Stinker Madness - The Bad Movie Podcast

Stinker Madness
  • 4.0 (42)
  • TV & FILM
  • UPDATED WEEKLY

Stinker Madness is a bad movie podcast that loves horrible films that might actually be wonderful little gems. Or they could suck. Cult, budget and "bad" movies twice a week.

  1. 1D AGO

    The Octagon - Worst ninja corporation ever. Can they file for bankruptcy?

    Chuck, we can't understand the plot because we can't understand your inner monologue. Just kick people in the face! There’s a version of this movie that exists somewhere in the fog of its own whispery voiceovers—a lean, paranoid ninja thriller starring a prime-era Chuck Norris. Unfortunately, what we actually get is something bafflingly stupid and surprisingly hard to follow. Dialogue drifts in and out like it’s being transmitted through a malfunctioning shortwave radio. Exposition arrives in murmured internal monologues that feel less like insight and more like someone forgot to turn off the narration mic. To be fair, the ninjas are fine. They look the part. They flip, stab, and smoke-bomb on cue. The action sequences are… fine. Competently staged, occasionally energetic, and punctuated by the sort of sternum-crushing kicks you expect from Norris. When fists are flying, the movie briefly wakes up. There’s even a sense that someone involved cared about presenting ninjas with a degree of mystique rather than just costumed stuntmen in pajamas. But those moments are islands in a sea of inertia. For long stretches, the film is painfully boring. Scenes drag. Characters speak in hushed tones about vague conspiracies, yet none of it ever quite coheres into something gripping. The supposed menace of the terrorist-ninja training compound never translates into tension. Instead of escalating stakes, we get a parade of bland set-pieces and conversations that feel both overwrought and underwritten at the same time. In the end, The Octagon isn’t disastrously bad—it’s just inert. The ingredients are there: Norris in his stoic prime, a ninja cult, a secret training fortress. But the muddled dialogue and lifeless pacing sap the energy out of what should have been pulpy gold. If you’re a completist for early American ninja cinema, it’s worth a look. Just don’t expect the kind of delirious nonsense that turns mediocrity into magic.

    2h 9m

  2. FEB 16

    Super Ninja - I'll have the Soup AND the Ninja

    Did you pack your Ninja Springs, honey? There are ninja movies… and then there is Super Ninja (1984)—a film so aggressively committed to every ridiculous shinobi trope ever conceived that it loops right past parody and into accidental genius. If you’ve ever wanted to see color-coded assassins deploy zip-lines, burrow through the earth like caffeinated gophers, and—yes—water-ski in full ninja regalia, this is your holy text. And just when you think the well has run dry, it introduces portable ninja trampolines as a legitimate method of tactical traversal. Cinema peaked here. The plot? Oh, it exists. Somewhere. It requires light excavation. Characters explain things in stilted, echo-chamber-dubbed dialogue that sounds like it was recorded inside a soup can. The villains concoct plans so catastrophically self-defeating that the entire narrative collapses into what can only be described as an “idiot plot.” If any antagonist paused for even a single reflective breath, they’d realize their schemes only accelerate their own doom. In fact, the most logical strategy available to them would be to do absolutely nothing and let events unfold naturally. But no—when you’ve invested in a team of color-coded ninja knockoffs, you’re obligated to deploy them in increasingly absurd ways. And yet, that’s precisely why Super Ninja works. The dreadful dubbing, the hilariously wooden line readings, the narrative leaps that feel like missing reels—all of it enhances the experience. It’s chaotic, earnest, and completely unselfaware. There’s a strange purity to its excess. This isn’t a film winking at you; it believes every trampoline-assisted midair flip matters. For bad movie enthusiasts hunting that electric “so-bad-it’s-good” high, this is prime territory. It’s messy. It’s nonsensical. It’s spectacularly misguided. And it is absolutely glorious.

    1h 21m

  3. JAN 26

    The Final Destination - I'd like to get off here, please.

    The Final Destination is the point where a once-clever horror concept finally admits it has nothing left to say. By the fourth entry, the franchise’s core gimmick—cheating Death via a premonition—has gone from macabre novelty to rote obligation. The film feels less like a continuation and more like a contractual requirement, dutifully shuffling through the motions with no real interest in escalating ideas or tension. The most obvious sign of creative exhaustion is the desperate embrace of 3D. Objects fly at the camera with all the subtlety of a carnival ride, and none of it integrates meaningfully into the storytelling. Instead, scenes pause so a tire iron, lawn mower blade, or random shard of debris can be hurled directly at the audience, reminding you that the movie exists primarily to justify its ticket surcharge. It’s not immersive; it’s intrusive, and it dates the film almost immediately. Worse, the kills themselves lack the elaborate Rube Goldberg flair that once defined the series. The chain reactions are shorter, sloppier, and often telegraphed so clearly that suspense evaporates well before the payoff. Characters are thin sketches whose sole narrative function is to stand near something dangerous until the script decides it’s time for gravity or combustion to intervene. There is, however, one scene that almost feels like effort was expended: a cartoonishly vile Nazi who can’t read addresses and somehow gets blackout drunk on three beers. His demise is abrupt, mean-spirited, and oddly satisfying—less because it’s clever than because the film briefly aligns audience morality with Death’s bookkeeping. He dies, and that’s good. Unfortunately, that single moment of grim amusement isn’t enough to rescue a sequel that mistakes louder, closer, and more gimmicky for fresh.

    1h 43m

  4. JAN 12

    Demons - TOTALLY not zombies, though.

    It shouldn't be possible but we've cracked the code and found the movies villain to be....NEDSTRADAMUS! Demons is the kind of movie that feels less like it was written and more like it escaped from a nightmare after being fed too much cocaine and heavy metal. Set almost entirely inside a movie theater where watching a cursed film literally turns the audience into demons, it’s pure mid-’80s Italian horror excess—loud, bloody, and unapologetically stupid. It’s also the kind of film where logic checks out early, clocks out halfway through, and never returns. To be fair, Demons can be tedious and repetitive. The structure settles into a loop of people getting infected, screaming, transforming, and being hacked apart, over and over again. Characters are thin to nonexistent, dialogue exists mostly to scream exposition, and the film often feels like it’s killing time until the next gore effect or shrieking synth cue. There are stretches where you can practically feel the movie spinning its wheels, daring you to lose patience. But here’s the thing: the story is so profoundly nonsensical that it becomes hypnotic. Plot threads appear and vanish without explanation. Rules are implied and then immediately ignored. Geography inside the theater makes no sense whatsoever. And then there’s the final 15 minutes—an escalation so baffling, so disconnected from reality, that it crosses the line from dumb to glorious. Motorcycles, katanas, helicopters, demon slime—everything is thrown at the screen with reckless confidence, as if the filmmakers themselves stopped asking questions and decided to go all in. That commitment is what makes Demons a worthwhile “Bad Movie Sunday” experience. It’s not accidentally funny so much as aggressively insane, a film that believes in its own chaos with absolute sincerity. Yes, it drags. Yes, it repeats itself. But by the time the credits roll, you’re not thinking about the dull patches—you’re laughing, confused, and strangely satisfied. Demons may not be good, but it is unforgettable, and sometimes that’s the highest compliment a cult horror film can earn.

    1h 36m

  5. 12/30/2025

    Troll 2 - This time, go ahead and piss on hospitality.

    Looks like we missed the turn to go to Nilbog, kids. Let's just keep going to Norway. Troll 2 is the kind of sequel that knows exactly what it is and leans into it with reckless enthusiasm. This is a big, loud, gloriously dumb monster movie that wears its influences proudly on its sleeve—Roland Emmerich disaster excess, Indiana Jones-style pulp adventure, Jurassic Park escalation, and Godzilla-scale city-smashing spectacle. It doesn’t apologize for any of it. Instead, it barrels forward with the confidence of a film that understands the assignment: entertain first, think later. The plot is predictably ridiculous, but that’s part of the charm. Ancient threats awaken, governments panic, scientists shout exposition, and ordinary people find themselves running very fast from things that absolutely should not exist. The film gleefully stitches together familiar blockbuster tropes, but does so with enough sincerity that it never feels cynical. It’s corny, yes—but it’s fun corny, the kind that invites you to laugh with the movie rather than at it. Where Troll 2 really shines is in its scale and energy. The action sequences are big, messy, and frequently absurd, but they’re staged with surprising clarity and enthusiasm. The trolls themselves are impressively realized, blending creature-feature menace with just enough mythic weirdness to give the film a distinct Norwegian flavor. The movie may be chasing Hollywood spectacle, but it never completely loses its regional identity, and that grounding helps the madness go down easy.   In the end, Troll 2 is a celebration of blockbuster stupidity done right. It’s not trying to reinvent the genre or inject faux prestige into monster mayhem. It just wants to smash landmarks, crank the music, and keep the audience grinning for two hours—and it succeeds. If you enjoy over-the-top disaster movies, pulpy adventure throwbacks, and unapologetically silly spectacle, this sequel delivers exactly what it promises, and does so with a big, dumb smile on its face.

    1h 56m

  6. 12/15/2025

    Finding Mrs. Clause - maybe look for the orgy room, Chris

    Seems like this isn't the first time Mrs. Clause has run off to an exotic location filled with thirsty dudes. “Finding Mrs. Claus” is one of those movies that exists in a very specific cinematic snow globe, and if you’ve spent any time in that globe, you already know exactly what you’re getting. This is pure Lifetime Christmas programming: wholesome, gentle, slightly artificial, and utterly uninterested in surprising you. It’s not bad, not embarrassing, and not particularly memorable—it’s just there, humming softly like a string of pre-lit lights you forgot to unplug. The premise is simple and relentlessly pleasant: Santa’s been neglecting Mrs. Clause after 500 years of marriage, so she whisks off to Las Vegas to help fulfill a girls dream of her mother finding a new husband. Mira Sorvino brings a level of competence and warmth that slightly exceeds the material, which helps the movie coast along without ever fully collapsing under its own predictability. Everyone involved seems perfectly aware of the assignment and executes it with calm professionalism. Ultimately, “Finding Mrs. Claus” is a textbook example of its genre. If you enjoy Lifetime or Hallmark Christmas movies, this is a pretty good one and will likely deliver exactly the cozy, low-effort holiday vibes you’re looking for. If you don’t like those movies, absolutely skip this—there is nothing here that will convert you. It’s not trying to win over skeptics, and frankly, it doesn’t need to.

    1h 28m

  7. 12/01/2025

    Aquaman and the Lost Kingdom - This buddy cop movie is getting in the way of my stinker!

    Getting the unique title of being so bland that it isn't worth it's own terribleness. Aquaman and the Lost Kingdom is the rare kind of bad movie that doesn’t even earn the dignity of being fun bad. It’s a two-hour shrug—completely unremarkable in its beige, water-logged blandness. You keep waiting for something—anything—to break the monotony, but the movie just keeps paddling in circles, content to be as tepid as possible. If “wet cardboard” were a cinematic aesthetic, this would be its crown jewel. And here’s the truly tragic part: there is plenty of stupidity floating around in this bloated fish tank of a plot. Dumb worldbuilding, goofy lore drops, baffling character motivations—you name it. The ingredients for a delightfully trashy disaster are all right there, begging to be mocked. But the presentation is so suffocatingly dull and flavorless that you can’t even muster the energy to enjoy the nonsense. It’s like being handed a plate of absurdly shaped food but discovering it somehow tastes like nothing at all. The cast flounders through their scenes, seemingly unsure whether they’re in a superhero epic, a Saturday morning cartoon, or a contractual obligation. The action is limp, over-processed, and slathered in CGI so flat and lifeless it makes a screensaver look dynamic. Even the attempts at humor feel like they’ve been filtered through three committees and a desalination plant. By the time the credits roll, you’re left not with irritation or amusement but with the numbing realization that you just watched a movie that managed to squander every opportunity to be interestingly bad. Aquaman and the Lost Kingdom isn’t a glorious shipwreck—it’s a soggy beige sponge. And there’s nothing here worth squeezing.

    1h 32m

  8. 11/17/2025

    Air Force One - OMG DON'T LET THAT HIGH GUY FLY THE PLANE!

    “Air Force One” is the kind of movie that grabs you by the collar, shouts “GET OFF MY PLANE,” and dares you not to grin through the whole ride. It’s the most unabashedly earnest “Fly Hard” ever committed to film—yes, it’s Die Hard on a plane, and yes, it knows it. Yet somehow, through sheer force of will (and Harrison Ford’s presidential scowl), it keeps its two-plus hours aloft with crowd-pleasing momentum. Sure, the premise is absurd to the point of parody: the President of the United States personally throwing hands with terrorists at 30,000 feet. The script asks you to swallow far more than peanuts—plot holes you could taxi a 747 through, logic leaps that would make John McClane blush, and an “Idiot Plot” where the villains make decisions that seem scientifically engineered to defeat themselves to keep the movie going. But the movie never stops long enough for any of that to really sink in. It just keeps hustling, barreling from corridor shootout to cockpit crisis like a blockbuster with someplace urgent to be. The special effects… well, bless them. Even in the late ’90s, some of these shots looked suspiciously like the world’s most patriotic PlayStation cutscenes. But their rubbery seams and digital wobble just add to the charm—this is a movie that’s trying so hard to thrill you that you forgive it for occasionally looking like a flight simulator running on Windows 95. And that’s the thing: despite its flaws—maybe even because of them—Air Force One is a blast. Ford and Oldman chew the scenery with gusto, the pacing never really sags, and the film delivers exactly the kind of fist-pumping, flag-waving nonsense it promises. It might be ridiculous, but it’s ridiculously entertaining.

    1h 22m
See All (665)

4
out of 5
42 Ratings

About

Stinker Madness is a bad movie podcast that loves horrible films that might actually be wonderful little gems. Or they could suck. Cult, budget and "bad" movies twice a week.

Information