lyrics to “braineaters”:

brains for dinner,
brains for lunch,
brains for breakfast,
brains fro brunch,
brains at every single meal,
why can’t we have some guts

brains are all we ever get
in this rotten fucking place,
brains are all we ever get,
why can’t we have a change of pace

brains for dinner,
brains for lunch,
brains breakfast,
brains for brunch,
brains at every single mean,
why can’t we have some guts

why can’t we have some guts,
why can’t we have some fucking rotten guts

 

“the brain eaters” from 1958 opens with a narration about a sleepy little town of riverdale, illinois.  a gentleman is carry a carrying something covered by a coat, runs into some other gentleman, causing the first gentleman to drop the object, cutting to a shot of the broken bottle with a slime trail leading away from the mess.

we then cut to a character taking his girl out to the woods in his sweet ride.  i like when these movies open with these nice rides.  any hope of romance is dashed when they stumble on a field of dead dogs.  aside, those look like real dead dogs.

we then are introduced to what we at first believe to be a spaceship, but turns out just to be a fuel section.  one of the scientists investigating the cone, says “watch this” and fires a pistol into the opening on the cone.  he says this like he knows the outcome.  like he has fired the pistol into the cone before.  like that is part of the scientific process.

we then cut to the mayor’s office, who was missing, but now is at work.  we see him having a typical monday where he is trying to stop himself from blowing his brains out.  turns out the mayor was infected by one of the titular brain eaters

the mayor is gunned down.  there is a autopsy, in a shirt with no sleeves.  they find the brain eater.  they cut the brain eater apart, believing it to be dead.  and while trying to make out with his girl, the brain eater attacks his arm (that’s not where the brain is).

here are some various shots of the wounds that the brain eaters leave.  the wounds are really low on the neck. so, their mandibles, or whatever, must be really long to reach the brain.

things escalate, as they do in movies of this type, and a few people from the group are taken over by the brain eaters.  the group eventually climb into the cone where they encounter leonard nimoy, who is a member of a long lost expedition (don’t ask me). the motives of the brain eaters are explained.  basically the plot of “invasion of the body snatchers.”

a plan is devised to run a line from the high powered electrical lines to the cone to kill everything.  one of the main characters is shot by another of the main characters that is infected/possessed by the brain eaters.

the electricity kills all the brain eaters, and probably nimoy.

now this song could be taken as being told from the perspective of one of these brain eaters.  this interpretation rings hollow though.  the brain eaters seem to act more like agents of nimoy in the mist rather than a creature that complains about being fed too many brains.

that is why this interpretation is being given a 2 out of ten fiends.

lyrics to “astro zombies”:

oh, all i want to know
all i want

with just a touch of my burning hand
i send my astro zombies to rape this land
prime directive, exterminate,
the whole damn human race

and your face drops in a pile of flesh
and then your heart, heart pounds
till it pumps in death
prime directive, exterminate
whatever stands left

all i wanted to say
and all i gotta do
who’d i do this for
hey, me or you

and all i wanted to say
and all i gotta do
who’d i do this for
hey me or you

oh all i want to know
all i want

with just a touch of my burning hand
i’m gonna live my life to destroy your world
prime directive, exterminate
the whole fucking place well

then your face drops in a pile of flesh
and then your heart, heart pounds
and it pumps in death
prime directive, exterminate,
the whole fucking place well

all i wanted to say
and all i gotta do
who’d i do this for
hey me or you

and all i wanted to say
and all i gotta do
who’d i do this for
hey me or you

oh, all i want to know,
all i want to know,
all i want to know,
all i want to oh,
go

the movie opens with a pretty swinging soundtrack and windup toys spinning around.  we are then introduced to the various characters in this movie.

 

 

we see the death of a woman at the hands of the astro-zombie pretty early in the movie.  we meet the “good guys” in the cia who are talking about what comprises an astro-man.  they introduce the scientist, dr. demarco, who created the first astro-man/astro-zombie.  no clear definition of the between astro-man and astro-zombie is made.

 

satana is watching the scientists, but the cia is watching her.  the scientists do not seem to be creating astro-zombies to kill the human race.  rather the homicidal rage is a side effect from using subpar ingredients when creating the astro-zombie.

santana, who is a spy of some sort, also appears to live in an apartment complex.  espionage on a budget.

there are some very long extended takes, which seem an odd choice for a movie of this sort.  there is a longish dance sequence in the middle of the movie with no real tie to the plot.

we also see that franchot, the lab assistant, is caring out some objectionable mad-science.  he has a woman in a bikini tied to a table for the entirely of the movie, from which he is constantly being called away from.  i guess it wouldn’t be an evil scientist lair without a lady in a bikini tied to a table. also her hands are just looped through the straps.

 

a woman is attacked and killed by the astro-zombie.

 

the “good guys” from the cia decide to try to lure the astro-zombie out by using one of their girlfriends as bait.  it does not go well.

 

the astro-zombie’s power source is disrupted, so he holds a flashlight to his head as he retreats to base.  who knew that four d-cell batteries could power an astro-zombie.

 

in the final stand between satana, the cia, and the good doctor, the astro-zombie murders a lot of cia agents.  he then forces satana into an electrical box, killing himself in the process.

 

while satana may be on a budget with concerns to her home, the doctor has an amazing house.  from the outside it looks like it could be located in any 1960’s suburbia.  but that basement is amazing.  and the back-yard does not match the front-yard at all.  maybe he did something science-y to it.

 

this song can be read from the perspective of dr demarco.  and while i do not believe that he had the intention to wipe out the whole human race, one must wonder at the motives of a man that let his assistant keep a bound woman in a bikini in the lab.  there was no science going on with that poor woman.

there were quite a few closeups of the doctor’s hands, and they did look like they probably suffered from arthritis (burning hand).  again, i do not think that the doctor sent the astro-zombie to exterminate the whole human race, he did make the heart pump in death.  so i am going to give this an eight fiends out of ten.

 

lyrics to “devils whorehouse”:

she works at the devil’s whorehouse
she loves carnality
in her human pit of love
entrance into heresy, well

when i sin, i sin real good
when i sin, i sin for sure

come on up to the devil’s whorehouse
intimate hell of a demon slut, well
angels take their time in falling
come alive in the house that screams

when i sin, i sin real good
when i sin, i sin for sure

come alive in the house that screams
come alive in the house that screams

this is the devil’s whorehouse
night time for beating backs, well
said this is the devil’s whorehouse
night time for the midnight masses

when i sin, i sin real good
when i sin, i sin for sure

come alive in the house that screams
come alive in the house that screams

when i sin, i sin real good
when i sin, i sin for sure
when i sin, i sin real good
when i sin, i sin for sure

unfortunately i can not find any sources for this song.  i imagine that it would be a good movie.  besides my regular sources, here are some other sources that i referenced, all are wikipedia articles:

Films About Prostitution, A-L

Films About Prostitution, L-Z

List of Prostitutes and Courtesans

BDSM in Culture and Media

Devil in Popular Culture

i read the plot synopsis for each movie that was created before 1982. oddly enough, none of the plots involved both prostitutes and the devil. i would think this is a winning combination. pineapples and jalapeños.

based on my inability to find a source, i am going to give this song a ten out of ten fiends.

lyrics to “violet world”:

pregnant mothers in mexico
give birth to stillborn monster babies
hideous deformed two headed monsters
vivisected for your magazine essay

c’mon, c’mon
cmon to the violent world with me
c’mon, c’mon,
c’mon to the violent world with me

nazi demons, nazi youth,
wolverine sin dark (black/brown?) suits
yeah, they shove you in and oven and you start to cook
blame it all on the nazi youth

well c’mon, c’mon
cmon to the violent world with me
c’mon, c’mon,
c’mon to the violent world with me

any opportunity comes
can’t afford to rot,
so you move on
any opportunity comes
can’t afford the nazi movement

so c’mon
c’mon, c’mon, c’mon

violent world, violent world, violent world,
violent world, violent world, violent world,
violent world

this is a song about a publication from 1977 titled “violent world.”  below i am attaching a screenshot of a google image search for “violent world magazine.”

this is what i was able to find out about the publication.  surprisingly, there is no wikipedia page for it.

volume one, issue one has a listing on amazon, but no details or price point.

i can’t find anything about volume one, issue two.

volume one, issue three’s table of contents: 344 mangled crash victims, shark make bait of fisherman, feathered gladiators, brazil’s death squad, and much more!

volume one, issue four’s table of contents: palm springs killed dolly sinatra, son ears dad, bank suicide, bunny bask, lost arms sewn back on, berserk pilot on killing rampage, brooklyn’s butcher bishop and much more!

i am not actually going to buy a copy of any of these magazines.  being in world of 2018/2019, i can find most of this content on the internet quite easily.  i imagine that in 1977 this material would have been quite difficult to find.

based on the table of contents for the two issues that i was able to find, i would imagine that the lyrics are not that far from describing the source material.

much like a teacher would give you an “a” on a paper if you did it on a subject that they were fairly ignorant of, i will give this song interpretation a ten fiends of ten fiends.

lyrics to “skulls”:

the corpses all hang headless and limp
bodies with no surprises
and the blood drains down like devil’s rain
we’ll bathe tonight

i want your skull
i need your skull
i want your skull
i need your skull

demon i am and face i peel
to see your skin turned inside out,
cause i gotta have you on my wall,
gotta have you on my wall,
cause

i want your skull
i need your skull
i want your skull
i need your skull

go

collect the heads of little girls and
put ’em on my wall
hack the head off little girls and
put ’em on my wall

i want your skull
i need your skull
i want your skull
i need your skull

i want your skull
i need your skull
i want your skull
i need your skull

before we begin, let me say that this is a bad interpretation.  the term “devil’s rain” is used in the third line of this song, but i do not have much else to go on.  so, let’s get to it.

“the devil’s rain” opens up on a house in the desert in a rainstorm (which ends very suddenly a few moments later).  shatner makes his appearance.  shatner’s father appears with weird eyes, asks about a book, and then melts into orange sherbet.

an aside, something interesting about this sect of satanism, when satanist die they melt into orange sherbet.  at one point in the movie, shatner pops off a couple rounds into a satanist, and instead of blood, sherbet flows out of the wound.

shatner is captured and tom skerritt is introduced as his brother.  skerritt has a wife (i think they are married) that is somewhat psychic.  she has a vision of bad things happening to shatner.

skerritt and his wife travel to the ghost town in the desert with the satanic church and are jumped by john travolta.  the wife has visions of the 1680’s which explains the backstory of the movie.

the effects for the soulless ones are pretty great.  very unsettling, but very minimal.

turns out in the 1680’s an ancestor of shatner’s betrayed an ancestor of borgnine’s.  a book fell out of the 1680’s satanist’s hands, and they have been looking for it ever since.  it looks like a cool book.

in the final act of the movie, we find out what the devil’s rain is.  since the satanist do not have the book, they can not send souls to hell.  so they keep the souls in this giant tv/faberge egg with a gold goat’s head on top (i would totally buy a tv like that).  souls are kept in there until they can be sent to hell.  it rains all the time on the souls.

the devil’s rain is broken (freeing the souls?), causing the church to explode, and the satanist to be rained upon.  turning everyone into orange sherbet.  so i guess they were not satanists of their own free will, more they were mindless ones being directed by borgnine.

the church explodes a final time and skerritt thinks it is all over.  he walks to his wife and hugs her in relief, but it is actually borgnine!  i do not know when that would have happened, but whatever.  the plot of this movie has not been entirely airtight.

interesting thing about the credits.  the whole time they let the wife suffer through the credits.  usually it is just fade to black and roll credits.  i appreciate the creativity here.

so, besides the one line of the song using the title of this movie, there are no similarities between the two.

i’ll leave you with this:

lyrics to “night of the living dead”:

stumble in somnambulance so
pre-dawn corpses come to life
armies of the dead survive
armies of the hungry ones

only ones, lonely ones,
ripped up like shredded wheat,
only ones, lonely ones,
be a sort of human picnic

this ain’t no love-in,
this ain’t no happening,
this ain’t no feeling in my arm

you think you’re a zombie,
you think it’s a scene
from some monster magazine
well open your eyes too late
this ain’t no fantasy, boy

this ain’t no love-in,
this ain’t no happening,
this ain’t no feeling in my arm

this is a pretty great song.  a lot of ground is covered in under two minutes, and it it pretty close to the movie.

movie opens with a brother and sister visiting a remote grave.  it seems to be late in the afternoon, so not quite pre-dawn.  there is a zombie that is wandering the graveyard and then there is a flash of light which we are made to believe is a comet of some sort.

the brother dies.  the sister escapes to a farmhouse, where a majority of the action of the movie will take place.

there is another occupant of the farmhouse, who will prove himself to be the only competent person in the movie.

at one point in the movie, the group tries to escape the house, only to blow up the truck they were trying to escape in.  providing the zombies with more of a human barbecue than a human picnic.

the group of survivors then retreat to the house, where a father is attacked by his daughter.  his arm is ripped off.  i would assume he has no feeling in that arm.

the movie ends with a the competent protagonist (who is a black guy) being shot by a mob of lawmen.  after he is murdered, the film switches to a montage of photographs of the protagonist being pulled from the farmhouse with meathooks and burned.  it is very reminiscent of a lynching.

while the rest of the movie is not overly political, one could read an extended metaphor into the film.

fast/sloppy reading: the new urban american returns to it’s roots to pay respects.  the new urban americans are attacked by ideas of the past (the undead).  the sister and the protagonist are joined up by a nuclear family and a new couple.  the new couple is torn apart by zombies.  the traditional nuclear family tries to hide in the basement, but is torn apart by their young daughter.  the sister is eventually eaten by zombies (specifically her zombie brother).  and the protagonist is eventually killed by the rural lawmen.

anyway, as to how close the song represents the movie?  i am willing to overlook the pre-dawn corpses lyric.  i am going to give this interpretation a ten out of ten fiends.

lyrics to “mommy, can i go out and kill tonight? (live)”:

1, 2, 3, 4
singled out the kids who are mean to me
get straight a’s but they still make fun
i don’t give a, i’ll laugh last

stayed in every night
do my homework so i’ll be smart
girls all say i’m a little fucked

mommy, i’m a good boy
mommy, i’m a fucking savior
mommy, i’m alive

mommy, can i go out and kill tonight

rip the veins from human necks
until they’re wet with life
razor-blades love teenage flesh
an epidermoty
i’ll bring back a souvenir
for it’s my mommy’s dream

can i go out and kill tonight, kill tonight

killed a girl on lovers’ lane
i kept her toes and teeth
every night i stalk around until i find my keep
i’ll bring back a souvenir
for it’s my mommy’s dream

can i go out and kill tonight, kill tonight

killed a girl on lovers’ lane
i kept her toes and teeth
every night i stalk around until i find my keep, mommy,
i’ll bring back a souvenir
for it’s my mommy’s dream

can i go out and kill tonight, kill tonight
kill tonight, kill tonight, kill tonight, kill tonight,
kill tonight, kill tonight

can i go out and kill tonight, kill tonight,
kill tonight, kill tonight, kill tonight, kill tonight,
kill tonight, kill tonight

when i stumbled upon the artwork for this movie on amazon, i thought i had an open and closed case.  but i was not correct.  “the psychopath” came out in 1966, so it could have influenced the title of this song, but let us explore the happenings of the movie.

brief plot synopsis: four men who were involved in the investigation of nazi war money are slowly murdered.  the movie opens with the murder of the first man.

the second murder.  why didn’t the police catch on?

the third and fourth murder.

the police officer nearly being killed.

the final victim.

the murderer, or who we are led to believe to be the murderer, is killed.  there is a really weird cut where we see the murderer being buried in ship chains, and then we jump to a plate of spaghetti.  i assume this is some dark joke.

turns out the mother and son were working together in murdering the people “responsible” for their disgrace.  the mom somehow got the son back to her house, despite being in a wheelchair.  the mother is murdered and the movie ends.

since the movie plot has nothing to do with the song lyrics, but the artwork is so similar, i am going to give this interpretation a special score.  i am going to give it one fiend out of ten and a special dolled up psychopath with a single tear running down each cheek.

 

 

lyrics for “hate breeders”:

hate breeders
hate breeders

brain invasion going on in everyone
you feel the things that make a world turn angry red
because the next time you can’t take it
next thought murderlation
and hate is all you wanna know

hate breeders
hate breeders
hate breeders
hate breeders

murder one inborn into your every cell
it’s in your blood and you can’t shake it
because you were bred to take it
next stop annihilation
they bred the hate right in your bones

hate breeders
hate breeders
hate breeders
hate breeders

because you were bred to take it
next stop annihilation
they bred the hate right in your fucking bones

hate breeders
hate breeders
hate breeders
hate breeders

hate is your mistress and you shall not want
you shall not want because your breed is strong
because when they try to break you
new world desolation
and strength is all you gotta know

hate breeders
hate breeders
hate breeders
hate breeders

and all you know
hate breeders
and all you know
hate breeders

i’m going to be honest here.  this was another skip song for me.  i always thought they were singing “inbreeders” not “hate breeders.”  but that wasn’t why i didn’t like the song.  it was a little too call and response.  and maybe it had to do with the fact that i could only understand every other word.  like i said previously, this was the mid-1990’s and i only the cd version.  there was no lyric book with the cd, and there was no internet to look these lyrics up on.

another note, i am going to begin by saying i am not 100 percent on this interpretation that i am putting forth.  i feel like there is a movie that focuses on an infection that turns people into rage monsters.  and there is a scene in this movie, where it is from the infected, and it looks as though the world is bathed in the light from a darkroom.  but i might just be thinking of “28 days later.”

with that, i am going to make the case that “hate breeders” is based on george a. romero’s 1973 film “the crazies.”

the movie centers on two groups of people as they deal with the effects of government/military-made virus being unleashed on the unsuspecting residents of a small town.  interestingly enough, the film focuses on two groups of people.  one group being the beleaguered government/military people handling the crisis. the other a group of five townsfolk trying to escape before the quarantine forces them into chaos.

the film opens with siblings playing in the dark of their house.  the pair are interrupted by their father as he rampages through the house destroying everything in his path.  the boy sibling notices kerosene on the floor, the girl sibling notices their dead mother in bed, and the father lights everyone up.

a few scenes later we see the father, handcuffed in the back of a police cruiser, vocally criticizing the actions of the firefighters trying to contain the blaze that is now his house.

in the meanwhile, we have met the core group of survivors, although two more members will be added eventually.

one of the core group is a nurse, and this is where we are introduced to the government/military group of this film.  once we have been introduced to both sides of the story, the movie more linearly, oscillating between the two stories.

trixie, the name of the virus, is introduced to the town’s water supply, causing victims to either become the aforementioned “crazies” or die (“next stop annihilation”).  one could assume that trixie is a “brain invasion” like the song.

trixie was created in a lab, to specifically target humans.  once trixie has infected the host “murder one inborn into your every cell,” as evidenced by the father killing his wife and children.

as clank, one of our survivors, begins to be slowly overtaken by the virus, he suffers from moments of lucidity that break through his “murderlation.”  he attacks his friend as his “world turn[s] angry red.”  one might be inclined to say trixie was in his “blood and you can’t shake it because you were bred to take it.” i understand that the you there is not referring to trixie, since trixie was specifically designed for humans.

the last verse of this song, before the final two choruses, is where my interpretation falls apart.  this will influence my grading of this movie, and why i believe there is a better movie that fits this song.

the song describes “hate is your mistress” and “the crazies” treats the hate more like an infection, something to escape not to embrace.  there are no mentions of strength to explain the lyrics “you shall not want because your breed is strong” or “strength is all you gotta know.”

unless the interpretation reads hate=trixie, and you shall not want because trixie completely consumes the mind.  and the human breed is strong because trixie infects totally.  and “because when they try to break you” is the government/military rouding up the townsfolk.  “new world desolation” is the complete destruction of the town by trixie.  and the “strength is all you gotta know” is trixie as she completely destroys humanity.  but this feels like a stretch.

i am giving this interpretation of this song a five of ten fiends because of my weak interpretation of that final verse.

 

bonus content: there are a couple of weird scenes in this movie.  at one point the government/military is clearing out a church.  the priest is running up and down the aisles yelling that the people in the church have sanctuary.  he then grabs a can of gas, runs outside, douses himself in gasoline, and self-immolates.

there is also a weird incest plot beat within our group of survivors.  two of the five members are a father/daughter pair.  both are slowly being overcome by trixie.  the daughter goes mad, and the father ends up raping the daughter.

the father is interrupted by clank, and the father ends up hanging himself.  and the daughter is gunned down by the military.

i am not sure what romero was going for here.  is the trixie virus some sort of allusion for a bloodlust that america had when entering the vietnam war?  america rapes it’s own innocence in the throes of a bloodlust that will eventually make them crazy/kill them?  i think that this might be a better reading of “the crazies” than the reading of “hate breeders” which i supplied above.

lyrics to “nike a go go”:

go

it’s a missile girl
in a missle world

human tongue feels aluminum-plate
it’s a missile boy
death machine and man in love
tracking system check out pulse,
all systems go
go go go go go
rocket-blast fury with a manual sex-drive
go go go go go

it’s a missile girl
with a long white face
a missle girl, well

nike is her name
you remember it
deadlier than any girl on any world
nike be good
nike be everything woman’s not
a go go go go go
nike take my life along with yours
a go go go go go

it’s a missile girl
with a long white face
a missle girl, well

nike is the name remember it
go go

nike take my life along with yours
go go
go go

go

there i go and it’s over

there i go and then it’s over
there i go and then it’s over
there i go and then it’s over
there i go and then it’s over
there i go and then it’s over
there i go and then it’s over

there i go and then it’s a go go, a go go
there i go and then it’s a go go, a go go
there i go and then it’s a go go, a go go
there i go and then it’s a go go, a go go
there i go and then it’s over

this song from the misfits isn’t based on a movie. although a movie where there is a go-go club where sexy anthropomorphic missiles gyrate seductively doesn’t sound outside the realm of possibilities. patent pending on that idea!

anyway, this song sexualizes the nike missile program quite effectively and subversively. slipped into the middle of this album, the misfits have effectively sent up a commentary on the militarization of america. a militarization that certain people seem to take an almost sexual delight in.

(i am quite proud of some of the puns in that last paragraph.)

i am not an authority on enunciation, but i was not aware of the words/meaning of this particular song. quite frankly, when it was in the cd player, and within reach, it was always a skip.

here are a couple propaganda pieces from the united states military on the nike missile system:

the second one is a bit more bleak.

the film begins with a child’s glider soaring overhead, “and for a moment he thinks of hiroshima.”  grim.

and the video ends with the narration, “elm street dawns the peaceful cloak of evening, and prepares for another night of rest.  but these eyes are never closed.  men and machines are now one. nike hercules is our assurance that what might happened will not happen here.”

the propaganda supposes that men and machine have become one, just not in the sexy way that the song proposes.

while this particular song was nowhere near a favorite, i have found a new appreciation in the examination of this song. that is why i am giving it ten out of ten fiends.

lyrics for “vampira”:

black dress moves in a blue movie
graverobbers from outer space
your pulmonary trembles in your outstretched arm
tremble so wicked

two inch nails
micro waist
with a pale white feline face
inclination eyebrows to there

mistress to the horror kid
cemetery of the white love ghoul, well
take off your shabby dress
come and lay beside me

come a little bit closer
come a little bit closer
come a little bit closer
come a little bit closer to me

hey, hey, hey, hey, hey, hey, hey

 

quick synopsis of plan 9 from outer space: criswell opens this movie with a dire warning of “grave robbers from outer space.” so the lyrics for “vampira” already has that going for it.

criswell describes the grief of an old man (bela lugosi) who loses his wife (vampira).  we never see the wife alive, probably because it would have been impossible to portray vampira as anything other than what she is.  and the old man dies within minutes of his introduction in the film.

one could say that bela lugosi is the horror kid, but that seems a bit disrespectful to refer to lugosi as a kid.  but it reads.

aliens, eros and tanna, use an electrogun to resurrect the old man and his wife.  they kill a police inspector, the refrigerator of a man tor johnson.  this police inspector clay is resurrected too.

the aliens let their presence be known to the people of the planet earth.  there is a dustup with the military, where a lot of stock footage of actual military maneuvers are used.

eventually the aliens land back in the original graveyard, allow some humans on board, and finally explain what their plan is.  they want the humans, with their “stupid minds,” to not develop solarbonite(sp?).  the development of this material will destroy the universe.

the earthlings predictably punch their way out of the situation.  the alien ships explodes.  the end.

this song focuses more on vampira than the plot of the movie.  but the movie does feature into the lyrics.  this is a fairly straightforward interpretation.

note: i want to take a second to defend tise movie.  it is usually blasted as one of the worst movies ever made.  i feel this movie had a lot of heart.  the effects weren’t great, and there are some questionable choices with sets (like why didn’t they shoot at an actual graveyard).  but i feel like everyone was invested in the movie.  what makes a movie bad?  poor effects because of a lack of budget?  or a poor script where everyone is obviously in it for the money?  i feel like the latter is much worse.  and while plan 9 from outer space isn’t brilliant, it is hardly the worse movie ever made.