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Recent Scifi Films That Didn't Need Big Budgets To Be Amazing. Low- budget scifi movies may have had their heyday during Roger Corman’s rise to B- movie greatness in the 1. Here are our favorites from the past few decades. Another Earth (2. Director Mike Cahill (I Origins) and star Brit Marling (The Sound of My Voice, Netflix’s The OA) co- wrote this tale of guilt, grief, and cosmic second chances. Marling plays a brilliant woman named Rhoda who makes a terrible, tragic mistake: causing a car accident that kills a woman and her unborn child, leaving the woman’s husband, John (William Mapother), physically and mentally devastated. Rhoda makes another terrible mistake when she first tries to set things right, seeking out John but failing to tell him who she really is.

Low-budget scifi movies may have had their heyday during Roger Corman’s rise to B-movie greatness in the 1950s, but they’re still going strong today—proving.

Red Sox fans have also seemed to have latched on the Apple Watch, not because of the tech itself, but because of their never-ending inferiority complex that flares up. Have you seen this movie? It’s about a bunch of bored-as-shit rich dudes who get drivers to race their supercars against each other for million-dollar bets on. · · You can watch this full-length movie on YouTube. American Pastoral – In Select Theaters October 21 Starring Ewan McGregor, Jennifer Connelly, Dakota.

But possible redemption comes from an unlikely place: the “mirror Earth” that looms above—represented by a very simple but effective visual effect—where the people and places are identical to those on our planet, with the key difference being that certain crappy life decisions may never have transpired. John Dies at the End (2. This cult horror- scifi comedy from Don Coscarelli (Bubba Ho- Tep, Phantasm) features quite a few outrageous special effects, as well as a cameo from Paul Giamatti, but it was still made for less than a million bucks. Based on David Wong’s novel, it’s about a pair of buddies who experience increasingly bizarre hallucinations and circumstances (alternate dimensions, aliens, etc.) when they encounter a new street drug that’s nicknamed “Soy Sauce.” Eventually, the fate of the world hangs in the balance—and along the way, there’s also an evil supercomputer, a heroic dog, and a monster that cobbles itself together from a freezer full of meat. Computer Chess (2.

Filmed in black- and- white using period- appropriate video cameras, writer- director Andrew Bujalski’s offbeat and intricate study of a computer chess tournament is set in 1. It was actually made in 2. Authentic nerds (not Hollywood nerds) converge on a bland hotel to determine whose program will achieve chess supremacy, though the backstage dramas and micro- dramas outside the competition provide most of the real interest. Though Computer Chess is mostly an awkward comedy, it ventures into scifi when it begins to suggest that one team’s artificial intelligence software is way, way more self- aware than most anyone realizes or is willing to admit. The American Astronaut (2. Another black- and- white entry, The American Astronaut manages to meld the genres of scifi, Western, and musical. Writer- director Cory Mc.

Abee, who once described his work as “Buck Rogers meets Roy Rogers,” also plays the title character—an intergalactic cowboy/rare- goods dealer who becomes entangled in a scheme to deliver a man to the all- female planet of Venus (but it gets way more complicated than that)—and his band, the Billy Nayer Show, provided the tunes. Unsurprisingly, the end result is something completely unique, enhanced by the film’s use of hand- painted, lo- fi special effects in most cases.

Monsters (2. 01. 0)Before Gareth Edwards did Godzilla—and then achieved his lifelong dream of making a Star Wars movie with Rogue One—he worked as a digital effects artist and applied those skills to his first feature, Monsters. As the title suggests, it’s a monster movie, but it’s uniquely set in a world where humans and aliens have been co- existing on Earth for a number of years, and while the tension and fear may not have deflated, the novelty has. Strangers (real- life couple Scoot Mc. Nairy and Whitney Able) team up to re- enter the US from Mexico, but the trip is complicated by a border that has become exponentially more hostile.

Edwards, who also wrote the film, did the cinematography, and did the production design, makes the most of a budget that’s just a tiny fraction of what he’d get for his future blockbusters. Robot & Frank (2. Lonely, technology- averse, and intermittently forgetful retiree Frank acquires a companion robot from his well- meaning son, and soon realizes his new sidekick would be the perfect partner in crime, literally.

Robot & Frank is a poignant study of aging, but it also does an incredible job making a robot character (and it is a real, developed character) believably blend into its otherwise fairly typical indie- film landscape. A winning cast (most prominently Frank Langella as Frank and Peter Sarsgaard as the voice of the robot, though a different actor actually wears the suit) further elevates this inspired effort from first- time director Jake Schreier and first- time screenwriter Christopher D. Ford. 8. Sleep Dealer (2.

In Alex Rivera’s thriller, it’s a future in which illegal immigration between Mexico and the US has been completely outlawed (thanks to a border wall..). However, since the US economy would collapse without a steady stream of people willing to work for nothing, would- be prospective citizens toil in grim factories where they’re physically plugged into virtual reality machines that control robots doing labor stateside.

Within this uneasy mix, we meet a man who dreams of hacking into a massive corporation to restore water to his region; a woman who peddles uploaded memories; and a drone pilot who has a crisis of conscience. Sleep Dealer is obviously a politically- minded tale that’s really about globalization, but it also manages to be completely thrilling at the same time. Moon (2. 00. 9)At the very end of a three- year solo stint on the Moon, the man overseeing an automated mining facility (Sam Rockwell)—who has only his AI (voiced by Kevin Spacey) for companionship—realizes he’s not as alone as he once thought. He also starts to suspect that his corporate employers are not as benevolent as he once believed. Director Duncan Jones (Source Code, Warcraft) is working on another film set in the same universe as Moon, called Mute, which will also have scifi elements though it’ll be set on Earth this time; eventually, he hopes to do a third and make it a trilogy.

The Signal (2. 01. College kids on a road trip take a detour to track down their nemesis, a mysterious hacker who lures them to an alien encounter, after which they’re whisked to an apparent government facility that’s experimenting with alien technology. On humans. Including them. Watch Robo-Dog: Airborne Putlocker.

Aside from its imaginative plot, which keeps you guessing until the end (and even then leaves you with a great “Huh?” image), it’s production design that evokes 2. A Space Odyssey and supporting turns by Laurence Fishburne and Lin Shaye that make The Signal especially memorable. Safety Not Guaranteed (2. Following in the footsteps of Gareth Edwards, director Colin Trevorrow made his feature debut with this budgeted- under- a- million indie before taking on Jurassic World and Star Wars: Episode IX. An intriguing magazine ad seeking a time travel companion (“this is not a joke”) piques the interest of a trio of Seattle journalists (Aubrey Plaza, Jake Johnson, and Karan Soni), who track down the man (Mark Duplass) to see if he’s a nutcase or the real deal—or, as it turns out, kinda both. The script (by Derek Connolly) was inspired by a real (but fake) ad that once ran in Backwoods Home Magazine, a fact which helps ground the film’s quirkiness—as do its performances (Plaza is perfect) and its portrayal of time travel as something ordinary people might explore for their own deeply personal reasons.

And yes, there are Star Wars jokes. The One I Love (2. Yep, another one with Mark Duplass. Charlie Mc. Dowell’s debut feature—filmed mostly at co- star Ted Danson’s house—is about Ethan and Sophie (Duplass and Elisabeth Moss), a married couple who try to salvage their relationship by going on a weekend getaway. Things soon get very, very surreal when it becomes apparent that everything is not what it seems, especially not Ethan and Sophie, who become entangled in their very unconventional therapy session.

Redline Turns 1. 0 This Year And It Remains The Best Worst Car Movie. So far, 2. 01. 7 hasn’t given us much to look at, unless you enjoy watching protracted dumpster fires. So, of course, the logical thing to do is to look back. Ten years, to be exact, which brings us to 2. Redline. Have you seen this movie? It’s about a bunch of bored- as- shit rich dudes who get drivers to race their supercars against each other for million- dollar bets on public roads, closed off airports and desert highways.

America’s sweetheart Nadia Bjorlin plays Natasha, a mechanic that quit racing after the tragic death of her race car driver father, who was killed at the track. Nevertheless, she still gets roped into driving for these lunatics and winds up getting kidnapped by one of the rich guys, who also happens to be an insane creep, like most actual rich guys. A number of explosions, fistfights and gratuitous shots of shifting and tachometer- climbing needles later, all conflicts are settled and the good guys walk away, still good.“Hot cars and HOTTER women,” a critic raved. Redline is also infamous, and probably most remembered today, for being that movie where Eddie Griffin wrecked a Ferrari Enzo at Irwindale Speedway. The Enzo belonged to the film’s producer, Daniel Sadek, who was also the owner of Quick Loan Funding, a home loans company, which was accused of predatory lending. Of course, once the housing bubble burst, Quick Loan Funding went out of business. CNBC's "House of Cards" documentary finally proves what we've suspected for…Read more Read.

Everything is terrible. But anyway! Sadek would use the earnings from Quick Loan Funding to buy exotic cars and produce movies like Redline. His personal cars made appearances in the film, including the Enzo and a Porsche Carrera GT (that was also wrecked for production value.) Knowing all of that kind of left a bad taste in my mouth as I revisited Redline again last night, but once I started the film, I gave myself up entirely to the gaudy superimposed titles, bad CGI, extreme douchebaggery, and the butts. My god, there were so many butts. Dare I say it? Yes: there are way more pointless butt shots in this movie than there are in all the Fast and Furious movies combined. At its uppermost level, Redline is a shallow, crap picture.

The acting is abhorrent, the lines are flat and everything feels cheap. It takes itself just seriously enough to be utterly mockable, like it’s the last one in on the joke. Watch Wrongfully Accused Mojoboxoffice here.

It embodies the very worst parts of car culture: gluttony, misogyny, female objectification, overt aggression, excessive testosterone and wanton disregard for public safety and discourse. But man, are the cars good.

Here is a link that may or may not include the entire movie that you may or may not click on at your own discretion.)Redline came out during what was, in retrospect, one of the greatest eras of supercars. The most high- end cars of the 2. They had monstrous engines, some supercharged and some not. A lot of them were manuals and if they weren’t, they had brutal, single- clutch semi- automatic transmissions.

The ones that kicked you in the back of the head when you shifted. Within nearly 9. 0 minutes of dated color- correction, tasteless split- screen shots and pointless plot, you’ll see a Lamborghini Murciélago, Mercedes- Benz SLR Mc. Laren, Ford GT, Ferrari F4. Porsche Carrera GT, Saleen S7, Lamborghini Diablo, Ferrari Enzo and a Koenigsegg CCX.

These cars were uncomfortable. They were loud. They ate gas like motherfuckers. Watch Tom Segura: Mostly Stories Online Mic more. They had wings, flares and gills. Had wide and bold angles that so defined their 2. And most times, they weren’t even engineered perfectly so they were dangerous.

That part of them were features, not defects. Hybrid power? That’s for Priuses, you hippie bastard. And best of all, you got to hear them in Redline.

You got to see them move, speed and drift. How often do you see one of these cars at a Cars and Coffee event and it’s just parked there, not going anywhere—silent. Cars, especially these ones, are meant to be driven and enjoyed. For that reason, Redline is great. Don’t watch it for the story, don’t watch it for the actors.

But if you’re tired of international heist movies, maybe this box- office bomb is worth a revisit.