Not every film can be the Citizen Kane of its day. For every high-budget “A movie” that commands significant promotion and funding from its studio, there are piles of B movies that scratch and claw their way into existence without the benefit of things like “a budget” or “a script” in some cases. To compare them with A movies in terms of resources and immersiveness isn’t a fair proposition. Instead, discerning film fans are able to simply appreciate them for what they are.

But what does “best” mean when we’re talking about films often famous for their shoddy construction? It certainly doesn’t mean “best-made.” It also doesn’t mean “worst-made,” or else films like Manos: The Hands of Fate and The Beast of Yucca Flats would make prominent appearances. They’re not on this list because the meaning of “best” here is “most entertaining,” and I defy you to be entertained byManos without its MST3k commentary or a pound of medical-grade marijuana. If these films are painful, they’re also equally fun.

Whenever possible, I tried to keep the list to more obscure titles. Although John Carpenter’s Halloween is a great example of a superbly made “B movie” in terms of budget, any film fan has most likely seen it already. Gathered here is a collection of some of the most entertainingly cheap and endearingly bad movies ever made.

100. The Giant Claw
Year: 1957
Director: Fred F. Sears

The Giant Claw is not the most captivating of the classic 1950s “giant monster running amok” movies, but it must be seen exclusively for the fact that it features the goofiest-looking movie monster of all time. This thing—this “antimatter space buzzard,” as it is eventually called—is so laughably stupid that it’s hard to believe they actually chose to feature it so extensively in the trailer rather than hiding it from sight. The poor actors weren’t even aware of how incredibly lame the monster would be until they saw the completed film, and by then it was too late. The Giant Claw stands as a classic example of 1950s drive-in cheese.
 

99. Hercules in New York
Year: 1970
Director: Arthur Allen Seidelman

Remember when Arnold Schwarzenegger burst into the public consciousness withConan the Barbarian and late night hosts mocked his stilted English? Well, that movie was made in 1982, after Arnold had been studying the language for more than a decade. Hercules in New York was his first feature film, credited as “Arnold Strong, Mr. Universe” because “Schwarzenegger” was too long. A massive 22-year-old with zero acting experience or charisma, he’s absolutely lost in this thing, casually strolling around New York and competing as a pro wrestler. His line delivery was so unintelligible he had to be completely dubbed, but evidence of the original can still be found. The words are so flat and vapid, he’s like a muscle-bound Lennie Small. It’s captivatingly bad because there’s so little evidence of the fun, campy actor he later became.
 

98. The Big Doll House
Year: 1971
Director: Jack Hill

There are certain genres you have to check off in a list like this, and the “women in prison” film is a classic sub-type of the larger 1970s exploitation genre. You know what you’re getting here: Nudity, abusive guards, a plethora of shower scenes and a daring escape. It’s pure sleaze all the way. Jonathan Demme’s Caged Heat is a bit better known, but The Big Doll House is more sincere and less satirical. It’s also one of the earliest appearances of blaxploitation legend, Pam Grier, who will recur on this list. Director Jack Hill clearly saw something in her (or at least liked seeing her naked), as he went on to direct several of Grier’s blaxploitation classics, such asCoffy and Foxy Brown. So really, this is one form of exploitation movie giving birth to another.
 

97. I Bought a Vampire Motorcycle
Year: 1990
Director: Dirk Campbell

If I gave you three guesses, do you think you could suss out the basic gist of this film? If you ventured “guy buys a motorcycle that is also a vampire,” then you would be correct. This trashy British horror-comedy is partially successful in its satire of American cheapo horror schlock in the style of Troma Entertainment, but it’s also got plenty of sincere badness of its own. It’s that rare sort of film that is amusing both in its intentional corniness and its unintentional badness, which is not a common combination. It’s just a gloomy, bizarre film, with scenes that include a dream sequence featuring a talking turd in the hero’s toilet. You probably don’t want to see that, but if you do, I won’t judge. It’s exactly what the trailer impliesfrom the first lines: “Most good motorcycles run on gasoline. This is a bad motorcycle. It runs on blood.”

96. Iron Sky
Year: 2012
Director: Timo Vuorensola

This movie isn’t nearly as funny or clever as it thinks it is, but damn if it doesn’t earn a spot on the list just through strength of premise alone. In the annals of great premises for B movies, “Nazis from the dark side of the moon invading Earth” is an instant classic. It helps that the movie looks great for an entry in the straight-to-video segment, and the acting is serviceably campy. The political humor is a bit much and the Sarah Palin-esque American president quickly grows grating, but it’s no worse than you’d see in your average mockbuster from The Asylum, coupled with much higher production values. It’s a premise that could have been an all-time classic, but even as is, it’s tough not to enjoy Iron Sky as gleefully stupid entertainment.
 

95. Mazes and Monsters
Year: 1982
Director: Steven Hilliard Stern

File this one into the “before they were famous” category. Starring a 26-year-old Tom Hanks in his first feature film lead, six years before Big, this movie is the perfect encapsulation of the early 1980s D&D moral panic. Its “research” is hilariously poor, painting a D&D-style roleplaying game as a life-devouring descent into the depths of Satanism and mental illness. Hanks plays the resident psycho of the group, who falls so deeply into his cleric character that he takes to wandering the streets of New York, murdering hoboes he mistakes for orcs. It’s incredibly dour, tackling its subject matter in the same blind, contextless way that Reefer Madnesshandled pot 50 years earlier, and in the process proving how little we’ve learned. This is the kind of film you find in a pawn shop today in a hand-printed DVD case with a 40-year-old Tom Hanks’ face plastered on it. “You like Tom Hanks, right? Sure you do. You should buy this exciting movie starring Academy Award-winner Tom Hanks.”
 

94. Foodfight!
Year: 2012 (technically)
Director: Larry Kasanoff

The saga of Foodfight! is the story of its development, not its actual plot. Conceived from the very beginning as an experiment in product branding and consumerism, this animated adventure features dozens of household brands and mascots such as Mr. Clean as characters. Taking place in a supermarket for good brand access, it stars the voices of Charlie Sheen as talking dog/super spy Dex Dogtective and Hilary Duff as “Sunshine Goodness,” his cat-faced love interest. Also attached to this turd: Eva Longoria, Christopher Lloyd, Jerry Stiller and Chris Kattan, among others. The reason you’ve probably never heard of it is because it was originally intended for release all the way back in 2003, before the hard drives containing all the animation were stolen. The near-complete film had to be restarted all over again, the animation style was changed and extreme cost-saving measures were brought in. The result is absolutely the most nightmarishly bad-looking film ever made for a budget of $45 million. The entire time you’re watching this feature-length commercial, you’ll simply be wondering where all that money could possibly have gone.
 

93. Prophecy
Year: 1979 
Director: John Frankenheimer

I have no idea why this film was named Prophecy, except that “15-foot mutant bipedal bear” was sort of a clunky title. Regardless, that’s exactly what it’s about: A bear monster mutated by a combination of man’s hubris and some industrial-strength industrial waste. The movie wants to have a serious message about pollution and the rape of the natural world, but it’s impossible to get past how bizarre the monster looks. The highlight is one of the silliest death scenes ever, when a small kid in a banana-yellow sleeping bag gets swatted through the air by the bear, striking a rock and exploding into a rain of goose down. I can’t see how this could ever have drawn any reaction but laughter in a theater. 
 

92. Death Bed: The Bed That Eats
Year: 1977
Director: George Barry

Immortalized in an incredible stand-up routine from Patton Oswalt, this is one of those great, lost films that finally found its way onto DVD a few years ago and was embraced by bad movie lovers around the world. The plot couldn’t be more simple: There’s a bed, and it’s evil! It eats stuff! What kind of stuff? Well, the bed’s not picky, just about anything will do: Teens, criminals, buckets of fried chicken and a bottle of wine are all on the menu. At one point, the freaking DEATH BED even gets indigestion, but thankfully there’s a bottle of Pepto Bismol lying on it at the time. Admit it, that’s a far better sponsorship tie-in than anything in the Transformersseries.

Year: 1986  

91. King Kong Lives
Director: John Guillermin

Until Peter Jackson’s passable remake, American King Kong movies were a little bit like the Jaws series, growing progressively cheaper, uglier and more ridiculous with every installment. This ill-fated 1986 effort picks up where the better-known 1976 remake left off, with Kong having seemingly plummeted to his death off the World Trade Centers. But hey, turns out he’s fine! And not only is he fine, but scientists have located a female giant ape of his species for a necessary blood transfusion. They soon break out and go on the lam, pursued by the military. That might sound exciting, but this film is primarily amusing for how badly it butchers the legacy of one of screendom’s most iconic characters. The special effects are beyond awful, somehow managing to look less dynamic than the 1933 original. Even the Japanese portrayals of Kong fighting monsters like Godzilla manage to have more dignity than this piece of garbage.

 
90. Sharknado
Year: 2013
Director: Anthony C. Ferrante

Most films from cheapo-cinema mavens The Asylum fall well short of “fun bad” and into the unfortunate realm of “bad bad,” but Sharknado is one of the rare few to rise above. Unlike so many other creature features from the same studio, it’s not stingy in its premise. It promises sharks propelled by tornados, delivers on that promise in the very first shot of the film, and then keeps on delivering. It’s eminently more watchable than just about any other Asylum film, which is a large part of what made it such a phenomenon when it premiered on Syfy in the summer of 2013. This July, it will even be graced with a live Rifftrax treatment when the former MST3k stars riff the film in theaters nationwide.
 

89. Dolemite
Year: 1975
Director: D’Urville Martin

Rarely has any movie genre turned from sincerity to self-parody as fast as blaxploitation did in the 1970s. Only four years after Shaft, comedian Rudy Ray Moore crafted this absolutely outrageous send-up of blaxploitation films and “ghetto culture,” playing superhero pimp Dolemite, a badass with a penchant for rhyme and karate-trained hookers. This movie is absolutely bonkers, providing many of the visual and stylistic cues that would become part of the genre forevermore. The 2009 comedy Black Dynamite often plays like a shot-for-shot parody of Dolemite, but in some areas it’s actually less ridiculous than the original. Case in point: the four-minute scene where Dolemite stands in a parking lot and waxes poetic in rhyming verse about the sinking of the RMS Titanic for absolutely no reason. There’s nothing else like it.
 

88. It’s Alive
Year: 1974
Director: Larry Cohen

Even in the cheapo horror genre, babies are typically handled gingerly and obliquely. A film like Rosemary’s Baby is really about body horror and the strangers we live next to every day. It’s Alive, on the other hand, is a trashy horror movie about a mutated killer baby—see the difference? With creature effects from future Oscar-winner Rick Baker, it’s suitably gross, but something about how seriously the film takes itself makes it inadvertently hilarious. Just look at the trailer, which sounds like a full-blown disaster picture. A city in peril! The national guard is mobilized! Every time you think to yourself, “This team of soldiers packing assault rifles are combing the city for a killer infant,” you can’t help but smile. It was followed by It Lives Again and It’s Alive III: Island of the Alive, and director Larry Cohen went on to create another classic 1980s entry on this list, The Stuff.
 

87. Ninja Terminator
Year: 1985
Director: Godfrey Ho

Describing a Godfrey Ho movie to a friend is sort of like standing in the shower in the morning, trying to remember the specifics of last night’s dreams and failing utterly. Widely referred to as the “Ed Wood of Hong Kong,” Ho is currently credited as the director of 122 films according to IMDB. The true number is impossible to know, thanks to the dozen or more pseudonyms he used to hide the shoddy quality of his “cut and paste” moviemaking style. In films like Ninja Terminator, Ho would literally combine unrelated footage from two or three different unfinished features to assemble an abomination of a whole. Often these films unwillingly starred American actor Richard Harrison, who appeared in a few early Ho features before being edited into many others. This is absolute Z-grade ninja action. The fights make no sense, the plots make no sense and the costumes make no sense, and yet the movie is a joy to analyze.
 

86. The Blob
Year: 1958 and 1988
Director: Irvin Yeaworth and then Chuck Russell

Separated by an even 30 years, the two versions of The Blob are both perfect examples of a B-movie from their own time period. The 1958 version of The Blob is one of the quintessential 1950s teen drive-in classics, starring a 27-year-old Steve McQueen as a high school student battling the big pink pile of goo that eats everything in its path. It’s campy and chaste, a Cold War classic with heavy themes of McCarthyism. The 1988 The Blob, on the other hand, was reimagined as a more serious but sleazy gross-out horror flick. Reflecting a more cynical society, the Blob is a government experiment gone awry rather than a monster from space, and the deaths are ramped up in terms of gore and shock value to match other 1980’s B-movie classics. Which Blob is for you is a matter of your own taste.
 

85. The Vampire Lovers
Year: 1970
Director: Roy Ward Baker

1960s and 1970s horror classics from Hammer Film Productions are rightly held in high regard, especially films in their revived Frankenstein and Dracula series. The British studio also produced plenty of “off-brand” horror flicks as well, though, and one of the most infamous was surely The Vampire Lovers. Daringly depicting what is strongly implied as a lesbian vampire relationship, it was quite ahead of its time, especially for a British production. Like so many other Hammer films, the best things it has going for it (besides the heaving bosoms) are sumptuous production design, great costumes and the presence of Peter Cushing, who acted in seemingly every British horror film made between 1958-1975. This was the first in the “Karnstein Trilogy” of erotic vampire flicks, which also includes Lust for a Vampireand Twins of Evil, but the original remains the best.
 

84. Piranha
Year: 1978
Director: Joe Dante

Thank god for Roger Corman, the prolific B-movie producer/director who gave first chances to so many young filmmakers. In 1978, that director was Joe Dante and the flick was Piranha, the most fun of all the “natural horror” movies that proliferated in the wake of Spielberg’s Jaws. This one is cheap but funny, giving a first impression of the dark humor found in Dante’s later work on 1980s classics such as The Howling, The Burbs and Gremlins. The trailer doesn’t even try to pretend it’s not a rip-off, claiming “These are the man-eaters who go beyond the bite of all other jaws. Sharks kill alone, but piranha come in thousands.” This is the kind of drive-in film that simply has an x-factor and cleverness not present in most of its forgotten peers, thanks to a director who had ambition and bigger ideas.
    

83. Alone in the Dark
Year: 2005
Director: Uwe Boll

Uwe Boll, man. All of his films are bad, but only Alone in the Dark makes it into fun-bad territory with any reliability. That’s what happens when you cast Tara Reid as a “brilliant archaeologist” and give her a bunch of pseudo-scientific dialog to deliver like she’s a non-English speaker just phonetically sounding out the words. Christian Slater, meanwhile, plays a paranormal investigator searching for clues on some sort of native American/Lovecraftian monster dimension—I’d be lying if I said I understood what was happening, even after the insultingly long and detailed opening exposition scrawl read aloud by the narrator. It’s more fun to focus on the action, which by and large looks like a subpar episode of Walker: Texas Ranger with a dash of The Matrix for flavor. 
 

82. Double Trouble
Year: 1992
Director: John Paragon

This may be the quintessential early 1990s, straight-to-video action movie. Starring bodybuilding brothers Peter and David Paul, better known as The Barbarian Brothers, it’s just a nothing of a movie, existing only because they had a few guys on hand whose skills included “being huge” and “knowing an identical huge guy.” Even in the cheap action movie segment, neither of them would ever have gotten a chance on their own, but together there’s magic in the air. You could probably fill in the plot-related blanks without any further information: One brother is a cop, the other a criminal. But things are about to get wacky because now they’ll be forced to work together! Both of the brothers have the naïve charm of non-actors who have recently discovered that action movies are way easier than professional body-building. You can see that they’re having a blast doing this. 

不是每部電影可以成為公民凱恩的一天。對於每一個高預算“電影”的命令顯著推廣和資助其工作室，還有那劃傷和爪的方式進入不存在的東西，如“預算”或“腳本”中的一些好處B級電影樁個案。為了與電影中的資源和沉浸感方面比較它們是不是一個公平的命題。相反，挑剔的影迷都能夠簡單地欣賞他們的是什麼。

但什麼是“最好”的意思，當我們談論電影常常著名的豆腐渣工程？這當然並不意味著“最佳製作”，也並不意味著“最壞的製作，”否則像電影馬諾斯：命運之手和絲蘭單位的野獸將使突出露面。他們不是這個名單上，因為“最好”的意思在這裡是“最有趣，”我不怕你被受理馬諾斯沒有它MST3K評論或一磅的醫療級大麻。如果這些影片是痛苦的，他們也同樣有趣。

只要有可能，我試圖保持的名單比較模糊的標題。雖然約翰·卡彭特的萬聖節是在預算方面的上好造“B級片”的一個很好的例子，任何電影風扇最有可能看到它了。聚集在這裡是一些有史以來最妙趣橫生，便宜又親暱地壞電影的集合。

100。巨人爪
年份： 1957年導演：弗雷德·F.希爾斯

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巨人爪是不是最迷人的20世紀50年代經典的“巨型怪物橫行”的電影，但必須完全看到了它的特點是所有的時間goofiest好看的電影怪物的事實。這件事，這個“反物質空間鷲，”因為它是最終被叫是如此可笑的愚蠢，很難相信他們居然選擇了擁有這麼廣泛的拖車，而不是從視線中隱藏它。可憐的演員們甚至不知道是多麼的蹩腳的怪物會，直到他們看到完成的電影，到那時為時已晚。巨人爪站作為20世紀50年代推動式奶酪的經典範例。

99。大力神在紐約
年份： 1970 導演：阿瑟·艾倫薜道曼

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記住，當施瓦辛格衝進公眾的意識與野蠻人柯南和深夜主持人嘲笑他的做作的英語？好吧，那部電影是在1982年，經過阿諾德一直在研究的語言進行了十多年。大力神在紐約是他的第一部故事片，相信作為“阿諾德強，宇宙先生”，因為“施瓦辛格”太長。一個巨大的22歲零表演經驗或人格魅力，他絕對失去了這個東西，隨便逛紐約和競爭性的職業摔跤手。他行交付是如此難以理解，他必須完全配成，但原來的證據，仍然可以發現。這句話是如此平坦，索然無味，他像一個肌肉發達的倫尼小。這是引人入勝的不好，因為有樂趣，裝模作樣的演員，他後來成為了這樣的證據。

98。大娃娃屋
年份： 1971年導演：傑克·希爾

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有你有這樣的名單，檢查了一定的風格，以及“女囚”電影是一個典型的分型較大的20世紀70年代開發流派。你知道你在這裡得到什麼：裸體，辱罵守衛，過多的淋浴場面和大膽的逃命。這是純粹的醜聞一路。喬納森·戴米的籠式散熱好一點不得而知，但大娃娃屋是更真誠，少諷刺。這也是利用黑人的傳說，帕姆格里爾，誰將會再次出現在此列表中最早出現的一個。導演傑克·希爾清楚看到的東西在她的（或者至少是很喜歡看到她赤裸的），他繼續指揮幾個格里爾的利用黑人的經典，如Coffy和狡猾的布朗。因此，其實，這是剝削電影到另一分娩的一種形式。

97 我買了一個吸血鬼摩托車
年份： 1990 導演：德克·坎貝爾

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如果我給你猜三次，你認為你可以蘇斯了這部電影的基本精神？如果您虎穴“的傢伙買了摩托車，這也是吸血鬼”，那麼你會是正確的。這沒用的英國恐怖喜劇是在Troma娛樂風格美式小氣鬼恐怖蹩腳其諷刺部分成功，但它也有很多自己的真誠不良的。這是罕見的那種電影是會哄無論在故意corniness和無意的惡，這是不常見的組合。這只是一個陰鬱，怪異的電影，與場景，包括夢境的特色，在英雄的廁所會說話的糞。你可能不希望看到的，但如果你這樣做，我會無法判斷。這正是拖車意味著 從第一行：“大多數優秀的摩托車汽油運行。這是一個糟糕的摩托車。它運行於血。“

96。鐵天空
年份： 2012 導演：蒂姆沃倫索拉

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這部電影是不是幾乎一樣有趣或聰明的，因為它認為它是，但該死的，如果它不只是通過強度的前提下獲得的名單上的一個點單。在偉大的樓宇的B級電影的史冊，“從月球入侵地球的黑暗面納粹”是一個經典的瞬間。它可以幫助該影片在平直對視頻片段的入口看起來不錯，而且演技serviceably裝模作樣。政治幽默是有點多和佩林式的美國總統快速增長光柵，但它不會比你在你的庇護平均mockbuster，再加上更高的生產價值看。這是一個前提，即可能是空前的經典之作，但即使是，它堅韌不享受鐵天空作為興高采烈地愚蠢的娛樂。

95。迷宮與怪獸
年份： 1982年導演：史蒂芬斯特恩希利亞德

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此文件一進“，他們出名之前”的範疇。在他的第一部故事片領先主演26歲的湯姆·漢克斯，前六年大，這部電影是20世紀80年代早期的D＆D的道德恐慌的完美封裝。它的“研究”是歡快差，畫一個D＆D風格的角色扮演遊戲的生命吞噬陷入撒旦和精神疾病的深處。漢克斯扮演的群體，誰落在這麼深了他的牧師角色，他花費流浪紐約街頭，謀殺hoboes他失誤了獸人的居住心理。這是令人難以置信的陰沉，解決在同一個盲目的，無環境的方式，它的標的物冷藏瘋狂辦理火鍋50年較早，並在這個過程中如何證明一點，我們已經學會了。這是你在一家當舖尋找今天在手工印刷DVD盒與40歲的湯姆·漢克斯的臉上貼滿它的那種電影。“你喜歡湯姆·漢克斯，對不對？一定要做到。你應該買這個令人興奮的電影主演的奧斯卡獎得主湯姆·漢克斯。“

94。Foodfight！
年份： 2012（技術上）導演：拉里Kasanoff

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的傳奇Foodfight！是其發展，而不是其實際的情節的故事。從一開始在產品品牌和消費主義的實驗設想，該動畫冒險的特點數十家品牌和吉祥物，如清潔先生擔任角色。發生在一家超市的良好的品牌進入，它擔任主角查理辛的聲音作為會說話的狗/超級間諜敏捷Dogtective和希拉里·達芙“陽光善良，”他的貓臉的愛的興趣。此外，隸屬該糞：伊娃·朗格利亞，克里斯托弗·勞埃德，傑里·斯蒂勒和克里斯Kattan，等等。你可能從來沒有聽說過它的原因是因為它最初擬釋放所有的方式回到2003年，包含所有動畫的硬盤驅動器被盜前。近乎完整的電影，必須重新啟動一遍，動畫風格的改變，並帶來了極端的節約成本的措施，其結果是絕對有史以來4,500萬美元的預算做出的最如同噩夢般難看的電影。你看這個長篇商業的整個時間，你只是想知道，所有這些錢可能可能都沒有了。

93。預言
年份： 1979年導演：約翰·弗蘭肯海默

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我不知道為什麼這部電影被評為預言，除了“15英尺的突變雙足熊”是那種笨重的稱號。無論如何，這也正是它的約：熊妖由人的狂妄自大和一些工業強度的工業廢物的組合突變。這部電影要對污染和自然世界的強姦了嚴重的消息，但是我們卻無法讓過去如何離奇怪物的樣子。亮點是一個最愚蠢的死亡場面不斷，當一個小小孩在香蕉黃色睡袋通過空氣被用力打了熊，醒目的岩石和爆炸成鵝的雨下來。我看不出如何能永遠都得出任何反應，但笑聲在劇院。

92 臨終：那吃床
：年份 1977年導演：喬治·巴里

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永生在一個令人難以置信的立場例程從巴頓奧斯瓦爾特，這是那些偉大的，失去的電影終於它的方式在幾年前發現到DVD，並接受由世界各地的爛片愛好者之一。情節得不能再簡單：有一張床，它是邪惡的！它吃的東西！什麼樣的東西？好了，睡覺不挑剔，幾乎任何東西都行：炸雞的青少年，罪犯，水桶和一瓶酒都在菜單上。在一個點上，再用臨終甚至會消化不良，但幸好有一個瓶鹼式水楊酸鉍當時躺在它。承認這一點，這是一個更好的贊助搭配比任何變形金剛系列。

91 金剛住
年份： 1986 導演：約翰·Guillermin

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直到彼得·傑克遜的重拍差強人意，美金剛電影就像在一點點大白鯊系列，逐步成長更便宜的，醜陋的，更可笑的每分期付款。這個命運多舛的1986功夫拿起其中較為著名的1976年翻拍不放過，與香港有看似暴跌到他去世了世貿中心。但是，嘿，原來他很好！而且不僅是他很好，但科學家們已經找到了他種的雌性巨型猿的必要輸血。他們很快突破，並走在林，軍方追求。這聽起來令人興奮，但這部電影主要是有趣的多麼嚴重的是屠夫screendom最具代表性的人物之一的遺產。特殊效果超出可怕，不知何故管理看起來比1933年原少動。。的香港打怪獸哥斯拉一樣，甚至日本人的寫照管理有比這片垃圾，更有尊嚴。90 Sharknado年份： 2013 導演：安東尼C.費蘭特

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大多數電影從小氣鬼影院內行的庇護遠遠低於“開心壞”，進入的不幸境界“壞人壞事”，但Sharknado是極少數人以上升到之一。與來自同一個工作室，這樣其他許多動物的特點，這不是吝嗇的前提。它承諾的鯊魚被龍捲風推進，提供了對在第一次拍電影的那個承諾，然後不斷傳遞。它突出的比任何其他的庇護電影，這是一個什麼使它這樣的現象，當它在2013年今年7月夏季公演Syfy，它甚至會與現場Rifftrax處理增光很大一部分更有看頭的當前MST3K明星即興在影院電影全國。

89 Dolemite
年份： 1975年導演：德於維爾馬丁

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很少有什麼電影流派的誠意轉向自我模仿盡可能快地利用黑人在上世紀70年代那樣。僅僅四年後的軸，喜劇演員魯迪-雷·摩爾製作的這個絕對是大逆不道的發送機利用黑人電影和“貧民窟的文化，”打的超級英雄皮條客Dolemite，一個壞蛋，熱心韻和空手道訓練的妓女。這部電影絕對是瘋狂，提供許多視覺和文體線索，將成為流派的一部分永遠的。2009年的喜劇黑色炸藥經常扮演像一個鏡頭換鏡頭模仿的Dolemite，但在某些領域，它實際上比原來少可笑。案例分析：在四分鐘的戲，其中Dolemite矗立在一個停車場和蠟詩意的押韻有關的詩句沉沒泰坦尼克號的絕對沒有理由。還有沒有別的喜歡它。

88 它還活著
年份： 1974年導演：拉里·科恩

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即使在小氣鬼恐怖片，嬰兒通常處理的小心翼翼和傾斜。像A片羅斯瑪麗的嬰兒真的對身體恐怖和我們住的旁邊，每天的陌生人。它還活著，而另一方面，是關於一個沒用的恐怖電影突變殺手嬰兒看到區別？從未來的奧斯卡影帝里克·貝克生物效應，這是適當的毛利率，但一些關於如何重視電影本身的花費使得它在不經意間熱鬧。只是看預告片，這聽起來像一個成熟的災難畫面。一個城市的危險！國民警衛隊被調動起來！你覺得自己每一次，“這支球隊的士兵包裝突擊步槍是梳理城 ​​市的嬰兒殺手”，你不禁微笑。其次是它的生命再一次和它活三：活著島，和導演拉里·科恩繼續創造這個名單上又一個經典進入20世紀80年代的東西。

87。忍者終結者
年份： 1985 導演：何戈弗雷

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描述戈弗雷豪電影的朋友是有點像站在淋浴在早上，努力回憶昨晚的夢境的細節，並沒有完全。廣泛地被稱為“香港的艾德伍德”，何現記為122片，根據IMDB的董事。真實的數字是不可能知道，這要歸功於他用來掩蓋他的“剪切和粘貼”的電影製作風格偽劣品質的十多個假名。在這樣的電影忍者終結者，何會從字面上合併無關的鏡頭從兩個或三個不同的未完成的功能集合一體的憎惡。通常，這些影片不情願出演美國演員理查德·哈里森，誰出現了一些早期的何被編輯成許多其他功能之前。這是絕對的Z級的忍者動作。戰鬥毫無意義，該地塊毫無意義的服裝沒有任何意義，但電影是一種快樂來分析。

86 一滴
年份： 1958年和1988年導演：歐文Yeaworth再查羅素

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由年甚至30年分居，兩個版本的斑點是B電影從他們自己的時間段的兩個完美的例子。1958年版的斑點是典型的20世紀50年代的青少年駕駛式經典之一，主演了27歲的史蒂夫·麥奎因的高中生作戰的巨大的粉色一堆粘粘的吃一切在其路徑。這是裝模作樣的和純潔的，冷戰時期的經典與麥卡錫主義的沉重主題。1988年的斑點，而另一方面，被重新想像的更嚴重，但單薄的令人作嘔的恐怖片。反映了一個更加憤世嫉俗的社會中，BLOB是一個政府實驗了問題，而不是從空間的怪物和死亡都憋足了的血塊和衝擊值計算，以符合1980年版的B電影的經典。這斑點是你，是你自己的喜好。

85。吸血鬼戀人
年份： 1970 導演：羅伊·沃德·貝克

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從錘電影製作20世紀60年代和70年代的恐怖經典高方面都理所當然地舉行，在他們的復活科學怪人和吸血鬼系列特別的電影。英國的工作室還製作了大量的“關牌”恐怖片為好，雖然和最臭名昭著的一次是肯定的吸血鬼戀人。大膽地描繪了強烈暗示作為一個女同志吸血鬼的關係，這是很超前了，尤其是對英國的生產。像許多其他的錘片，它已經為它去最好的東西（除了胸前波濤起伏）的奢華設計製作，極大的服飾和彼得·庫欣，誰演貌似1958年至1975年間取得了英國的每一個恐怖片的存在。這是第一次在“Karnstein三部曲”的情色吸血鬼的筆觸，其中還包括慾望的吸血鬼和邪惡雙胞胎，但原來仍然是最好的。

84。食人魚
年份： 1978年導演：喬·丹特

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感謝上帝羅傑·科爾曼，多產B電影製作人/導演是誰給了第一次機會，讓許多年輕的電影製作人。在1978年，這是導演喬·丹特和輕彈是食人魚，所有的“天然的恐怖”的電影，在斯皮爾伯格之後增殖最好玩的大白鯊。這一個是便宜，但很有趣，給人黑色幽默在但丁的上世紀80年代的經典，如以後的工作中發現的第一印象的嚎叫，該芳鄰和小鬼。該預告片甚至沒有試圖假裝它不是一個敲竹槓，聲稱“這些都是人為吃誰超越了所有其他的頜骨咬合。鯊魚殺了獨自一人，但食人魚都在數千人。“這是什麼樣的車程，在電影中，僅僅有一個X因素，聰明不存在於大多數同齡人遺忘了，這要歸功於導演誰了雄心和更大的想法。

83。鬼屋魔影
年份： 2005 導演：烏韋·波爾

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烏韋棉鈴，伙計。他所有的電影都是不好的，但只有鬼屋魔影使得它變成樂趣壞境與任何可靠性。這就是發生在你施放泰拉·瑞德為“輝煌的考古學家”，並給了她一串偽科學的對話，提供像她的一個非英語的人只是發音聽起來出來的話。基督教斯萊特，同時，發揮了超自然偵探尋找線索對某種印第安人/拉夫克拉夫特式怪獸維我倒是可以，如果我說我明白發生了什麼事，即使在侮辱漫長而詳細的開放論述亂寫通過朗讀說謊解說員。這是更多的樂趣，專注於行動，這大體上看起來像一個小插曲欠佳沃克：德州遊騎兵與破折號矩陣的味道。

82 雙重麻煩
年份： 1992年導演：約翰·百諾肯

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這可能是典型的20世紀90年代初，直到視頻動作片。主演健美的兄弟彼得和大衛·保羅，更好地稱為野蠻人兄弟，這是一個電影只是一個什麼都沒有，唯一存在的，因為他們有幾個傢伙在手的技能，包括“被巨大的”和“知道相同的巨大的傢伙。”連在廉價的動作片片段，他們都沒有將永遠都得到自己的機會，但同時有魔氣。你也許可以填補劇情相關的空白，沒有任何進一步的信息：一個哥哥是個警察，其他犯罪。但事情即將得到古怪的，因為現在他們將被迫一起努力！這兩個兄弟有非演員誰最近發現，動作片，比專業的健身方式更容易的天真魅力。你可以看到，他們有一個爆炸這樣做。