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Though some fans of “abominable” cinema often place 1953’s ROBOT MONSTER on the same tier with Belief 9 FROM OUTER Position (1959), it honestly doesn’t even reach conclude to reaching the heights of inspired ineptitude attained by Ed Wood’s magnum opus. Tranquil, ROBOT MONSTER is an challenging so-bad-it’s-good flick in its contain upright.
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The last six remaining humans on Earth resist attacks by Ro-man, an extraterrestrial who looks something like a gorilla wearing a cheap diving helmet. Receiving orders from his grand via 1950s consumer electronics that emit, of all things, soap bubbles, Ro-man’s job is to certain out all intellectual life on Earth so that his “people” can advance inhabit the planet themselves. Unfortunately for Ro-man, he finds it impossible to carry out his orders after he falls in appreciate with an Earth girl, and it’s all downhill for him from there.
This ludicrous tissue-thin space is paunchy of gaping holes, and the badly executed scene transitions and various stock-footage inserts of fighting reptiles and intelligent dinosaurs are humorously befuddling. But when it is revealed at the slay of the film that all was simply the dream of a science-fiction-crazed young boy, the whole dish seems a diminutive more luscious.
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Some critics have read the film as an allegory of life in occupied Europe during World War II. Ro-man, it is claimed, represents a Nazi soldier simply carrying out the orders of his Hitler-like commander, and the surviving humans can be viewed as living an Anne Frank-like existence in their energy-encompassed hideout. But the distinct weaknesses of the spot, the glaringly technical mistakes, and the bargain-basement production values acquire it hard to absorb that the filmmakers were astute enough to attempt allegorical storytelling. Any similarity to trusty situations or to precise persons, living or tiring,, is purely coincidental.
Believe it or not, the music for ROBOT MONSTER is actually stunning excellent (that is, “marvelous” favorable, not “abominable” sterling) . It was unruffled by the behind Elmer Bernstein, who went on to accumulate cinematic greats like THE Radiant SEVEN (1960), TO Raze A MOCKINGBIRD (1962), GHOST BUSTERS (1984), and MY LEFT FOOT (1989), to name but a few. Perhaps it is the efforts of the talented Mr. Bernstein that prevents ROBOT MONSTER from reaching the same level of achievement as Wood’s View 9 FROM OUTER Spot?
ROBOT MONSTER may not be the best “poor” film ever made, but for aficionados of the unpleasant and connoisseurs of the crass, it’s not to be missed.
While it’s not in the recent 3-D–yes, ROBOT MONSTER was filmed in old-school 3-D–the DVD from Image Entertainment offers the highest-quality consumer copy of the film to date, and the impress that amazon charges for it is hard to beat.
I must agree with those who say this could be the BEST “worst movie ever made.” I have seen nearly every Ed Wood movie and although his “Notion 9 From Outer Area” has a special area in the heart of any fan of terrible sci-fi movies, “Robot Monster” certainly gives it a hasten for the money. (Ed Wood had nothing to do with “Robot Monster” but it’s similar to his type of movies.) This movie is so gloriously dreadful and yet lively on many levels. I treasure the stock footage of fighting lizards, interjected for no apparent reason. The tender moments like the impromptu wedding scene. The bubbles that float up around Ro-Man’s junky-looking equipment. The fact that the heroine manages to win tied up in rope TWICE, once by her friends & family and later by the monster. The terminology (like the “calcinator death ray”) . The pointless scenes showing the Ro-Man schlepping up and those barren hills and plains. Dialogue that is so stilted, it would invent Ed Wood proud. I could go on and on. What could you possibly be doing in your life that is so primary you can’t exhaust the 62 minutes it takes to gape this astonishing paean to human incompetence?
