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Jordan Gerblick. Topics News ents. Show more. List includes photos and b-movie movie trailers next to the names of the movies.
List movies include Deadtime Stories , Final Cu t, and more. Whether you're at home and want to watch these b-movies on DVD, streaming Blu-ray or streaming, or if you're seeing them in theatres for the first time, this is a list of good b-movies that can be helpful in either situation to see where they all stack up.
So from the latest, to the greatest b-movies, here is the full b-movies list, ordered from best to worst.
Then, check out our list of the best B horror movies. All sorts of directors have taken on B-movie movies.
Romero, and Terence Fisher. Released: Directed by: Sam Raimi. Directed by: Ron Underwood. Directed by: John Carpenter.
Directed by: George A. Directed by: Lloyd Kaufman, Michael Herz. Directed by: Jim Sharman. Directed by: Gordon Douglas.
Directed by: Jim Mallon. Directed by: Stuart Gordon. Directed by: Steve Oedekerk. More Kung Pow! Directed by: Brett Leonard. Directed by: Ellory Elkayem.
Directed by: Joe Dante. Directed by: Christian Duguay. Directed by: Douglas Cheek. More C. Directed by: Adam Gierasch. Directed by: Wes Craven.
Directed by: Peter Jackson. Data-driven recommendations based on voting from over 40 million monthly visits to Ranker. Try the free app. It is the third installment of The Evil Dead franchise.
The film was written by Sam Raimi and his This film After Ash Bruce Campbell discovers an audiotape left by a college It follows a nameless drifter referred to as Baffico Released: Directed by: George A.
It was the second film made in Romero's series, but contains no characters or settings from them,Als Erinnerung an ein typisches Geräusch, wenn mal wieder eine Flasche zwischen den Stühlen remarkable, halloweentown 4 stream deutsch brilliant rollt, haben wir die gute alte B-Movie-Flasche wieder für euch hervor geholt. April, Uhr Sonntag, Bis sie wieder live bei uns zu sehen ist, haben wir hier ein sehr beruhigendes Video der Dias aus 35 mm-Filmen für Euch. B-Movies unterscheiden sich von anderen Low-Budget-Produktionen dadurch, dass sie weniger am künstlerischen Ausdruck als vielmehr primär am kommerziellen Gewinn interessiert sind. Heute versteht man unter einem B-Movie meist amazon prime scrubs einen this web page Film mit in der Regel geringem Filmbudget und zumeist niedrigem künstlerischen Anspruch. Wie ungeschoren davon? Zwei Jugendliche, Pär und Annika, verlieben sich ineinander. Anderssons Filme zeichnen sich durch eine abstrakte und oft groteske Darstellung von Menschen aus, die jedoch immer im kompromisslosen Humanismus gründet.
The fear of nuclear war with the Soviet Union, along with less expressible qualms about radioactive fallout from America's own atomic tests, energized many of the era's genre films.
Science fiction, horror, and various hybrids of the two were now of central economic importance to the low-budget end of the business. Most down-market films of the type—like many of those produced by William Alland at Universal such as Creature from the Black Lagoon and Sam Katzman at Columbia including It Came from Beneath the Sea —provided little more than thrills, though their special effects could be impressive.
But these were genres whose fantastic nature could also be used as cover for mordant cultural observations often difficult to make in mainstream movies.
Director Don Siegel 's Invasion of the Body Snatchers , released by Allied Artists, treats conformist pressures and the evil of banality in haunting, allegorical fashion.
Gordon , is both a monster movie that happens to depict the horrific effects of radiation exposure and "a ferocious cold-war fable [that] spins Korea , the army's obsessive secrecy, and America's post-war growth into one fantastic whole".
The Amazing Colossal Man was released by a new company whose name was much bigger than its budgets. Nicholson and Samuel Z.
David Cook credits AIP with leading the way "in demographic exploitation , target marketing , and saturation booking, all of which became standard procedure for the majors in planning and releasing their mass-market 'event' films" by the late s.
In , a young filmmaker named Roger Corman received his first screen credits as writer and associate producer of Allied Artists' Highway Dragnet.
Corman directed over fifty feature films through As of , he remained active as a producer, with more than movies to his credit.
Often referred to as the "King of the Bs", Corman has said that "to my way of thinking, I never made a 'B' movie in my life", as the traditional B movie was dying out when he began making pictures.
He prefers to describe his metier as "low-budget exploitation films". In the late s, William Castle became known as the great innovator of the B movie publicity gimmick.
The creature feature The Tingler featured Castle's most famous gimmick, Percepto: at the film's climax, buzzers attached to select theater seats unexpectedly rattled a few audience members, prompting either appropriate screams or even more appropriate laughter.
The postwar drive-in theater boom was vital to the expanding independent B movie industry. In January , there were 96 drive-ins in the United States; a decade later, there were more than 3, The phenomenon of the drive-in movie became one of the defining symbols of American popular culture in the s.
At the same time, many local television stations began showing B genre films in late-night slots, popularizing the notion of the midnight movie.
Increasingly, American-made genre films were joined by foreign movies acquired at low cost and, where necessary, dubbed for the U. In , distributor Joseph E.
Levine financed the shooting of new footage with American actor Raymond Burr that was edited into the Japanese sci-fi horror film Godzilla.
In , Levine's Embassy Pictures bought the worldwide rights to Hercules , a cheaply made Italian movie starring American-born bodybuilder Steve Reeves.
The New York Times was not impressed, claiming that the movie would have drawn "little more than yawns in the film market Just as valuable to the bottom line, it was even more successful overseas.
The AIP-style dual genre package was the new model. In July , the latest Joseph E. Levine sword-and-sandals import, Hercules Unchained , opened at neighborhood theaters in New York.
It was clearly an A film by the standards of both director and studio, with the longest shooting schedule and biggest budget Corman had ever enjoyed.
With the loosening of industry censorship constraints , the s saw a major expansion in the commercial viability of a variety of B movie subgenres that became known collectively as exploitation films.
The combination of intensive and gimmick-laden publicity with movies featuring vulgar subject matter and often outrageous imagery dated back decades—the term had originally defined truly fringe productions, made at the lowest depths of Poverty Row or entirely outside the Hollywood system.
Many graphically depicted the wages of sin in the context of promoting prudent lifestyle choices, particularly " sexual hygiene ".
Audiences might see explicit footage of anything from a live birth to a ritual circumcision.
With the majors having exited traditional B production and exploitation-style promotion becoming standard practice at the lower end of the industry, "exploitation" became a way to refer to the entire field of low-budget genre films.
Exploitation movies in the original sense continued to appear: 's Damaged Goods , a cautionary tale about a young lady whose boyfriend's promiscuity leads to venereal disease , comes complete with enormous, grotesque closeups of VD's physical effects.
Best known was Russ Meyer , who released his first successful narrative nudie, the comic Immoral Mr. Teas , in Five years later, Meyer came out with his breakthrough film, Lorna , which combined sex, violence, and a dramatic storyline.
Crafted for constant titillation but containing no nudity, it was aimed at the same "passion pit" drive-in circuit that screened AIP teen movies with wink-wink titles like Beach Blanket Bingo and How to Stuff a Wild Bikini , starring Annette Funicello and Frankie Avalon.
One of the most influential films of the era, on Bs and beyond, was Paramount's Psycho. And, as William Paul notes, this move into the horror genre by respected director Alfred Hitchcock was made, "significantly, with the lowest-budgeted film of his American career and the least glamorous stars.
Lewis's business partner David F. Friedman drummed up publicity by distributing vomit bags to theatergoers—the sort of gimmick Castle had mastered—and arranging for an injunction against the film in Sarasota, Florida—the sort of problem exploitation films had long run up against, except Friedman had planned it.
Imports of Hammer Film's increasingly explicit horror movies and Italian gialli , highly stylized pictures mixing sexploitation and ultraviolence, fueled this trend.
The Production Code was officially scrapped in , to be replaced by the first version of the modern rating system.
One was a high-budget Paramount production, directed by the celebrated Roman Polanski. Produced by B horror veteran William Castle, Rosemary's Baby was the first upscale Hollywood picture in the genre in three decades.
Building on the achievement of B genre predecessors like Invasion of the Body Snatchers in its subtextual exploration of social and political issues, it doubled as a highly effective thriller and an incisive allegory for both the Vietnam War and domestic racial conflicts.
In this transformed commercial context, work like Russ Meyer's gained a new legitimacy. In May , the most important exploitation movie of the era premiered at the Cannes Film Festival.
The project was first taken by one of its cocreators, Peter Fonda , to American International. The idea Fonda pitched combined those two proven themes.
AIP was intrigued but balked at giving his collaborator, Dennis Hopper , also a studio alumnus, free directorial rein.
In the late s and early s, a new generation of low-budget film companies emerged that drew from all the different lines of exploitation as well as the sci-fi and teen themes that had been a mainstay since the s.
The major studios' top product was continuing to inflate in running time—in , the ten biggest earners averaged In , Corman had a producorial hand in five movies averaging He played a similar part in five films originally released in , two for AIP and three for his own New World: the average length was The biggest studio in the low-budget field remained a leader in exploitation's growth.
Reviewing Sisters , Pauline Kael observed that its "limp technique doesn't seem to matter to the people who want their gratuitous gore.
One of blaxploitation's biggest stars was Pam Grier , who began her film career with a bit part in Russ Meyer's Beyond the Valley of the Dolls Blaxploitation was the first exploitation genre in which the major studios were central.
Indeed, the United Artists release Cotton Comes to Harlem , directed by Ossie Davis , is seen as the first significant film of the type.
The days of six quickies for a nickel were gone, but a continuity of spirit was evident. The crime-based plot and often seedy settings would have suited a straightforward exploitation film or an old-school B noir.
The first three features directed by Larry Cohen , Bone , Black Caesar , and Hell Up in Harlem , were all nominally blaxploitation movies, but Cohen used them as vehicles for a satirical examination of race relations and the wages of dog-eat-dog capitalism.
In the early s, the growing practice of screening nonmainstream motion pictures as late shows, with the goal of building a cult film audience, brought the midnight movie concept home to the cinema, now in a countercultural setting—something like a drive-in movie for the hip.
The midnight movie success of low-budget pictures made entirely outside the studio system, like John Waters ' Pink Flamingos , with its campy spin on exploitation, spurred the development of the independent film movement.
Even as Rocky Horror generated its own subcultural phenomenon, it contributed to the mainstreaming of the theatrical midnight movie.
Asian martial arts films began appearing as imports regularly during the s. These " kung fu " films as they were often called, whatever martial art they featured, were popularized in the United States by the Hong Kong—produced movies of Bruce Lee and marketed to the same audience targeted by AIP and New World.
As Roger Ebert explained in one review, "Horror and exploitation films almost always turn a profit if they're brought in at the right price.
So they provide a good starting place for ambitious would-be filmmakers who can't get more conventional projects off the ground.
Just as Hooper had learned from Romero's work, Halloween , in turn, largely followed the model of Black Christmas , directed by Deathdream ' s Bob Clark.
On television, the parallels between the weekly series that became the mainstay of prime-time programming and the Hollywood series films of an earlier day had long been clear.
As production of TV movies expanded with the introduction of the ABC Movie of the Week in , soon followed by the dedication of other network slots to original features, time and financial factors shifted the medium progressively into B picture territory.
Television films inspired by recent scandals—such as The Ordeal of Patty Hearst , which premiered a month after her release from prison in —harkened all the way back to the s and such movies as Human Wreckage and When Love Grows Cold , FBO pictures made swiftly in the wake of celebrity misfortunes.
Nightmare in Badham County headed straight into the realm of road-tripping-girls-in-redneck-bondage exploitation. The reverberations of Easy Rider could be felt in such pictures, as well as in a host of theatrical exploitation films.
But its greatest influence on the fate of the B movie was less direct—by , the major studios were catching on to the commercial potential of genres once largely consigned to the bargain basement.
Rosemary's Baby had been a big hit, but it had little in common with the exploitation style. Warner Bros. In William Paul's description, it is also "the film that really established gross-out as a mode of expression for mainstream cinema.
The Exorcist made cruelty respectable. By the end of the decade, the exploitation booking strategy of opening films simultaneously in hundreds to thousands of theaters became standard industry practice.
Described by Paul as "essentially an American-International teenybopper pic with a lot more spit and polish", it was 's third-biggest film and, likewise, by far the highest-earning teen-themed movie yet made.
Most of the B-movie production houses founded during the exploitation era collapsed or were subsumed by larger companies as the field's financial situation changed in the early s.
Even a comparatively cheap, efficiently made genre picture intended for theatrical release began to cost millions of dollars, as the major movie studios steadily moved into the production of expensive genre movies, raising audience expectations for spectacular action sequences and realistic special effects.
Their disaster plots and dialogue were B-grade at best; from an industry perspective, however, these were pictures firmly rooted in a tradition of star-stuffed extravaganzas.
The Exorcist had demonstrated the drawing power of big-budget, effects-laden horror. But the tidal shift in the majors' focus owed largely to the enormous success of three films: Steven Spielberg 's creature feature Jaws and George Lucas's space opera Star Wars had each, in turn, become the highest-grossing film in motion picture history.
Even as the U. Double features were now literally history—almost impossible to find except at revival houses.
One of the first leading casualties of the new economic regime was venerable B studio Allied Artists, which declared bankruptcy in April The studio was sold off and dissolved as a moviemaking concern by the end of Despite the mounting financial pressures, distribution obstacles, and overall risk, many genre movies from small studios and independent filmmakers were still reaching theaters.
Horror was the strongest low-budget genre of the time, particularly in the slasher mode as with The Slumber Party Massacre , written by feminist author Rita Mae Brown.
In , New Horizons released a critically applauded movie set amid the punk scene written and directed by Penelope Spheeris.
The New York Times review concluded: " Suburbia is a good genre film. Larry Cohen continued to twist genre conventions in pictures such as Q a.
Q: The Winged Serpent ; , described by critic Chris Petit as "the kind of movie that used to be indispensable to the market: an imaginative, popular, low-budget picture that makes the most of its limited resources, and in which people get on with the job instead of standing around talking about it".
In the words of one newspaper critic, it was a "shoestring tour de force ". One of the most successful s B studios was a survivor from the heyday of the exploitation era, Troma Pictures , founded in Troma's best-known production is The Toxic Avenger ; its hideous hero, affectionately known as Toxie, was featured in several sequels and a TV cartoon series.
The video rental market was becoming central to B film economics: Empire's financial model relied on seeing a profit not from theatrical rentals, but only later, at the video store.
The growth of the cable television industry also helped support the low-budget film industry, as many B movies quickly wound up as "filler" material for hour cable channels or were made expressly for that purpose.
By , the cost of the average U. Three more—the science-fiction thriller Total Recall , the action-filled detective thriller Die Hard 2 , and the year's biggest hit, the slapstick kiddie comedy Home Alone —were also far closer to the traditional arena of the Bs than to classic A-list subject matter.
Surviving B movie operations adapted in different ways. Releases from Troma now frequently went straight to video. New Line, in its first decade, had been almost exclusively a distributor of low-budget independent and foreign genre pictures.
In , New Line was sold to the Turner Broadcasting System ; it was soon being run as a midsized studio with a broad range of product alongside Warner Bros.
A New York Times reviewer found that the initial installment qualified as "vintage Corman At the same time as exhibition venues for B films vanished, the independent film movement was burgeoning; among the results were various crossovers between the low-budget genre movie and the "sophisticated" arthouse picture.
The film's imagery was another matter: "On its scandalizing surface, David Cronenberg's Crash suggests exploitation at its most disturbingly sick", wrote critic Janet Maslin.
This result mirrored the film's scrambling of definitions: Fine Line was a subsidiary of New Line, recently merged into the Time Warner empire—specifically, it was the old exploitation distributor's arthouse division.
New York Times critic A. Scott warned of the impending "extinction" of "the cheesy, campy, guilty pleasures" of the B picture. On the other hand, recent industry trends suggest the reemergence of something like the traditional A-B split in major studio production, though with fewer "programmers" bridging the gap.
The economic model was deliberately low-rent, at least by major studio standards. It's also encouraging filmmakers to shoot digitally—a cheaper process that results in a grittier, teen-friendly look.
And forget about stars. Of Atomic's nine announced films, not one has a big name". As the Variety report suggests, recent technological advances greatly facilitate the production of truly low-budget motion pictures.
The development of digital cameras and postproduction methods now allow even low-budget filmmakers to produce films with excellent, and not necessarily "grittier", image quality and editing effects.
At the same time, [since the early s], the quality of digital filmmaking has improved dramatically. In a similar way, Internet sites such as YouTube have opened up entirely new avenues for the presentation of low-budget motion pictures.
The terms C movie and the more common Z movie describe progressively lower grades of the B movie category. The terms drive-in movie and midnight movie , which emerged in association with specific historical phenomena, are now often used as synonyms for B movie.
The C movie is the grade of motion picture at the low end of the B movie, or—in some taxonomies—simply below it. The "C" in the term then does double duty, referring not only to quality that is lower than "B" but also to the initial c of cable.
Helping to popularize the notion of the C movie was the TV series Mystery Science Theater —99 , which ran on national cable channels first Comedy Central , then the Sci Fi Channel after its first year.
Updating a concept introduced by TV hostess Vampira over three decades before, MST3K presented cheap, low-grade movies, primarily science fiction of the s and s, along with running voiceover commentary highlighting the films' shortcomings.
Director Ed Wood has been called "the master of the 'C-movie ' " in this sense, although Z movie see below is perhaps even more applicable to his work.
The term Z movie or grade-Z movie is used by some to characterize low-budget pictures with quality standards well below those of most B and even C movies.
Most films referred to as Z movies are made on very small budgets by operations on the fringes of the commercial film industry.
The micro-budget "quickies" of s fly-by-night Poverty Row production houses may be thought of as Z movies avant la lettre.
Latter-day Zs are often characterized by violent, gory or sexual content and a minimum of artistic interest; much of which is destined for the subscription TV equivalent of the grindhouse.
Psychotronic movie is a term coined by film critic Michael J. Weldon—referred to by a fellow critic as "the historian of marginal movies"—to denote the sort of low-budget genre pictures that are generally disdained or ignored entirely by the critical establishment.
According to Weldon, "My original idea with that word is that it's a two-part word. I very quickly expanded the meaning of the word to include any kind of exploitation or B-movie.
Use of the term tends to emphasize a focus on and affection for those B movies that lend themselves to appreciation as camp. B-television is the term used by the German media scholar Heidemarie Schumacher in her article From the True, the Good, the Beautiful to the Truly Beautiful Goods—audience identification strategies on German "B-Television" programs as an analogy to "B-movie" to characterize the development of German commercial television, which adopted "the aesthetics of commercials" with its "inane positiveness radiated by every participant, the inclusion of clips, soft focus, catchy music" as well as "promotion of merchandise through product placement".
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