Film

Monsturd

A serial killer mutates into a literal monster made of human waste in this gleefully trashy creature-feature horror-comedy. Shot on a shoestring with total commitment to its disgusting premise, Monsturd is the kind of film that knows exactly what it is: an 80-minute middle finger to good taste that swings for the fences and occasionally connects. It's for people who think the best part of any movie is when someone says 'We can't do that on film.' Pure midnight-movie fuel.

Should you watch it?

Watch it if you like gleefully cheap, gross-out creature comedies where the gore is clearly homemade and the jokes are delivered with a straight face you can admire.

Skip it if you need polished effects, tight pacing or subtle humour; this is crude, looks handmade, and happily wallows in its own bad taste for its whole runtime.

What it asks of you: It runs about eighty minutes and moves quickly, so it wants you to let the grossness wash over you rather than follow intricate plotting or emotional stakes.

Not sure? Find tonight's pick in a minute.

If you liked this

Slither2006

A small-town alien-slug invasion played with genuine affection for B-movie tropes. Director James Gunn balances body horror, comedy, and character work so deftly you actually care about these people getting eaten. It's trashy but never stupid.

But The gore is relentless and the practical effects can be legitimately unsettling. If creature-feature grotesqueness makes you queasy, this won't help.

Slither poster

Braindead1992

Peter Jackson's pre-serious-director period masterpiece: a zombie-splatter comedy so imaginative and excessive it transcends its premise. A Sumatran rat-monkey, a lawnmower finale, more fake blood than you'd think physically possible. Inspired joy made manifest.

But The gore is operatic and relentless. This is not a film for the squeamish—it's testing you to see if you'll laugh anyway.

Braindead poster

Tremors1990

Giant underground worm-creatures terrorize a desert town. Perfectly calibrated monster-movie entertainment with real charm, genuine scares, and funny people doing smart things under pressure. A template for how to do B-movies right.

But It's become iconic and beloved, so it might feel safer than you want. If you're craving truly weird edges, this is more polished than punk.

Tremors poster

Not sure tonight? Get a pick in a minute, starting from Monsturd

The wildcard

Something you would not have found on your own.

Bad Taste1987

Both are creature-features where practical effects and committed absurdity matter more than money or taste. Jackson's debut and Monsturd share a lineage: ambitious monster movies made by people who cared more about the audacity than the budget.

Peter Jackson's feature debut: amateur aliens harvest humans for fast food; a band of bumbling New Zealanders fight back with homemade weapons and zero budget. A masterclass in practical effects imagination and comedic body horror made by someone who had nothing to lose.

But It's intentionally amateurish (that's the charm and the problem). The pacing is shaggy, the acting is rough, and it tests patience in ways a polished film wouldn't.

Bad Taste poster
More like this (8)

The Toxic Avenger1984

A nerdy janitor mutates into a grotesque superhero and takes revenge on corrupt New Jersey. Troma Studios at their most gleefully unhinged: practical gore, absolute commitment to awfulness, and a weird sweetness underneath. This is the blueprint.

But It's grainy, the acting is intentionally stilted, and the humor is deliberately juvenile. Intentional camp only works if you're in the mood for it.

The Toxic Avenger poster

Night of the Comet1984

A comet strips Earth of people; two valley girls and a drifter survive. Post-apocalyptic sci-fi played with surprising wit and style. Not quite horror, not quite comedy, entirely charming, and it moves like it's late for something important.

But The tone is so consistently light it can feel like there's no real danger. If you want actual stakes and tension, the breeziness will work against it.

Night of the Comet poster

Evil Dead II1987

Bruce Campbell battles Deadites and sanity itself in this slapstick-horror masterpiece. Sam Raimi hits his stylistic peak: practical effects that bleed into comedy, a star committed to humiliation, and a film that moves at barely sustainable speed.

But It's been canonized to death and endlessly referenced. It can feel like watching a classic in a museum rather than discovering something wild.

Evil Dead II poster

Eight Legged Freaks2002

Giant radioactive spiders overrun Arizona. This is earnest creature-feature entertainment with solid action, likeable characters you don't hate, and just enough humor to keep it light. It's smart enough to work and dumb enough to be fun.

But It's comfortable and competent. If you're hunting for something that swings weird, this plays it too safe.

Eight Legged Freaks poster

Dead Poets Society1989

A paranoid teen discovers his wealthy suburb is literally cannibalizing the working class. Body-horror sci-fi with a genuinely strange visual language and something genuinely to say about class. Weird enough to haunt you, smart enough to matter.

But It's more cerebral than it initially appears, and the tonal shifts might feel misaligned if you're not prepared for the shift from teen thriller to social commentary.

Dead Poets Society poster

Rubber2010

An autonomous sentient tire rolls through the desert killing people with psychic powers. A genuinely original premise executed with surreal humor and visual invention. It's the rare film that commits completely to an absurd concept and becomes stranger the more you watch.

But It's aggressively weird and deliberately paced to frustrate. If you need plot momentum or straightforward answers, you will spend 80 minutes irritated.

Rubber poster

Tusk2014

Both films transform humans into monsters through extreme, irreversible means. The humor comes from commitment to the premise's ugliness rather than distance from it. Both feel like films that shouldn't exist and are stronger for it.

A podcaster is surgically transformed into a walrus by an unhinged millionaire. Kevin Smith's most disturbing and weirdest film—genuinely upsetting body horror wrapped in comedy so dark it feels dangerous. It's grotesque and hypnotic and completely unashamed.

But It's aggressively nasty and takes pleasure in human degradation. The tonal whiplash between gross-out horror and comedy stops working for some people entirely.

Tusk poster

Shivers1975

Both use monster-transformation as a vector for commentary: Cronenberg weaponizes contamination and loss of control; Monsturd weaponizes waste and refuse. Both ask what we fear becoming—just at different registers of seriousness.

Parasitic worms spread through an apartment building causing sexual compulsion and violence. Cronenberg's debut is sci-fi body horror played with clinical precision and actual social ideas underneath the gross-out. It looks beautiful, moves like a thriller, and disturbs on multiple levels.

But It's slower and more thoughtful than its premise suggests. If you want kinetic trash, this is too serious. If you want serious cinema, the premise is too ridiculous to fully commit to.

Shivers poster

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