☢️#156. The Madness of Max, 2015. An aptly titled window into the madness that started it all. Archival footage, amazing interviews, and analysis so thorough, you could watch #MadMax itself nearly twice over in the runtime of the documentary. Not a complaint. 5/5 ☢️

☢️#155. Interstellar, 2014. With a focus on innovative science and in-camera effects, #ChristopherNolan’s vision of the future is both awe inspiring and an existential nightmare. Though well performed, the final act struggles to land a cliched and plot hole riddled ending. 4/5 ☢️

☢️#154. Slipstream, 1989. On paper this is a no fail #postapocalyptic blockbuster with all-star caliber talent behind and in front of camera. But fail it did. Not without its creativity and charm (Paxton), but promises of adventure mostly result in endless glider montages. And yes, #MarkHamill! 3/5 ☢️

☢️#153. The Mitchells VS the Machines, 2021. Lord and Miller continue their hilarious and heartfelt hot streak in this family road trip through the #techpocalypse. Marrying the quirky limits of 2D design with the latest CG horsepower results in a rapid fire visual feast. 4/5 ☢️

☢️#152. Phase IV, 1973. Despite the lurid poster this is no standard #creaturefeature. Deliberate and analytical with amazing insect macro photography, visionary #Hitchcock title designer #SaulBass takes his only turn as director in this truly unique #scifi #horror film. 3.5/5 ☢️

☢️#151. Rush, 1983. In a genre full of snarling antiheroes, meet Rush, the oft-grinning Rambo stand-in with a soft spot for plants and a passion for liberating #postapocalyptic work camps. Overall a generic no-frills Italian actioner with all the #sobaditsgood fixins. 2/5 ☢️

#150. Resident Evil: Extinction, 2007. Blurring the line between homage and plagiarism (re: not-Bub), this #PWSAnderson helmed (but not directed) installment of the extremely dopey RE franchise swings hard, but whiffs as often as it makes contact. Best of the sequels. 3.5/5 ☢️

☢️#149. Beyond the Time Barrier, 1960. Ignoring numerous context clues (city ruins, mutants), befuddled test pilot #RobertClark spends the exposition heavy runtime playing catch up with the basic time travel plot. Charming retro visuals/score, but ultimately quite bland. 2/5 ☢️

☢️#148. Survivor, 1987. Despite out-of-place perpetual narration, this is easily the most successful of the “astronaut returns” #postapocalyptic sub-genre. Well acted with moody atmosphere and creative set pieces. All that and Bull from #NightCourt is the main villain! 3/5 ☢️

☢️#147. Army of Darkness, 1993. Ratcheting up the slapstick and self-parodying machismo, the third in the #EvilDead trilogy is a nonstop hilarious ruckus. From puppets to prosthetics, no gag is spared in the #Raimi bag of tricks. Make sure to watch the original PA ending! 5/5 ☢️

☢️#146. Daylight’s End, 2016. Paramilitary survivalists engage photosensitive rage zombies in a feature length equivalent of a first person shooter video game. Mindless fun overall, but not even genre royalty #LanceHenriksen saves the agonizingly stalled out second act. 2.5/5 ☢️

Watch my recently (last night) premiered music video for film composer #SilasHite’s song “Dead of Night” new record vimeo.com/1161973266. Note: Yes, this was “directed” using generative video. But each shot / frame was an illustration first. So I’m only going halfway to hell.

☢️#145. Pacific Rim, 2013. Giant robots repel a dimensional #Kaiju (monster) invasion in a perpetual global standoff. Giddily fun action helmed by visionary #GuillermoDelToro itches all the right spots, though the oddly stiff human quotient leaves a lot to be desired. 3.5/5 ☢️

Hey all! My good composer pal / collaborator #SilasHite has a record release art gallery show for “Return of the Vampire Hustlers from Hell.” I contributed some artwork and a music video. I can’t make it, but if you’re in Akron Ohio, it’s free and should be a time. Tonight only!

☢️#144. Future Hunters, 1988. Pre-#Terminator fame #RobertPatrick stars in exploitation director #Santiago’s genre hopping crapsterpiece. Ripping off everything from #MadMax to #IndianaJones with a splash of random #kungfu for bad measure. Pure insanity. #Sobaditsgood 2/5 ☢️

☢️#143. This is the End, 2013. Rapture rejected celebrities are left to survive on earth in a #apocalyptic hellscape. Both lampooning and embracing the conceits of the genre - ultimately your enjoyment will hinge on your tolerance for these navel gazing lovable* idiots. 3.5/5 ☢️

☢️#142. The New Barbarians, 1983. With a hero car designed by #HomerSimpson, this #Maxsploitation flick is wonderfully wrong in all the right ways. Chock full of misspent effort and hammy action - every shot a masterpiece. Possibly the ultimate #sobaditsgood experience. 2.5/5 ☢️

☢️#141. Idaho Transfer, 1973. Easy Rider alum, #PeterFonda directs this story of time traveling grad students trapped in a baron #postapocalyptic future. Non-actors shot in a naturalistic filming style contribute to a darkly unsettling and sometimes frustrating experience. 3/5 ☢️

☢️#140. Left Behind: The Movie, 2000. Tiger Beat coverboy turned Christian cringe merchant Kirk Cameron stars in this feeble attempt to proselytize to mainstream audiences. Shrill, awkward, mean spirited, and painfully dull. This rapture tale isn’t winning any converts. 0/5 ☢️

☢️#139. The Worlds End, 2013. The beloved #Cornettotrilogy concludes with this epic pub crawl to end all pub crawls (literally). A character driven slow build cascades to glorious beer fueled alien thrashing mayhem. Grab a pint (or twelve) and enjoy. 4/5 ☢️

☢️#138. Mindwarp, 1992. Ignore the title. Ignore the poster. All you need to know is that in-his-prime #BruceCampbell battles cannibalistic mutants in an all out #postapocalyptic gore fest for a satisfying amount of the run time. Sadly, the remainder is a bit of a drag. 2.5/5 ☢️

☢️#137. Ice, 1998. Featuring the least likable cop protagonist of all time, this #Diehard ripoff meets #TheDayAfterTomorrow (though it solidly it predates the latter) made-for-TV movie should be avoided at all cost. 1/5 ☢️

☢️#136. Cargo, 2017. Trading standard zombie schlock for developed characters and trope busting invention, not even a frequently upset baby dampens a moment. A career highpoint, #MartintFreeman delivers more in this one than all three Hobbitsess combined. #newclassic 4.5/5 ☢️

☢️#135. The World, the Flesh and the Devil, 1959. A criminally under received “last man” three hander #postapocalyptic melodrama starring the legendary #HarryBelafonte. Frank analysis of race relations of the time, likely repelled a squeamish 1950s audience. Their loss. 3.5/5 ☢️

☢️#134. Bounty Killer, 2013. Celebrity assassins compete for businessmen “pelts” in a #postapocalyptic tribute that was likely more fun to make than it is to watch. An imitative manic editing style overcompensates for obvious defects, yet a sense of goofy fun prevails. 2.5/5 ☢️

☢️#133. Death Race 2000, 1975. Brazen satire at its finest. Marvel as murderous celebrity race car drivers compete for the hearts of red blooded American fascists across the country. Hilarious, brutal, camp, and a sick sick joyride start to finish. #RogerCorman #Classic 4.5/5 ☢️

☢️#132. Infestation, 2009. Like all great B movie #creaturefeatures, the human component is focused on just enough to realize you’re rooting for the baddies. Fun gags, gore, solid CG and practical effects, but yes, its a grind when they get too chatty. Shut up and die! 3/5 ☢️

☢️#131. Zombieland: Double Tap, 2019. A rare sequel that, despite the decade between films, progresses an incomplete story in a satisfying way. Irreverent humor and gore still dominate, though with a bunch of fresh faces, the apocalypse is getting to feel a bit crowded. 3.5/5 ☢️

☢️#130. The Aftermath, 1982. It’s astronauts VS hippie mutants as auteur #SteveBarkett stars in this excruciatingly earnest #postapocalyptic passion project. Clear effort is betrayed by lack of talent, budget, and an insanely antiquated score. Cool matte paintings! #SBIG. 2/5 ☢️

☢️#129. City of Ember, 2008. While the subterranean setting may be intense enough for younger viewers, this family friendly adventure still needed a gruesome corpse or three. Clever and imaginative with amazing clockwork world building...ultimately it’s just a bit bland. 3/5 ☢️

☢️#128. Dead End Drive-In, 1986. It’s an explosion of color and #newwave anarchistic energy as two teens fight to escape a #dystopian drive-in. An uneventful 2nd act is balanced by cheeky humor, social commentary, and explosive stunt driving by #MadMax alumni #GuyNorris. 3.5/5 ☢️

☢️#127. Future World, 2018. Delivering on all the essential elements that make up a solid #postapocalyptic outing, this still never shakes the feeling of being a #JamesFranco vanity project. But hey - rich, famous, and clearly loved #FuryRoad - who can blame the man? 2.5/5 ☢️

☢️#126. Save Yourselves!, 2020. A hipster couple seeking authenticity, unknowingly unplug during an alien invasion. A slow burn builds to fun with murderous #Tribbles, though your enjoyment will be predicate entirely on tolerating the leads endless neurotic antics. #indy 3/5 ☢️

☢️#125. Oblivion, 2013. Like a futuristic maintenance worker, #TomCruise traverses gorgeous #postapocalyptic vistas (in a ship clearly covered by #AppleCare) as he figuratively “locks up after” humanities evacuation of earth. Fun and thoughtful big budget #scifi. 4/5 ☢️

☢️#124. Time Under Fire, 1997. A cheapie #RogerCorman produced #Stargate #Terminator mashup mostly taking place on submarines. Notably we find pre-frame #BryanCranston in a duel role as both president and a #Palpatine-esque big bad in full makeup. Not as fun as it sounds. 1/5 ☢️

Future review recommended by @siguesiguesputnik.bsky.social

☢️#123. Plughead Rewired: Circuitry Man II, 1994. The scenery devouring #VernonWells returns as the titular #Plughead in a bafflingly unnecessary retread. A grab bag of shrill comedy beats, vague sci-fi concepts, and meandering #postapocalyptic silliness. #Sobaditsgood. 2.5/5 ☢️

☢️#122. Where Have All the People Gone ?, 1974. The mission may not be impossible, but #PeterGraves has a dangerous road to traverse when he and his teenage children survive a mysterious extinction event. A well made and downright wholesome #postapocalyptic family drama. 3/5 ☢️

☢️#278. The Running Man, 2025. Call me old fashioned, but I like my running men in spandex running from other men in spandex, like the 80s intended. #EdgarWright invention hits its stride in places but overall the story and characters drift, feeling very peg-less. 3.5/5 ☢️

☢️#121. Soylent Green, 1973. Solving the grossest conspiracy in film history while simultaneously making neckerchiefs look badass; #CharltonHeston is the ultimate hero for the sweaty 70s. Claustrophobic, dreary, exciting and soulful - a quintessential #scifi #classic. 4.5/5 ☢️

☢️#120. Desert Warrior, 1988. Bottom tier action, bewildering performances, and epically long shots of people and cars traveling nowhere. If the very presence of #LouFerrigno can sustain your interest long enough, there’s a hilariously incompetent laser battle climax. 1.5/5 ☢️

☢️#119. World Gone Wild, 1988. A psychedelic fueled #BruceDern leads a motley ensemble of hired guns in a well trod retelling of #SevenSamurai. Goofy characters, rapid fire non sequiturs, and a darkly irreverent tone save the film overall - still a slog in places. #SBIG 2.5/5 ☢️

☢️#118. Captive Women, 1952. The longest one hour movie I have ever seen. While significant as a #postapocalyptic artifact, establishing many tropes; mutants, subterranean communities, and most importantly studded leather clad bad guys, it is sadly also a tremendous bore. 1/5 ☢️

☢️#117. Zack Snyder’s Justice League, 2021. A much more cohesive vision than the theatrical release that was held together with scotch tape, spit, and corporate edict. Added scope and character detail are appreciated, though strained and repetitive indulgences are not. 3/5 ☢️

☢️#116. Robot Jox, 1989. While the Jox go robot-less for the entire second act, you still couldn’t peel the grin off my face watching these charming #stopmotion miniatures duke it out. Characters, pacing, and tonal focus could have used as much loving attention to detail. 3/5 ☢️

☢️#115. I Am Legend, 2007. Extremely bad CG drags down an otherwise serviceable action heavy take on the last-man-on-earth story. #WillSmith’s committed performance distinguishes the film from counterparts, but it eventually falters due to a completely thoughtless ending. 3/5 ☢️

☢️#114. The Rover, 2014. Bear witness to the death rattle of the Australian outback. Unofficially taking place between the first two #MadMax films, this simple story of a man retrieving his stolen car is exceptionally performed, beautifully photographed, and beyond tense. 4/5 ☢️

☢️#113. Embers, 2015. Worldwide perpetual anterograde amnesia wasn’t the #postapocalypse we were expecting, but proves to be more destructive than the atom bomb. Parallel narratives explore themes of identity, objective morality, and humanism. Beautiful yet meandering. 3/5 ☢️

☢️#112. Hardware, 1990. A 94 minute industrial music video starring a murderous self assembling robot. Constant grimy energy and low-fi inventiveness balance its budgetary restrictions, though its lacking in anything resembling a compelling story. #Ineedashower 3.5/5 ☢️

☢️#111. Day of the Triffids, 1962. The most influential #scifi #horror film you’ve never seen. From #Alien to #28DaysLater; a nonstop series of revelatory connections to modern genre cinema. And you didn’t watch because “What the hell is a Triffid?!” For shame! #classic 3.5/5 ☢️