Lovesusti The Worst Film Ever

Catangro After playing with our expectations, this turns out to be a very different sort of film.

Helllins It is both painfully honest and laugh-out-loud funny at the same time.

Calum Hutton It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Chimera-5 Don't you just love these bogus glowing reviews that the film's cast and crew write and then commission other people to also write on here? "Hey, rate it even an 8 or a 9 so it doesn't look TOO obvious that we padded the rating ourselves. But no lower than that!" The film is a boring, molasses-paced mess and the storyline is just laughable (and that's being nice!). The lead actor with the fake greasy mustache is also a talentless schmuck who obviously just got cherry-picked by his own friend to star in this. Films where a group of friends or bed buddies all get together to make are fine, just acknowledge that sometimes there's very little talent among your little cult. And for God's sake, don't come on here writing glaringly obvious fabricated reviews glorifying yourselves!

artpf A middle-aged hired gun named Print (Aaron Stielstra) is obsessed with having style and poetry to his assassinations. He has been working with loyalty for his boss, Mr. Paul (Montgomery Ford), for years. But his latest assignment - the killing of a brothel owner (Dan van Husen) who mandates cruel abortions on his whores - presents two challenges. He must train a young understudy during the assignment, and he's been told to pull off the killing "quick and dirty" -- which may not leave time for Print's usual, obsessively imaginative methods.OK firstly, the only reviews for this movie are stellar. Guess what that means? They are written by shills who worked on the film.This move is absolutely horrible. Laboriously directed and no acting and poor writing. The hookers are hideous.Stay away.

HughBennie-777 Director Michael Fredianelli's western shows a lot of guts to present characters this unlikable, yet still insists you empathize with their ickiness. Of course, none of this would be achieved with B-movie actors, and, luckily, the principle cast here is exceptional. One look at the plot, involving an unstable gunfighter who trains a young killer to rid a town of its delusional brothel-owner, dismisses any idea that the subject matter is going to be modest, and the actors evoke the kind of natural weariness and cold-blooded fury often "corrected" in more conventionally moral westerns. Most of the graphic, stylized content here comes in the form of gargantuan, spurting gunshot wounds and a lot of buck-naked prostitutes. Screenwriter David Lambert allows his often sociopathic characters to speak in dialogue both realistic and humorous, and with leads like Aaron Stielstra (as the shootist Print) spaghetti western veteran Dan van Husen, and the commanding presence of Montgomery Ford on screen, there's more than enough brooding on screen to sustain both sarcasm and menace for the film's 90 minutes. The vivid cinematography gives a blighted look to the many seedy locales, this despite a low budget. $25,000? A western made for that today in Hollywood could barely improve on an interiors-only moral fable like Randall Heller's "Tolerance". Again, the film-makers overcome most production obstacles, though in a few places the pacing is draggy. But considering the plot deals with a talkative villain (van Husen) who co-stars alongside so many other talkative villains (Print even has his own deranged voice-over), the action-packed gunfights and ass-kickings make up for it. Solid soundtrack by Stielstra features traditional folk music as well as demented instrumentation, both creating the proper ambiguity and dread which support the movie's ending. Film also features great cameos by a jellyfish and a giant sow.

jkelp90 A low film budget, especially one attached to a period film as demanding as a western, doesn't have to reflect what can be brought to a movie when gritty acting and a hard-nosed storyline are both unafraid of controversy, or breaking archetypes.Here, the film-makers make that their saving grace. WORM may lack sweep and grandeur, but it compensates for its meager funding by creating a world of believable, albeit strange, characters, who are caught in writer David Lambert's bleak narrative and poetic dialogue. Both make their mark in a tale of a cynical killer hired by a cattle-baron to sterilize a town of its brothel owner. The killer Print (played excellently here by Aaron Stielstra) can see the brothel-owner (a chilling Dan van Husen) carries an unhealthy amount of Biblical fury about sin, but Print comes to learn the man is far more dangerous for his own philosophies and this soon leads to Print encountering (and unleashing) an enormous bloodbath.All divided into cinematic chapters and told in a bold and muscular style by director Michael Fredianelli, cinematographer Michael Martinez also create a claustrophobic wilderness out of the luckless town and its inhabitants. Complementing this is the cast, which one doesn't see in a big budget western. More reflective of 60s and 70s westerns, the characters show damage and hard-lifestyle, this further reinforced by the shocking circumstances and violence that erupt in a moments's notice to often punish the innocent. The movie additionally benefits from Aaron Stielstra's somber score, complete with strangled electric guitars, ominous Morricone outbursts of noise, and a memorable finale.Though thought-provoking, WORM is troubling movie and one without pandering resolutions to its good guy/bad guy scenario. Like equally morally conflicted westerns like Peckinpah's "PAT GARRETT AND BILLY THE KID", "RIDE IN THE WHIRLWIND" or the savage "THE HUNTING PARTY", here men are compromised throughout by their own codes of conduct and the brutal instinct to survive. Without the film's superb acting and direction, here both strong enough to make one forget the large scale adventuring to appear in something as banal as "COWBOYS AND ALIENS", the movie might have never surpassed its economic limitations and played out like an exploitation flick. Instead, WORM is a harrowing and unforgettable alternative to shoot-'em-ups or the kind of popular western entertainment that asks no questions of its audience. Prepare to be be impressed.•