Where Does Evil Stand in the Post-Apocalypse? “Blue World Order” review!

Nuclear war had demolished the quiet rural areas harboring bio-engineering plants and has crumbled societies in a post-apocalypse. The nuclear fallout caused a deadly bacteria to thrive and spread amongst the region, wiping out millions of lives in its path. A group of scientists seek to rebuild the devastated population by devising a plan to send an electromagnetic pulse that will directly input inhibitors in the brain to block the bacteria from overwhelming a dwindling human race, but the success of the pulse came with a severe cost involving the death of every child on the planet. Also embedded in the pulse is a mind altering virus that encoded itself into every person’s brain to act as a mind control device. The only person virally immune, a fallout survivor, is a struggling father, Jake Slater, trying to protect his adolescent daughter, Molly, at all cost as she’s the only child left on Earth due in part to her father’s immunization. Malevolent creators behind the virus aim to get their hands on Molly and experiment on her immunization before inevitably releasing upon the world a much more sinister version of the virus from the pulse tower that only Jake can destroy.

“Blue World Order” is the martial arts, post-apocalyptic, science fiction flick from first time feature directors Ché Baker and Dallas Brand. Baker and Bland co-wrote the screenplay with Sarah Mason that flaunts a major concept, perhaps better suited as a major Hollywood studio concept, but wouldn’t quite cross that threshold of positive public opinion stemmed from cramming too much into the a non-stop, action-packed contiguous acts laid simply out to illuminate an aged old theme of power hungry Government against meager do-right resistance. To further add on top of all that doesn’t feel right about this film, we’ve all seen this film before or, perhaps, a similar rendition of it. The 1989 Jean-Claude Van Damme film, one of many Van Damme guilty pleasures, “Cyborg,” blends martial arts with a futuristic wasteland decimated by a deadly plague and while the gritty and dark “Cyborg” carries itself vastly different from Bland and Baker’s more flashy and glossy approach, the story’s core is virtually the same with oppositions desiring to save the world for an interior motive.

Since this is an Australia production set on location in Australia, seems like a no brainer that Melbourne born actor, Jake Ryan (“Wolf Creek” the television series), would snatch the lead of Jake Slater. Ryan’s beefy build and rugged appearance have him a prime candidate for a hero, a fighting father, in a world in turmoil, but the way the film’s edited, Ryan comes off a bit aloof and a droll warrior. Ryan is joined by a few other familiar Australians and New Zealanders such as Jack Thompson (“Star Wars Episode II: Attack of the Clones), Bruce Spence (“Mad Max”), and Stephen Hunter (“The Hobbit” trilogy) as a screw loose rebellion leader with a awful martial arts stand-in that dons a lighter shade wig. There’s also Billy Zane. Zane, a native of Illinois, has a knack for hitching himself onto foreign products; his last venture we reviewed was a Greek production entitled Evil – In the Time of Heroes, but Zane’s a remarkable actor whose able to morph into the essence of any character, especially characters that sport lopsided power like his character Master Crane, a martial arts instructor turned catastrophic savior post-fallout. The cast rounds out with newcomer Billie Rutherford, Kendra Appleton, and Bolude Fakuade.

One headache smoldering as a consistent motif throughout is the lack of character development. Before his calling as the one to save humanity, a dream sequence exposition touches upon Jake Slater’s time before nuclear war. Slater’s seen engaging in a friendly, if not slightly competitive, martial arts bout with instructor Master Crane. The two have an important, intrinsic history, involving Jake contracting a debilitating disease and able to bounce back with rehab through Master Crane’s teachings, that goes sorely unexplored. Most likely, the lack of development can be a direct result of the aforementioned with too much jammed into an already cluttered heap that jumps from one thought to the next without a proper seque. Even the introduction and the removal of characters has a nauseating sway. For example, when Stephen Hunter’s Madcap is introduced, he suddenly runs up to a fleeing Jake Ryan and the overweight, disheveled, rambler is able to best the physically fit, martial arts instructed, desperate father in more than one occasion. More instances like these can be exploited throughout, but we could be here all day breaking down the details or lack there of.

Random Media delivers Ché Baker and Dallas Brand’s fantasy-action “Blue World Order” onto DVD and VOD nationwide. A DVD-R screener was provided and can’t officially comment on the presentation or the audio tracks, but if there’s one issue to be said about the image quality, the special effects are horrendously Sy-Fy channel cheap with superimposed flames reaching six feet high in a monolithic-like pose. With effects like that, the indie Sci-Fi picture’s intended purpose is to solely entertain on a round house kick and uppercut punch level and not to invoke too much thought into a series of concepts. Instead, to sell the next Billy Zane installment, the selling point long shot of a “Back to the Future” Delorean car chase through the Australian desert is nice and attractive and proven to work. Shoddy blaster sounds and crumbling CGI put the last few straggling nails into “Blue World Order’s” vast coffin for a film that aimed really high for the bar but missed really low with unfocused material and devastating plot holes on a world-ending scale.

Rent “Blue World Order” at Amazon Video today!

Evil Attracts With the Fluorescent! “Feed the Light” review!

Sara, a desperate young mother, infiltrates a secret facility workplace under the false pretentions of becoming an employee of the critical janitorial department. After losing custody of her adolescent daughter Jenny in court, the child becomes misplaced when her custody awarded father, an employee, loses Jenny in the facility that’s conducting unusual activity involving the building’s light energy source. With everyone on constant edge and under the powerful and dangerous influence of the light, including her very organized and unstable employer, Sara is able to find a sympathizer in the head janitor and by exploiting his mental map and valuable knowledge of the building, Sara goes deeper into the structural bones of a nightmarish reality where evil lurks in the shadows and not everything is what it seems.

“Feed the Light” is a H.P. Lovecraft inspired sci-fi horror directed and co-written by indie filmmaker Henrik Möller with Martin Jirhamn sharing the co-write. The gothic tale stems from the Lovecraft short story “The Colour Out of Space” that tells the tale of a meteor crash landing in the hills near Arkham, Massachusetts, poisoning and deforming all the living creatures nearby that creates chaos amongst the locals. The light, that never dulls, becomes the driving force of everything malevolent and that carries over into Möller’s film, but isolates the setting to a dilapidated building instead of a natural landscape and focusing more on the people inside rather than vegetation or livestock as the Lovecraft short story builds upon. Originally shot in color, Möller thought best to suck the color out from the reel and produce a mostly black and white film, sprinkled with color at strategic moments, that would convey the importance of the ever-present light and interpret a far more dramatic effect to play out; a decision I whole-heartedly agree because if laced with color, much of the abandoned warehouse setting would be a monotonous eye-sore. Instead, black and white enhances the light’s presence, makes it almost seem to stand out amongst the greyscale, and give way to more inspirationally vibrant hues when they are revealed.

For Henrik Möller, this is the director’s first dive into feature films and for the filmmaker whose better known for his shocking shorts, “Feed the Light” doesn’t water down the deranged, creative machine that just steam-plows through a 75-minute runtime and still managing to be mechanically sound to comprehend the Lovecraftian tone. Lina Sundén fills the lead shoes as Sara and Sundén embodies complete innocence and bewilderment when her characters goes forth into this strange facility, but doesn’t show much fear as if a mother’s determination is her driving force to go beyond being what frightens her. Alongside Sundén is Martin Jirhamn, who you might remember me saying he co-wrote the script, as the sympathizing janitor. Jirhamn has collaborated on many of Möller’s shorts, feeling comfortable taking on the challenge of a full length feature by taking on more of a scripted role that has a face with two sides. Rounding out the cast of memorizing characters are “Not Like Others'” Jenny Lampa as an authoritarian boss of the facility who tries to keep Sara from going on Indian Jones and the Raiders of the Lost Ark in the basement and Patrik Karlson otherwise known as the VHS-Man and Jenny’s father in the film.

“Feed the Light” has undertones beyond that of Lovecraft. The story feels nearly anti-establishment, a surreal and extreme look at how doing the same job, in the same office, staring at the same fluorescent lights can make one loose one’s humanity. The boss is a strict enforcer of the rules and doesn’t shrug at the thought of one of her employee’s burning out as long as the job gets done, but it’s not burning out that’s the problem. The light symbolizes obedience and control, turning those with a soul into mindless workers. There’s an unseen power embodying them such as with the dog man, played by Morgan Schagerberg, who, literally, sounds and acts like a canine that just happens to have glittery dust goo ooze out of it’s anus. Yup, weird. “Feed the Light” is jarringly weird, but also laminates into the prospect of hidden doom that’s very similar to the truth is out there concept reveled in the “X-Files.”

The Severin sub-label, Intervision Picture Corp., usually subjects us to older projects, but embraces newer indie films such as Henrik Möller’s “Feed the Light” and with the help of CAV Distributing, Möller and “Feed the Light” can be exposed to every house hold on Earth as a region free Blu-ray in 1080p full Hi-Def. The full frame is a staple of Intervision and doesn’t necessary cause any distress over cropped images. There is a fair amount of interference, but again, only enhances the indie labels reputation. Other than that, the image is fine laid under a Swedish language dual channel audio track that’s well balanced with a brooding industrial soundtrack by Testbild, a Möller familiarity. There are two extras accompanying the feature: one is a making of featurette and the other is an interview with the director, Henrik Möller. “Feed the Light” is a science fiction oddity chocked full with surreal depictions and nightmare creatures with a Lovecraft base and a passionate director’s otherworldly view of how light and color powerfully dictate our everyday lives.

“FEED THE LIGHT” is available on Blu-ray at Amazon!

A Double Bill of Evil! “Murderlust” and “Project Nightmare” review!

During Sunday’s services, a calm and confident Steve Belmont heads the Christian Sunday school youth class and seeks to be the permanent director of the Church’s suicide crisis unit that’s coming to the end of the planning stage. On Sunday’s, Steve performs as the model citizen whose ready to serve and give back to his community. During the rest of the week, the horse race track security guard can barely sustain societal worth, arriving late for work, constantly drunk, and has disdain for people being a speed bump in his path to greatness. All Steve Belmont has in life is the potential director’s job and his thirst, his unquenchable thirst for strangling women and dumping their bodies in the excessive heat of the Mojave desert. The local newspapers label his killings that of at the hands of the “Mojave Murderer” and his lust for killing call girls and young women runs a thin line alongside his Sunday best and when he begins to trust a Church regular, Steve’s mistakes begin to catch up with him.
“Murderlust” is the first feature on the Intervision Picture Corp’s double bill DVD release from director Donald Jones and writer James Lane. The 1985 suspenseful horror-thriller comes to DVD for the very first time and doesn’t just boldly display a story of another run of the mill serial killer but does so with remarkable performances and a body of work that’s well crafted. Lane pens the center character focus on Steve Belmont and his delusion of power, being an overwrought sociopath with a belief he’s better than everyone else, and Belmont’s brazen lures to secure helpless victims is nothing short of a con artist’s trait. The ability of convincingly seducing the congregation to his benefit provides him pseudo mystical powers that pull the blinds over their God fearing eyes while he continues to slack through a meager life and holds tightly his reign of terror near the Mojave. Basically, in Belmont’s mind, he is God.
Eli Rich plays Steve Belmont, who can only be described as a twisted blend between Michael Beihn and Nick Offerman, and Rich canisters Belmont’s psychopathic tendencies in an terrifying performance of exact realism. Not many films can pull off the on and off switch of a serial killer, even Patrick Bateman in “American Psycho” was sensationalized, but the relatively small time actor produced a manufactured fearful reaction. Rich splits Belmont into two personalities while still managing to be contain a menacing aurora to feed audiences with dread, fear, and suspense and while Rich might be doing more than just one public service for his community by picking up and strangling local street walkers, Belmont never transitions into that role of the likable anti-hero as he manages to forthrightly ostracize himself from friends and family. As Steve’s square statured and responsible cousin Neil, Dennis Gannon epitomizes the upstanding citizen character, but maintains a soft spot for his unscrupulous next door neighbor cousin. Rochelle Taylor’s role is something of a love interest for Steve, who can’t bring himself to kill her even when the opportunity is present, but the one film and done actress Taylor can’t bring “Murderlust” to the promise land with an overzealous portrayal of an eager beaver, love struck Church girl that doesn’t fit the bill of Belmont’s world.
After a couple of quick Mojave Murderer victims, one including the scene illustrated for the DVD’s front cover with a topless and unchaste Ashley St. Jon, Steve, along with the flow of the story, banks into a suppressive funk. The narrative’s pace slows when Steve attempts to organize his life around his murderess hobby, turning the suspenseful thriller into a drama segment that is more or less of a laundry list on how to obtain rent money for an aggressive landlord, until the demand to hunt tugs heavily at his pant leg and he can no longer ignore the urge. “Murderlust”, despite the captivating title, is nearly a bloodless horror thriller. Steve uses his signature method of strangulation, leaving smartly no blood trail, and only at the finale does blood spill when Steve deviates from his unsympathetic hunt, kill, and dump program.
Woodland campers and best buds Gus and Jon wake up to discover their gear has been shredded and dispersed. They’re soon pursued by a frightening force of unknown origins. Lost and hungry, the two friends stumble upon a mountain cabin where cabin owner Marci shelters them for a night. Rested and resupplied, but haunted by their dreams, the two continue on foot in search of a town; instead, they become split up and Gus finds himself in the bizarre belly of a government facility that’s conducting an experiment and root of Gus and Jon’s predicament. Gus must confront the inner workings of his mind and take back control of his thoughts or else all that he knows, his friendship with Jon, and all that he desires, his passion for Marci, will soon be lost to the unchecked government secret known only as Touchtone.
The second film on the double feature, “Project Nightmare,” starkly contrasts in genre with “Murderlust.” “Project Nightmare,” otherwise known as “Touchtone,” is a science fiction thriller piggy backing as a bonus feature and the 1979 conduit for confusion showcases how scarily surrealistic director Donald Jones can achieve. An odd film that materializes shortly after Gus and Jon’s plight begins and doesn’t let up the enigmatic ambiance as the audience will surge deeply into the rabbit whole. Even though told linearly, “Project Nightmare” feels, in fact, like a nightmare, peppered with sporadic scenes of uncomfortable imagery and repetitive ambient noises and soundtrack that jar the senses. Jones’ direction and style denotes an appeal of black and white scenes, but, in color, the film works better to give an ominous a stimulating visual and without that color, the story just wouldn’t work.
Charles Miller and Seth Foster star as the baffled and lost campers Gus and Jon. They’re joined by Elly Koslo, as Marcie, and Harry Melching, as Carl the government scientist, who provide indifferent character roles or just products of the imagination to support the dreamlike atmosphere. As a whole, the actors’ dynamic was obsoletely rigged but in an unsettling Lynchian fashion causing your eye balls to stay with the scenes. “Project Nightmare’s” experience will make you feel you’re watching a film much older than produced with the costumes, the language, and the wood paneled elevator and granted that Jones’ isn’t big budget, but the director was able to deliver with the minuscule budget available to fruition a sci-fi odyssey.
Intervision Picture Corp has a snazzy, two-headed snake in “Murderlust” and “Project Nightmare” presented in full frame 1.33:1 aspect ratio with a single channel Dolby Digital mono track. The original prints looks great with “Murderlust” slightly heftier in the cyan department during it’s 98 minute runtime. The single channel had better luck with the 74 minute runtime in “Project Nightmare and “Murderlust” had moments of softness where dialogue became a strength in exercising one’s hearing. Both issues listed didn’t hinder the final product; in fact, I’m quite pleased with the end result on both features. “Project Nightmare” has a natural presence that’s appeasing and “Murderlust” blankets itself warmly in, well, the associated Mojave desert. The bonus content on the Intervision release include two audio commentaries with writer-producer James Lane. The “Project Nightmare” commentary has partial audio. In conclusion, “Murderlust” might not be this tour de force of bloodletting hookers. The sheer realistic characteristics of a serial killer among us are more alarmingly exploited and continue the terrifying ordeal with “Project Nightmare,” a sci-fi sensory conundrum overloaded with spastic psychological terror from the Golden Age of film.


Buy Murderlust on DVD at Amazon!

Time Travel to an Evil Future! “Counter Clockwise” review!

Ethan Walker is a brilliant scientific engineer, though he doesn’t look it with his long fire-hued beard and pot-belly midsection, but Walker, along with his colleague, believe to have accomplished the impossible: teleportation. When Walker decides to try his machine on himself, the realization of something terribly wrong overwhelms him. Walker didn’t invent a teleporter, he accidentally constructed a time machine, sending himself six months into a grim future where his wife and sister have been brutally murdered and he’s the sole prime suspect. The only way to make sense of the future and to solve the crime against him is to travel back to the past multiple times to unravel a sinister plot and stop the murder of those close to him.
To simply and conventionally tagline “Counter Clockwise,” George Moise’s 2015 directorial debut can easily be described as Terry Gilliam meets David Fincher. Part sci-fi thriller part dark comedy, the adventure of Ethan’s misadventures ingeniously signifies a harsh outlook on the saltiness of our predetermined universe while encountering outrageous and weird characters along the time warp. Ethan, no matter what he does or how he does it, has to use the accidental time machine to thwart the brutal death of his wife and sister and while his reasoning sounds fairly comical being the groundwork of what Albert Einstein calls madness, on-screen it’s rather heartbreaking and tragic to see this guy, an everyday looking joe, desperately attempt to deconstruct, from the unsolicited help of his future selves, a dastardly plot that will destroy everything he holds dear.
Penned also by George Moise, based off a story by brother Walter Moise, along with the film’s lead star, Ethan himself, Michael Kopelow, “Counter Clockwise” will change the way critics will perceive time travel storylines by not as a means of zipping back only once to change the forsaken past, but as a respawning Shakespearean tale of tragedy in order to continue to amend a hapless situation. A respawned Super Mario had more luck saving Princess Peach through the thicket of Koopa Troopas and the fire breathing Bowser. Though the character Ethan repeats his voyage, the way “Counter Clockwise” is written doesn’t convolute itself in the repetition, staging clues as a window into beyond the present and generating eerie and problematic, if seriously disturbed, episodes that doesn’t give Ethan a minute from tirelessly being objective. Combine those elements with George Moise’s neurotic direction and the result seizes to capture not only science fiction aficionados, but movie enthusiasts of every category in this genre-breaking feature. From the first moment of the opening scene, a strong familiar inkling of Ridley Scott’s “Alien” washes over you; the subtle hum of machinery, the slow panning from side-to-side, the very soft touch George Moise applies is uncanny and so endearingly respectful that the direction doesn’t feel like an absolute rip of Scott’s 1979 space horror classic.
Kopelow is the centerpiece that glues the story whole. As Ethan, Kopelow’s gentle giant approach is such a stark contrast to the surrounding darkness that has embodied nearly every other location and character, even his lip flapping, hard loving mother. Extreme opposite on the polar spectrum is voice actor Frank Simms as Roman, head of major corporation aiming to steal pioneered technology from Ethan at any cost. Simms’ talent has two settings in this film, hot and cold; his sound binary method works to composite a character so reasonably rational that when Roman snaps, a trickle of pee squeezes out and runs down your leg at his abrupt and menacing counter personality. The rest of the cast follows suit with pinpoint precision on their coinciding characters and even the eccentric cameo performances were otherworldly good from Chris Hampton’s relishing water fountain patron to Marty Vites one-eyed creepy landlord. Ethan’s landed in bizarre world that hums a very familiar tune in Terry Gilliam’s “Fear and Loathing in Las Vegas” while the amount of downbeat content spurs moments of gritty David Fincher thrillers, especially in one particular scene with the brawny New Jersey native Bruno Amato being the ultimate bad guy henchman by raping a dead woman for spite and for pleasure. The cast fills out with Devon Ogden, Kerry Knuppe, Joy Rinaldi, Alice Rietveld, and Caleb Brown.
The Sex Scene Crew production, “Counter Clockwise,” is not an effects driven project. The indie sci-fi film relies on the trio of coordination efforts in refined editing, camera angles, and practical effects to deliver the intended message. Like I said before, George Moise is neurotic, providing the attention and detail to every scene as if a climatic money shot. Value is placed in the story and in the direction rather than diluting and cheapening with overrated, big budget computer generated special effects that can snap a film’s heart and soul like a thin twig. The biggest effect comes in the form of a composite, placing two Ethans in the same scene and working action off each other. Even the time traveling sequences are a basic edit that’s well timed with simple lighting techniques, gentrifying low budget films more toward a respectable level of filmmaking.
Artsploitation Films’ DVD release of “Counter Clockwise” is an edgy rip in space time continuum sci-fi thriller presented in a widescreen 2.35:1 aspect ratio with Dolby Digital 5.1 surround sound audio option. Image quality pars well with modern releases and the same can be said about the audio, especially with the prevalent dialogue. Aside from conventional specs, Moise adds a sensory surplus to stimulate sight and sound hell-bent to strike an unnerving chord strummed simultaneously with providing an awesomely surreal effect. The DVD contains bonus features include “The Making of Counter Clockwise featurette, going behind the scenes of pre-production, production, and post-production. There are also five deleted scenes with commentary and a trio of commentary tracks that include the director, director and editor, and director and co-writer. “Counter Clockwise” is 91 minutes of time hopping suspense, packed with adversity and pitch black humor from start to finish and finish to start.

Click Above to Time Travel to Amazon and Buy this Title Today! (And not six months from now…)

There’s Astronomical Evil in Them Mountains of Mars! “First Man on Mars” review!

The Cologne Space Labs launch their project billionaire sponsor and gold-greedy astronaut Eli Cologne into a two-year journey in hopes for a beneficial Mars expedition. Cologne, being the first man on the red planet, encounters a shiny gold-like object that infects him with a foreign organism. As mission control rashly make the decisive decision to abort the expedition and leave Cologne stranded on the wasteland that is Mars, the brazen astronaut plans not to die on the alien planet, fleeting back to the return module, and blasting off back into space where he becomes lost for one year until his return module crash lands on Earth under the massive cloak of Hurricane Katrina. His human form ceases to exists, transformed into a flesh feasting, hideous extraterrestrial in a space suit who wreaks havoc and terror for years in a podunk Louisiana bayou where the nearby local Sheriff, Dick Ruffman, attempts to save from ultimate destruction.
When Tempe Video and TomCat Releasing dropped the news of “First Man on Mars” feature on my e-doorstep in a Tempe Video press release, something very deep in the cavernous, unholy part of me wanted to screen the film’s trailer. After witnessing a primo homage of super-8 b-horror schlock, I immediately brought my finger tips to my laptop’s keys and typed ferociously, requesting a press coverage copy for a film that had me instantly reminisce of “Lobster Man of Mars,” a 1989 sci-fi comedy directed by Stanley Sheff. As weeks passed, no response of my request was returned from the distributor. However, when the film’s director Mike T. Lyddon, an experienced independent filmmaker with more than two decades worth of low-budget films under his belt, e-mails Its Bloggin’ Evil and wonders if the site could review his latest project, a satirical sci-fi comedy, by forwarding over a screener link, I gladly jumped at the opportunity and, low and behold, I wasn’t disappointed when the end credits started to roll!
Under a massive umbrella of pop cultural science fiction references, “First Man on Mars” oversteps many plot conventions, exaggerating to the fullest extent a simple story of one man’s plight of an unquenchable desire for shiny gold that literally consumes him and, consequently, consumes others surrounding him in a cauldron of cannibalistic campiness. Even though the lesser part of Benjamin Wood’s dual role shows his mug as a friendly bar patron, his Eli Cologne performance never shows character face beyond the golden shield of his space helmet or before his pre-gruesome transformation into a hideous, razor-teethed, otherworldly beast, providing anonymity to an important character much similar to that of the character V in “V for Vendetta,” if you don’t consider the stock footage prior to the film’s title. Okay, so I might be comparing caviar to spam, but nonetheless, Lyddon uses comedy and a jerry-built space suit to create an ambiguity villainous character.
Trust me, “First Man on Mars” is not at all serious as the feature is comprised of zany rednecks, birdbrain scientists, and gratuitous violent hilarity garnished with suitably colorful dialogue that can be funny while being extremely crude, can be smart in it’s admiration, and can be juvenile with bathroom-riddled humor where appropriately scened. Every actor executes the swallowing of pride process to extend verbal and physical indirect comedy that purely goes hand-in-hand with this sort of satirical storyline constructed from the certifiable portions of Mike Lyddon’s brain that might or might not be sizzling on an illegal and dangerous narcotic. Gavin Ferrara, Kirk Jordan, Marcelle Shaneyfelt, Roy “Rusty” Jackson, Jr., Kelly Murtagh, Joey Harmon, Sam Cobean, and Tresslar Burton round out the comically darling cast.
“First Man on Mars” is an absurd blast from low-budget director Mike Lyddon and his team of willing actor and crew participants, putting everything on the proverbial line to make this ambitious project first and put their seemingly absent shame second. The TomCat Releasing was presented to me as a screener link, therefore I can’t officially review the audio and video quality nor any bonus features that might have accompanied the release, but as a soft judgment, the 16mm stock that “First Man on Mars” is shot on revels in the hokey dialogue, the substantial monster violence, and the utter gore as a remembrance of the once larger than life creature feature movies from the drive-in theater era.