The filmmakers in question are Adam Rifkin, Tim Sullivan, Adam Green and Joe Lynch. Adam Rifkin made horror films such as The Invisible Maniac (1990), Psycho Cop Returns (1993), had an almost-cult hit with the bizarre The Dark Backward (1991), conducted a modest mainstream venture with Detroit Rock City (1999), made the interesting documentary Welcome to Hollywood (1998) and the caveman comedy Homo Erectus/National Lampoons Stoner Age (2007), as well as wrote the scripts for Mousehunt (1997), Small Soldiers (1998), Zoom: Academy for Superheroes (2006) and Underdog (2007). Tim Sullivan made his directorial debut with the Eli Roth produced 2001 Maniacs (2005) and went onto Driftwood (2006) and 2001 Maniacs: Field of Screams (2010), as well as wrote an episode of Snoop Doggs Hood of Horror (2006). Adam Green has been a rising name since the slasher homage Hatchet (2006), which he followed with Frozen (2010), Hatchet II (2010), Hatchet III (2013), Digging Up the Marrow (2014) and Victor Crowley (2017). The relatively unknown name among these is Joe Lynch whose only previous genre work was Wrong Turn 2: Dead End (2007), although he did subsequently go on to make Knights of Badassdom (2013) nd the darkly funny Mayhem (2017). All four filmmakers can be seen sitting together in a theatre in the films final scene offering up comments about the film.
Wadzilla kicks in with an entertaining absurdity. You get the impression that Adam Rifkin has intended it as the logical companion piece to the Are the Findings of Doctors and Clinics Who Do Sexual Research and Experiments Accurate? of Woody Allens Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972) with its giant rampaging breast. Like Are the Findings ..., Wadzilla has also been construed as a parody of 1950s monster movies. The tone of the film is similar to the cod deadpan B-movie prose of Larry Blamires films The Lost Skeleton of Cadavra (2001), Trail of the Screaming Forehead (2007). There seems nothing more appealingly ridiculous than scenes of the military trying to trap the giant rampaging sperm by dropping a massive condom down onto it by helicopter or of the sperm having daydreams of the Statue of Liberty turned into a stripper and then trying to hump the statue. There is the sheer absurdity of the initial scenes with the hero (Adam Rifkin) fighting with the sperm as it demolishes a bathroom and erupts from a toilet after he tries to flush it, or he trying to drag it out as it tries to bury itself up the skirt of his date (Sarah Mutch). Despite the segments deliberately cheesy look, the rampaging sperm scenes contain some sophisticated effects.
Tim Sullivans I Was a Teenage Werebear is his take on I Was a Teenage Werewolf (1957) and the various Gidget and Beach Party movies of the early 1960s all with an amusingly gay spin. (Sullivan, who can be spotted in the segment as the phys ed coach, is a gay filmmaker himself. It is not that queer filmmakers have not taken to all the homoerotic undertones in the Beach Party film before as witness Psycho Beach Party (2000), which discovered tranny dramas inside the genre). The rather amusing joke that I Was a Teenage Werebear offers up is that when the young hero is bitten by a werewolf, he turns into is a bear a hairy macho gay man dressed in studded leather briefs. The episode comes with songs that have hilarious lyrics Ive got a feeling Im going to explode/How much longer do I have to hold my load? We even get a gay-themed parody of the famous even a man who is pure in heart ... speech from The Wolf Man (1941). Certainly, while Wadzilla looks professionally produced, I Was a Teenage Werebear gives the impression it was shot on a low budget the coachs office and the nurses sickbay are simply tents that have been pitched on the beach.
The Diary of Anne Frankenstein, which conducts a mash-up between a parody of a 1940s Universal Frankenstein sequel and the famous The Diary of Ann Frank (1947), the true story of a Jewish girl and her family hiding in an attic from the Nazi concentration camp round-ups, is an outrageous idea that takes you aback with its sheer bad taste. The segment becomes even more outrageous when it comes to Adam Green regular Joel David Moores absurdly over-the-top comedic caricature of Adolf Hitler. (The outrage is allayed somewhat in that director/writer Adam Green is himself of Jewish background). Interestingly, the Frankenstein monster is taken closer to the legend of The Golem see The Golem (1920) and is resurrected from the body of a rabbi and raised to life with energy from a menorah rather than the traditional electricity. In all, this is an extremely silly episode so silly that you have to enjoy it for its preposterousness.
Zom-B-Movie is a variant on the zombie film of which the latter half of the 00s has produced a vast number. Joe Lynch has fun planting his tongue in cheek, as many other recent zombie films have done. There is an undeniable degree of outrageous fun these zombies seem to prefer having sex rather than devouring the living. Brendan McCreary is outfitted with amusingly self-reflexive lines such as where he decides he must be the Final Girl or wonders: What would Simon Pegg do? No, too British. Ken Forree? Ultimately, this is perhaps the weakest of the film's four episodes, the over-familiarity of the territory in recent years having used up all that is fresh about the genre.