Tag Archives: b-horror

“Buzzkill: The Wasp Woman Remake Stings But Doesn’t Stick”

31 Thursday Jul 2025

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“There is no greater wrath than a woman’s sting.”

Roger Corman’s original The Wasp Woman (1959) was never a masterpiece, but it had the scrappy charm of classic B-horror: a cautionary tale about vanity, science gone wrong, and insectoid terror delivered with modest ambition and low-budget flair. In contrast, Jim Wynorski’s 1995 remake loses almost all of that charm in its attempt to modernise the story—with more gore, more sleaze, and far less soul.

The story remains essentially the same: Janice Starlin, the head of a struggling cosmetics company, turns to experimental science in a desperate bid to reclaim her youth. This time, though, queen wasp enzymes are the miracle solution—and, inevitably, the curse. The difference lies in the execution. Where the original offered a blend of camp and caution, this remake leans into exploitation and cliché, trading subtext for skin and suspense for schlock.

Jennifer Rubin, known for her work in A Nightmare on Elm Street 3: Dream Warriors, does her best with the material. Her presence adds a certain credibility to a film that otherwise doesn’t earn it. Rubin is no stranger to genre work, and she brings an edge to Janice that hints at deeper conflict—aging, ambition, power—but the script barely lets her explore it before she’s buried under prosthetics and one-liners. It’s a waste of a talented actress who once embodied one of the most memorable “final girls” of the late ’80s.

Jim Wynorski, a veteran of low-budget exploitation fare, directs with his usual blend of tongue-in-cheek irreverence and no-frills staging. But here, the tone is muddled. Is it trying to be scary? Sexy? Satirical? The result feels more like a late-night cable filler than a worthy homage or meaningful reinvention. The practical effects are forgettable, the kills are uninspired, and the transformation sequences lack the grotesque creativity that could have elevated the film’s creature-feature potential.

The Prognosis:

The Wasp Woman (1995) squanders its B-movie legacy in favour of shallow thrills and thin plotting. Jennifer Rubin deserved better. So did the wasp.

  • Saul Muerte

Bug (1975): A B-Movie That Burns Bright—Then Fizzles

16 Monday Jun 2025

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In 1975, Bug crawled out of the cracks in the earth and onto cinema screens, riding a wave of post-Exorcist horror hype and late-’70s disaster film mania. Directed by Jeannot Szwarc—who would go on to helm Jaws 2 and various genre television—this curious creature feature was billed as “Out of the worst nightmare!” but lands more as a fascinating oddity than an outright terror.

The story begins with an earthquake that unleashes a strain of prehistoric, fire-starting cockroaches from deep underground. These bugs are no ordinary pests; they ignite mayhem—literally—by setting fires across a small Southern California town. Into this chaos steps scientist James Parmiter (Bradford Dillman), whose obsession with the insects transforms the film from a town-in-peril B-movie into something stranger and more cerebral.

Despite its sensationalist setup, Bug is oddly divided. The first half plays like a classic man-vs-nature thriller in the mold of Them! or The Swarm, but the second half goes full mad science as Parmiter begins experimenting with the creatures, leading to unsettling results that are more philosophical than frightful. This tonal shift, while bold, doesn’t fully stick to the landing, and the pacing suffers as a result.

Still, Bug earns points for its ambition and its legacy. The film marks the final screenwriting credit for horror icon William Castle, best known for gimmick-laden hits like House on Haunted Hill and The Tingler. While Castle didn’t direct, his signature showmanship lingers in the premise: intelligent, pyrokinetic cockroaches are the sort of high-concept horror few studios would touch today.

The special effects, practical and charmingly clunky, embody the B-movie charm. Flames burst from cracks in walls, cockroaches crawl in erratic stop-motion patterns, and the film’s pseudo-scientific jargon is delivered with deadpan sincerity. Dillman’s lead performance is suitably obsessive, grounding the escalating absurdity in a brittle sense of purpose.

Fifty years on, Bug is best appreciated as a relic of a transitional period in horror—a bridge between the giant monster flicks of the ’50s and the grittier body horror of the ’80s. It’s not particularly scary, and it never reaches the heights it clearly aspires to, but there’s something compelling in its weird confidence.

The Prognosis:

Bug never fully delivers on the paranoia or pyrotechnics promised in its lurid marketing, but for fans of eco-horror and insect cinema, it remains a crispy curiosity worth digging up—just don’t expect it to set your world on fire.

  • 50th Anniversary Retrospective by Saul Muerte

Revisiting The Flesh Eaters (1964): A Surprisingly Fun Low-Budget B-Movie Horror

09 Friday Aug 2024

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In the realm of 1960s B-movie horror, The Flesh Eaters (1964) stands out as a surprisingly enjoyable entry despite its low budget and modest production values. Directed by Jack Curtis, the film delivers a blend of thrills and chills that keeps audiences entertained, even if it doesn’t reach the heights of more polished horror classics.

The Flesh Eaters centres around a group of characters stranded on a remote island, only to discover that the waters around them are infested with microscopic creatures that devour flesh. This premise, while simple, is executed with a sense of fun and creativity that elevates the film beyond its budgetary constraints. The special effects, though primitive by today’s standards, are effective enough to create a genuine sense of menace.

Director Jack Curtis, who also appeared in Mario Bava’s Planet of the Vampires, brings a certain charm and energy to the project. His direction, while not groundbreaking, is competent and keeps the pacing brisk. Curtis’s dual role as both director and actor showcases his versatility, contributing to the film’s overall appeal.

Veteran actor Martin Kosleck adds a layer of gravitas to the cast, delivering a performance that balances the film’s campy elements with a touch of seriousness. Kosleck’s presence elevates the material, providing a reliable anchor amidst the more outlandish aspects of the story.

While The Flesh Eaters doesn’t aim for high art, it succeeds in delivering a fun and engaging horror experience. The film’s modest ambitions are met with a spirited execution, resulting in a B-movie that entertains without pretense. Its low-budget nature is part of its charm, offering a nostalgic glimpse into the era of drive-in horror flicks and creature features.

The Prognosis:

The Flesh Eaters holds up as a testament to what can be achieved with limited resources and a creative approach. It may not be a masterpiece, but its entertainment value and the dedication of its cast and crew make it a noteworthy entry in 1960s horror cinema. For fans of vintage B-movies, it’s a film that delivers just the right amount of thrills and fun.

  • Saul Muerte