The '50s gave us some bona fide sci-fi classics (The Fly, Forbidden Planet, The Incredible Shrinking Man, The Thing From Another World), a fair amount of entertaining sci-fi schlock (The Brain That Wouldn't Die, The Killer Shrews, The Manster, Fiend Without a Face, The Woman Eater), and an awful lot of sci-fi dross (too many too mention). Writer/director Christopher R. Mihm specialises in emulating the dross, and does a pretty good job, effectively capturing the look and feel of many a trashy, low-budget, black and white drive-in flick. But at the end of the day, well-crafted faux dross still doesn't make for a great viewing experience.
Weresquito: Nazi Hunter, Mihm's eleventh movie, is as daft as the title suggests: Douglas Sidney plays Cpl. John Baker, an American WWII soldier captured by the Nazis, who use him as a guinea pig in their diabolical experiments, transforming him into a man-sized insectivorous monster whenever he sees blood. Returning home after the war, John goes looking for revenge, hunting down those responsible for his condition. With tongue planted firmly in cheek, this crazy plot could have resulted in some unforgettable cinematic silliness, but played straight with an overly verbose script, the film severely drags for much of the time, undermining Mihm's good work in the technical department (the cinematography and music are particularly convincing as a product of the '50s).
Weresquito: Nazi Hunter, Mihm's eleventh movie, is as daft as the title suggests: Douglas Sidney plays Cpl. John Baker, an American WWII soldier captured by the Nazis, who use him as a guinea pig in their diabolical experiments, transforming him into a man-sized insectivorous monster whenever he sees blood. Returning home after the war, John goes looking for revenge, hunting down those responsible for his condition. With tongue planted firmly in cheek, this crazy plot could have resulted in some unforgettable cinematic silliness, but played straight with an overly verbose script, the film severely drags for much of the time, undermining Mihm's good work in the technical department (the cinematography and music are particularly convincing as a product of the '50s).
