Mutant Hunt (1986)
Laughably badly made ripoff of Blade Runner and The Terminator with a mercenary hunting amok androids
The Science Fiction Horror and Fantasy Film Review
In scientific terminology, mutation is a change in the DNA of an individual or organism. It is one of the principal factors responsible for the Evolution of a species – where genetic changes are carried through multiple generations and those changes that are best adapted to survival come to predominate. Ever since the concept of DNA was understood, genre fiction has latched onto the possibilities of mutation with great enthusiasm.
1950s SF was filled with numerous examples of mutants, usually of the three-eyed and scaly-skinned variety, that would appear in the aftermath of a Nuclear Holocaust. Mutation also has the ability to create superhumans, frequently those with Psychic Powers. Equally it can have hideous side effects and turn humans into all manner of monsters, hybrids or deformed oddities.
Mutation is frequently the given cause when it comes to Monster Movies where atomic energy or genetic experiments have the ability to turn regular-sized creatures into Giant Animals – this is particularly so in the fad for Atomic Monster Movies.
Mutation is also often the cause of a superhero gaining their powers in a Superhero Film – indeed, almost the entire Marvel pantheon of superheroes owes their powers to mutagenics – where it can create a great range of abilities. Just as equally it can also serve as the origin for a Super-Villain.
Laughably badly made ripoff of Blade Runner and The Terminator with a mercenary hunting amok androids
This has a cute title pun but otherwise is a feeble SF comedy
Rather tedious throwback to the 1940s mad scientist film in which Donald Pleasence is turning people into plant mutations and pawning his mistakes off to the circus
Hayao Miyazaki’s second film, a visually stunning work set in the aftermath of a holocaust. Miyazai’s frequent themes of pacifism and respect for the environment and run through building to a emotionally wrenching climax
Very typical 1980s horror film steeped in an enthusiasm for the genre that makes a beeline for cheesy mutant monster effects
Completely insane 1980s spy film – a madcap mahsup of elements including James Bond gadgetry, mad scientists, action and splatter served up with not a shred of realism. The crowning glory is a completely OTT Gene Simmons as a cross-dressing super-villain
What will be the very last of 20th Century Fox’s X-Men films, this is more like a superheroic version of The Breakfast Club than any of the other X-Men films
Despite one of the great exploitation titles of all time, this bikini clad babes vs dinosaurs after the apocalypse effort lacks the cheerful cynicism of other Troma films and is just cheap, dull and unwatchable on almost every level
A low-budget post-apocalyptic action film featuring the almost completely forgotten martial arts and (non)-actor Ron Marchini who must venture out into the ruined city to rescue three girls
The second film version of I Am Legend, this rewrites the book’s vampires as mutants and abandons its mood of paranoia for a fantasy of hippie utopia and Charlton Heston in square-jawed action hero mode
Rare cinematic treatment of the generation ship story that conducts it with a modest degree of affectiveness. Produced by Paul W.S. Anderson.
This spinoff from the Madagascar films is a lot more fun that I was anticipating – how could you dislike a film with John Malkovich as an octopus super-villain? Essentially cast as a spy parody, the film has a gonzo insanity that hits in with a manic delirium
A rather dull 1950s atomic monster movie about a series of bodies that are found on a seashore that lead to a scientist who has created a radioactive mutant monster
Another of the horror versions of children’s stories, this has a in-name-only connection to Winnie-the-Pooh’s Piglet and is otherwise a variant on The Texas Chain Saw Massacre about a growth-hormone enhanced killer
The second of Star Trek creator Gene Roddenberry’s unsold Genesis II pilots. While you can see the series had some potential, the plot about the venture to a society where women keep men as slaves has a giggly silliness that feels like a throwback to 50s films like Queen of Outer Space
Animated adaptation of the one of the biggest Marvel Comics event storylines of the 2000s – the same one also used in Thor Ragnarok. Essentially Spartacus recast with The Incredible Hulk
From cult director Joe D’Amato, this throws together hardcore erotica and gory zombie film in a conceptually bizarre mix that leaves you scratching your head
Troma film that has maybe the silliest movie title ever. This sets out to be so persistently moronic and wilfully offensive that it eventually attains a delirious absurdity
The second-to-last film produced by the legendary George Pal, concerning people hunted by a psychic supermind
Nicolas Cage’s career choices in recent years have taken him into serious psychotronic headspace. Shion Sono is a director whose film’s inhabit demented territory. It seemed inevitable that the two should meet up on screen
An excellent film about a psychologist sent in to assess a child who reveals phenomenal intelligence and psychic powers
The once celebrated John Frankenheimer flopped with this monster movie about a mutant bear with laughable effects and inflated pretensions to message making
A remake of the first Quatermass story conducted as a live broadcast tv movie. Quite a considerable technical achievement considering the limitations and one that works with quite reasonable results
The first of the Quatermass films and the first major genre hit for Hammer Films. Nigel Kneale creates a literate work of science-fiction horror about a returned astronaut mutating after exposure to an alien fungus
Wacky offbeat film about a group that set out across post-apocalyptic terrain in search of a pirate radio signal
Based on the survival horror videogame, this was the first in a surprisingly popular series of films. It also presaged a major return of the zombie film during the 2000s/10s, even if this only treads where George Romero went better before
Four films in and clear evidence that the Resident Evil series needs to be retired. This consists of tediously borrowed action moves now presented in 3D and a plot of random dead ends that make little sense
The first of the Resident Evil sequels and a better film than its predecessor, getting in a series of spectacular, if at times ridiculously silly, action sequences
The second of the Resident Evil anime films. This is set before the release of the T-Virus and focuses on origin stories for some of the characters
The first in a series of anime films that were produced by Capcom, the creators of the Resident Evil videogames, and intended to run parallel to the live-action films. I was never a big fan of the live-action films. The question is – does Resident Evil work better in the anime format?
Third of the Resident Evil films. This expands the scale of action to show the entire world destroyed by the virus but for all that and a decent budget, director Russell Mulcahy fails to push the elements to a suitable head of steam
Another unnecessary entry in a creativity-handicapped series, the continuing popularity of which is baffles. This shuffles through the familiar moves, brings back several familiar characters but only leaves me asking why I have invested some nine hours of time following this series
The Resident Evil films are designed for people who were introduced to drama via the Xbox, action sequences that can be assembled in random order and where it doesn’t matter what happens. I watched this, the sixth and final entry, with next-to-no enthusiasm but then quite unexpectedly it starts to work
A reboot of the Resident Evil film series under a new director with Johannes Roberts who abandons the previous action poses for a far darker and more visceral survival horror approach
Charles Band returns to H.P. Lovecraft and conducts a low-budget remake of From Beyond, which he had memorably overseen back in the 80s with Stuart Gordon
Alien scripter Dan O’Bannon jumps aboard the 80s/early 90s fad for H.P. Lovecraft adaptations is this directorial outing that eventually develops quite reasonable effect
Wes Craven’s adaptation of DC’s Swamp Thing was not a very good film. This sequel has been handed over to prolific B-budget hack Jim Wynorski who shows he is unable to take any of it seriously
Silent Hill was one of the best videogame film adaptations and created a genuinely uncanny atmosphere. That film’s director returns to the franchise here with more of the same but misses the mark
A cheap submarine adventure/underwater monster encounter from Spanish director Juan Pique Simon that was intended as a copy of James Cameron’s The Abyss
The Teenage Mutant Ninja Turtles are resurrected in a new animated film that feels like a watered-down fix designed for Ritalin-deprived youth
A mockbuster from The Asylum released to ride on the coattails of Mad Max: Fury Road. Slightly more watchable than most of their offerings, although still cheaply made, this is the oddity of a Mad Max film with the addition of vampires
Promisingly ambitious animated SF film that tries to catch some of the trippy qualities of Heavy Metal where the impressive quality of animation is let down by a juvenile story about a rock band in a post-holocaust future
Low-budget film designed to copy the success of Destination Moon that ended up being the first film of the 1950s Golden Age. A surprisingly modest effort about a rocketship going off course to land on Mars
Enormously entertaining David Cronenberg film about psychic powers. Cronenberg is fascinated with the conceptua possibilities and creates some sensational set-pieces
A film naming itself after an entire genre either has massive ambition or huge pretensions. Beyond the grandiose title, this is not much more than a better budgeted version of an 80s planetary adventure
Amateur production that seems like a version of the X-Men crossbred with The Amazing Race. Not very good on most counts
A Gonzo Killer Shark film about a social media influencer bitten by a radioactive shark who becomes a shark-human hybrid
A mind-bogglingly bad film that has absolutely nothing to do with H. Rider Haggard and is a post-holocaust film with Sandahl Bergman as an Amazonian warrior. The film is made with a bizarreness that may cause mental damage
In 2025, Popeye entered public domain in the US. As with Winnie-the-Pooh: Blood and Honey, this was immediately greeted with several horror takes on the character. This is one of them – essentially a Popeye slasher film
One of the best of all filmed videogame adaptations. Christophe Gans creates a creepy and unworldly atmosphere, along with a series of genuinely outlandish creature effects
Dull and unimaginative Silent Hill sequel that only revisits what went before. The first film had an uncanny otherworldly atmosphere but the sequel reduces everything to no more than pop-up Clive Barker
Film spinoff from the long-running animated tv series. The familiar gags are there but show feels awkward extruded out to a full-length plot. You keep feeling the film should have been more than it is.
Gonzo comedy set in alternate world where a samurai-sword wielding Buddy Holly wanders through a post-apocalyptic present
An alien invasion film that exists largely as a series of dazzling effects set-pieces, although proves frustrating when it comes to plot or explanatory rationale
James Gunn directs a film about body-snatching alien slugs that proves enormous fun and comes packed to the edges with numerous genre references and homages
Killer slug movie from hack Spanish director Juan Piquer Simon where the sole notable aspect amid the cheapness of the production is some very gory deaths
The title and the description of a space station crew dealing with a mutating runner duck gives the expectation of something wacky – what we get is more like a variant on Dark Star, a comedy set around the boredom of life on a space station and a 1970s era episode of Doctor Who
Another in the gonzo killer shark film fad viz Sharknado, a bottom of the barrel effort that concerns lab sharks returned from a space mission mutated
Planetary adventure in the Star Wars vein with a few shakes of the junkyard future look of Mad Max 2. This was made to exploit the short-lived early 80s 3D revival fad
Low-budget superhero that co-opts the cod-film noir look from Sin City. Alas the film has an excessively sprawling and complicated plot, while the film noir style looks like no more than cheap pastiche reduced to cliche poses by well-meaning amateurs
Independently made 1970s monster movie. The film came along about ten months too early to be be part of the great spate of B movies that copied Alien and so draws on the earlier model of The Creature from the Black Lagoon. Nothing exceptional
The first big screen incarnation of the Marvel Comics character, the theatrically released pilot for a dreary tv series starring Nicholas Hammond that stripped Spider-Man down to being no more than a superpowered detective in a tv cop show
A huge hit and one of the key influences that created the box-office dominance of Marvel Comics in the 2000s/10s. A fine incarnation of the comic-book, Sam Raimi brings it to life with exhilarating web-slinging scenes but overdoes the winsome innocence of Peter Parker
Sam Raimi and Tobey Maguire get it just right in the second entry in their trilogy of Spider-Man films. The writing team deliver a fantastic Soul of the Superhero script while Raimi delivers some superheroic action sequences that are about as exciting as it is possible to get (*)
Last and by general opinion the least of the Sam Raimi-Tobey Maguire Spider-Man films. With three super-villains present, the plot feels as though it is bursting at the seams juggling the various origin stories and ongoing dramas, although Raimi still delivers some solid superheroic action scenes
Sony’s reboot of the Spider-Man franchise bursts with a freshness and creative energy. This is also a Spider-Man that has integrated with the MCU with the script kowtowing to Marvel at every point
Sony, the holders of the Spider-Man copyright, squeeze more out of the property with a madcap animated offering that mixes up a host of alternate takes on Spider-Man in what visually resembles an explosion at a pop art exhibition
Sony’s Spider-Man franchise ingeniously competes with Marvel’s shared universe by bringing all their previous incarnations of Spider-Man together
The third and last of the theatrically released films recut from the 1970s live-action Spider-Man tv series. The near sleep-inducing plot takes Nicholas Hammond’s Spider-Man to Hong Kong
The start of Tobe Hooper’s decline wherein he borrows the basics of Firestarter in a really bad film with a madly overacting Brad Dourif as a pyrokinetic
Fascinatingly original monster movie – a wild mix of H.P. Lovecraft, The Man from Earth and Before Sunrise. A beautifully realised work that leaves you with the sense of not knowing what to expect from one minute to the next
A team of house movers find they are working for infamous Nazi doctor Josef Mengele who has an attic full of deformed mutations
An outrageous Hong Kong prison film that comes filled with mind-bogglingly over-the-top splatter effects
Roger Christian was art director on Alien but will always be remembered as director of the notorious Battlefield Earth. Here he is stuck making a cheap, tatty and frequently incomprehensible copy of Alien about alien impregnation
Likeable variant on the giant bug film – concerning giant mutated wasps, no less. This is largely predicated around some accomplished creature effects and having something gooey happening every few minutes
A Scary Movie-styled parody of the early 00s spate of superhero films, this has a few amsingly on-target spoofs of its targets (especially Spider-Man) but is mostly scattershot
Gonzo comedy that looks like a film about post-holocaust mutants that has been directed by Russ Meyer
Wes Craven makes a film based on the DC Comics character but reduces the mood of the original to something cartoonish. One of Craven’s worst films
A blatant copy of Snakes on a Plane featuring mutated ants aboard a plane. Without the other film’s tongue-in-cheek approach, this collapses into absurdity
A completely ridiculous film about mutant scorpions on a plane – after something this laughable, it’s hard to see why Snakes on a Plane needed to plant tongue in cheek
This is poorly regarded by fans of the original cult comic-book, nevertheless has a zany, anarchic energy and surreal sense of humour that is hard to dislike
Larry Clark remakes the old Roger Corman film and makes a beeline for his usual proclivities about teenagers having sex in a fairly outrageous post-apocalyptic work
The first live-action spinoff of the comic-book and animated series still holds up well two decades later. Little of the manic barrage of pop culture has dated, there are some excellent animatronics that allow the Turtles to engage in a series of high-energy fights and more importantly emerge as distinctive characters
This reboot of the pop culture icons of 80s/90s is an ugly failure on almost every level. The Turtles I remember were hip, funky and bubbled with boyish enthusiasm; these Turtles seem sinister oversized creations, while the film’s adrenalised over-production and emphasis on grit seems to have missed the essential element of fun
The second live-action Turtles film is a disappointment. The Turtles are infectiously enjoyable characters but the script has an indifferent laziness, while parental concerns over violence have mandated that the fight scenes be watered down to an absurd level
The third of the original live-action Turtles films is a lazily conceived affair that transplants the Turtles back in time to feudal Japan in a plot that rips off The Seven Samurai
The Teenage Mutant Ninja Turtles were the pop culture phenomenon of the 1980s. They have not fared so well in the 2000s but this new animated film written by Seth Rogen is a promising start
Nobody has good things to say about the 2014 reboot of the Turtles. This sequel is stuck with its legacy – giant over-sized Turtles that lacked the cuteness of the originals; bitchy non-acting Megan Fox – but comes out winningly by doing one thing – emulating the spirit of the original cartoon series
Takashi Miike delivers a completely madcap film about evolved cockroaches on Mars being fought by astronauts who take doses of mutagenic serum to give them insect-based super-powers
1950s B movie about time travel experiments that produce a deadly woman from the future. Nothing standout but Salome Jens has an otherworldly presence as the woman
Roger Corman produces a blatant copy of Alien with a group of people being pursued around a desert laboratory by a rubbery mutant creature
Shinya Tsukamoto’s third Tetsuo film is a disappointingly commercial concession that waters down all of the surrealism and wild sexual fetishism that made the first film so amazing
Them! and The Beast from 20,000 Fathoms created the 1950s atomic monster movie. Them’s particular spin was to create the giant bug film. Unlike the B movies that followed, it is played with realism and sober conviction
Beautifully colourful 1950s SF film about scientists who are abducted to take part in a war between two alien species
With the Mega Shark and especially the Sharknado films, The Asylum played the killer shark film as ridiculously as possible with delirious results. In this sequel to 2-Headed Shark Attack, they get the blend of the tongue-in-cheek absurdity to a point of near-perfection
Melissa McCarthy, along with Octavia Spencer as her best friend, is a comic screw-up who obtain superpowers
Routine variant on the 1970s killer bug film, although the bugs here are gooey and cartoonish not meant to be taken seriously
This adaptation of H.G. Wells’ classic novel was one of the best films from 1950s SF producer/director George Pal. The time travel is depicted with considerable wondrousness and standout effects for the era
Largely forgotten adaptation of the H.G. Wells novel made for tv. While other versions place the story in Victorian England, this has been Americanised – where the time traveller is a weapons designer and journeys back to the Wild West. What kills the film is a painful cheapness
Remake of the classic H.G. Wells novel that comes with the novelty of being directed by Wells’s great-grandson. More disappointingly it prefers to merely remake the 1960 film rather than return to the book