It’s about a neurotic, anxious woman who moves to a crumbling manor house with her new husband, only to suspect that she’s being haunted by the ghost of his dead wife. The feature film, meanwhile, has a serious, almost Universal horror-like tone, and honestly is more or less competent despite offering the gimmick of “free burial services” to anyone who dies of fright while watching. Now you’ll know, the next time it comes up at trivia: “Did Mystery Science Theater ever feature a Gumby short?” The answer of course is “Yes, Robot Rumpus,” and man is it some weird, wild stuff one of the only animated sequences to ever appear on the show. 912, The Screaming Skull, 1957, /w Gumby Robot Rumpusīest riff: Crow: “It’s like they have two servings of tension that they’re trying to stretch out for seven people.”
Did you know that they can be used to place calls to other telephones?ġ12. Mike and the Bots zero in on the kids in particular, questioning why one of them repeatedly manifests “a Flemish accent.” The short, meanwhile, is a solid if not spectacular trip to the Seattle World’s Fair, where we marvel at the wonder of telephone machines. Drysdale from The Beverly Hillbillies and even The Professor from Gilligan’s Island, who is playing amusingly and melodramatically against type as an abusive, drunken father. The episode is notable for a veritable menagerie of guest stars-Jackie Coogan, Mr. Like a dime store version of The Day the Earth Stood Still, it’s about aliens that come to Earth in the form of giant balls of goo/brains and then use their powers to take over the minds of children and sabotage scientists who are working on weapons of mass destruction. This is a weird little ‘50s sci-fi yarn, and one that I suppose thought it had a valuable lesson to teach us all about the perils of nuclear war. 906, The Space Children, 1958, /w Century 21 Callingīest riff: “We brought you a nondescript B actor just as you asked, oh powerful jelly brain.” There’s very little actual “horror” to be had here, as the film is more of a mystery/suspense picture, but I’d just like to add that the Barbara Walters-esque soft focus/bright lights makes me feel like I have cataracts every time I watch it.ġ13. The film is yet another opportunity in the MST3k timeline for Crow to break out his well-honed Peter Graves impersonation, not missing a beat in the transition from Trace to Bill Corbett, and they naturally trample all over the legacy of the Biography host, who plays a corrupt politician endorsing clone hijinks. But in short: Community of clones who are used as body parts for the societal elite find out their purpose and revolt.
#Mst3k tor johnson movie#
Parts: The Clonus Horror can qualify as one of only a couple of times when a movie shown on MST3k was actually ripped off by a future film-in this case, 2005’s The Island with Ewan McGregor and Scarlett Johansson, which more or less stole it wholesale to the point that they were successfully sued by the Clonus writers. 811, Parts: The Clonus Horror, 1979īest riff: “This scene was lit by an Indiglo watch.” Or to quote Servo: “Even the sky is brown in this movie.”ġ14. The film is in color, but it’s that washed-out, earth-toney form of ‘70s TV, and absolutely everything is a shade of yellow, tan and brown. There’s so much going on the entire time that Mike and the Bots can barely keep up, spinning riffs about the ineffectual and smarmy airport staff and the uninspiring facial features of our leads. The entire thing is a relentless barrage of wacky subplots-in this one film, you have a hoax involving runway conditions, a team of criminals trying to pull off a huge heist, and a young boy who steals a plane off the runway for reasons involving his divorced parents.
#Mst3k tor johnson tv#
It’s actually a “TV movie” of sorts, being the feature-length pilot episode of a TV show about the misadventures of an airport/flight tower staff. There’s something about San Francisco International that feels profoundly un- MST3k … perhaps because it’s the rare film you can’t pigeonhole into any MST3k-appropriate genre, but regardless, it helps this episode stand out in a strange way. 614, San Francisco International, 1970īest riff: As a priest adjusts a jaunty fedora: “.and that’s why the savior is a tramp, yeah!”
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