?

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Nobody crosses the bridge between Uptown and Jungleground! Except the dope pushers, of course. Oh, and the cops. Well we gotta give 'em a little action every now and then, right? Oh and the Feds, hookers, delivery companies, truckers and constructions workers. Seems like everyone does actually.

What you've got here is fairly standard fair for a mid-90's DTV action movie with a few standout exceptions. Roddy is, of course, great despite his terrible dialogue in the script. The relationship between Roddy's "Jake" and his fiancé(?), Samantha, is unique in that its just a straight-up good relationship with no getting sidetracked in backstory or conflict between them. Even Samantha takes a few departures away from cliché' by supporting his copping, standing up to sexual harassment and not being a helpless damsel. The film also does one thing very well - it never loses focus. Its "get home, Jake, before they kill your love". No pauses in that goal. Even with the addition of a helpful hooker who just wants to start a new life, Jake always keeps moving forward. He doesn't stop to ponder her struggles or drop her off a a clinic and stay to check on her (in fact he drops her off with some construction workers and steals their truck) nor does Jake try to save Jungleground or its people. He just keeps moving toward Samantha.

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Two truckers (an old hat and a young buck) and a waitress manage to defeat an army of the most unstoppable killing machines, which even the Predator wouldn't stand a chance against, using the rules of the space highway. Honk, honk, pew, pew!

What you've got here is a decent stinker but gets bogged down by how awesome it SHOULD be. It's called Space Truckers. That should be enough to make it amazing. Then Stuart Gordon is directing. I'm no huge lover of Gordon and think most of his projects are just ok, but he's competent enough that he could helm a movie called Space Truckers and not make it not amazing. Tack on Dennis Hopper, who is honestly either great or terrible and either would work here. 

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Want to save the environment but are only a Brazilian princess? Well, show off your pretend dance craze skills on American Bandstand! So long, climate crisis! The merengue is coming for you.

So what you've got here is a basket of terrible sequences from the minds of Meneham Golen and Greydon Clark. As the pair rushed the film out in just 56 weeks (from concept to release) in order to hedge their bets against Yorum Globus' Lambada (which released on the same day), what was given to the public was exactly what it deserved. See the lambada was no such dance craze as we've been told. It was a made up craze, likely pushed by the Cannon Group boys so that they could sell tickets to, you guessed it, these two movies. You show us evidence of there being a lambada fervor pre-1990 and we'll eat our shoulder-pad shirts. So yeah, suckers, you bought into some baloney dance fad, you get this thinly put together film in return!

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Two "brothers" get chased around so that Robert Patrick's hair can capture the second half of the Double Dragon while teaming up with The Hyper-Color Gang. Patrick should have just drank more vodka.

What works best in this movie is everything that didn't work for me in 1994. Everything sucks. The look of the film is vomit. The acting is gut-wrenching. The plot is corny. The action is hammy. The one-liners are a series of eye-ball rolls. Yet somehow, in post-2007, this thing is such an absolute mess of terrible ideas that don't really happen anymore. Most modern movies revolve around just one or two terrible decisions ie. The Great Wall's plot, making the tornado a monster in Hurricane Heist, the dialogue in London has Fallen. This movie is instead a showcase of nothing but terrible ideas and failed concepts that all become awesome now.

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Nicole Eggert goes part Robocop, part Wolverine, part Deadpool and all terrible in this cheese-fest from the 90s dark action bandwagon, while also managing to cram in Richard Grieco's true acting ability and still managing to be somewhat boring.

This is another movie that has all the things that are required to make a bad movie awesome yet isn't because of the filmmaking elements of the time. The feel and tone of the film bogs down all the awesome crap that happens. Its like a delicious donut served only with Metamucil. Boy, you want to enjoy the donut but your stuck drinking your geriatric medicine. Do you pass on the whole experience?

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Its Schwazenator vs Y2k fears! The epic battle begins! Meanwhile, Gabriel Byrne gets a handful.

So what we've got here is that Satan wants to ensure that the Anti-Christ's mom is gonna be good to go when she's old enough for a rogering. The PROBLEM is that it takes about 15 views to understand that. The film is mostly just nonsense action sequences that could very well be just unconnected events if one isn't taking notes on the dialogue (or listening to a podcast discussing this all).

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If 1980's Hollywood was obsessed with water shortages, the 90s was obsessed with evil cable TV. Here a husband and wife get sucked into a hellscape of television also known as CBS Primetime.

So what we've got here is that John Ritter's Roy is obsessed with watching TV and ignores his responsibilities, his kids and his wife. Pam Dobber as Helen seeks for a way to get him off the tube but that problem works itself out when both are sucked into a Devil's Gambit that sends them through various television parodies and tropes. If that wasn't the setup for 90's comedy gold...let's chuck $25 million at it!

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It ain't Blade. It's 90s Anne Rice with unattractive people and inept opponents. And it all could have been avoided by drinking tea together.

At least everyone is evenly matched. Don's Jack Cutter is way ill equipped and ill prepared to be taking down even lower level vampires. Guns don't work, bud. A sword seriously would have been cheaper and more effective than his shotgun and M1911s. Or a hammer. Use a damn hammer! Why a hammer against vampires? Because the vampires have spines that are made of glass. Well big deal right? Nope that's the only way you can kill them. By breaking their incredibly fragile spine. Huh...

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A NATO team of the least qualified sea-men (giggle) take the Beatle's submarine down to the depths of the sea and find some icky monsters, hungry starfish and love. Of course they do.

So some might call the Rift a Leviathan and Deep Star Six knockoff, but we see this as much more of an Aliens knockoff, which becomes its fatal flaw. The plot is just so familiar and could take place in space just as easily as it does it under the sea. You've got the expedition into tunnels with an unknown monster patrol ahead. You've got the "military wants the monster for biological warfare" yadda, yadda. You've got the ship breaking down due to sabotage, yadda yadda. It gets tedious just watching Aliens again.

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Voted Britain's Worst Movie Ever (by some blokes who must not have a very deep pool to chose from) Carry On Columbus becomes our first foray into the Carry On franchise. I think we can all agree; it's funnier than ACTUAL Columbus.

We've entered into this in a very unconventional way. We imagine most viewers of the Carry On franchise have a few of their higher quality films under their belt before watching this - which is obviously going to be inferior. So likely, in those viewing specifications will lead many to absolutely loathe this movie. We don't fall into that camp. This ONLY made us to want to watch even more Carry On. Because if this is the worst, well the others have gotta be pretty good.

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WWIII is averted by sending two men to do single combat - one who just got beat up and another who is one mean gardener. It's about as dumb of a movie as ever been created and now we gift it to you.

While The Final Sanction has some flash in the pan moments that have similarities to the masterpiece Deadly Prey it's a film that suffers from being dreadfully slow. Everything takes way too long - think Birdemic. Sadly, it misses its chance to be an instant stinker classic (because it's so stupid) and falls into the it's just ok category.

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Some little dudes who clearly aren't actual Ghoulies warp into our dimension again to do...something... All while the guy from the first Ghoulies is still dealing with his demon summoning past and his obvious hot-chick magnetism, despite now being one tough cop.

So the first thing that should be noted is that there are no ghoulies appear in this film. We're told that there is ghoulies but these are clearly not ghoulies. And there's only two of them. And there doing very not ghoulie things. We think they likely were not warped in from Purgatory but from Nilbog.

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Clint Howard delivers ice cream and one liners as a murderous Schwann's delivery guy. Is he the Pied Piper or just every other ice cream man? With top cops, Jan Michael Vincent and Lee Majors II on his case, how can he possibly get caught?

While we're not entirely sure what this movie is, we can tell you one thing - it's a lot of fun. It doesn't rise to the so bad it's good level that Troll 2 does, but that's likely to Clint Howard being too talented - but it definitely falls into that same category and tone. The two would make a great double feature. 

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Chaz is back and with the help of Michael Biehn and Billy Paxton, sends seven guys in to blow up some moderately dangerous weapons, comes back with only four guys and commits ineptitude and crimes against humanity along the way. Recruitment has never been so good, right?

Wow, is Navy Seals a terrible representation of America's top elite fighting force. I mean, if this is how things really are, help us all because bad things are going to happen around the world. Nothing here makes the viewer say to themselves, "Hey, those guys are doing a good job. I should join up." Now, all our libtard "war is bad" attitude aside, these guys are completely inept. They take the hardest route to do the most mundane of tasks and end up getting most of them killed with each step.

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Charlie Sheen puts on his tough guy face and then realizes he still has that Charlie Sheen face, so he runs with it. Here Topper Harley gets a little too close to the edge, in much hilarious fashion.

So the film's plot (while LOOSELY based off the real life Dan Black) is a pretty conventional "cop goes undercover and almost goes over the point of no return" but the manner in which its delivered makes for a pretty solid LOL time while adding in a lot of room for riffing. There's this juxtaposition between going dark and goofball humor that completely conflict with each other, making a weird tone to the entire experience. 

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Once upon a time in Hollywood, we made movies around soundtracks and the movie took a second place in effort. At the height of that craze, we were left with this malarkey and the legend of Chris O'Donnell was born.

Let's get this out of the way; we've come a long way since swashbuckling was big and there's good reason. It stinks. Think of watching Henry Cavill mess a bunch of guys up in an alley during the first season of The Witcher. It's badass. Swashbuckling is not. "Yes, but the kiddies can't exactly watch The Witcher split a man's head in half with a silver sword, now can they? Oh wise podcast critic! Haha!" Charlie Sheen might say. Ok, well then think of Viggo Mortensen fighting orcs at the Battle of Helm's Deep, you winning bastard! Swash-buckling is a complete waste of time.

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Good ol' Terry Hogan becomes Santa the Vigilante and fights a group of scientists who want to demolish an orphanage and then proceeds to do all the demolishing for them. Good job, Santa!

Santa with Muscles is bottom 100 material yet it's surprisingly fun. However, I can't really tell you why. At no point is anything so bad that its good. The action is all kind of meh, the set pieces are all underdeveloped, the villains never really enter the realm of over-the-top hammy. It's ALL super stupid but there's just something kind of nice about the whole viewing experience. It's just a weird little piece of garbage that's a "do" but can't really be explained.