Santa Claus Conquers The Martians (1964)

Santa Claus Conquers The Martians (1964)‘Thinking of taking another nap in the radar box, Droppo?’

The children of the planet Mars have forgotten how to have fun and spend too much time watching TV broadcasts from Earth. The Martian King decides to kidnap Santa Claus to remedy the problem, but a renegade official disagrees with the plan…

Dreadful Yuletide science fiction comedy, which has gained a significant cult following in recent years, in part due to that amazing title, but mostly because of its staggering banality. Yes, it is a children’s film and yes, it was made on a very low budget, but those facts do little to excuse the finished product.

The story follows Bomar and Girmar (‘Boy Martian’ and ‘Girl Martian’) played by Charles Month and an 8-year old Pia Zadora.  They are binge-watching Earth TV, specifically an interview with Santa (John Call) from the North Pole. They are so invested, in fact, that they no longer sleep or eat properly, which concerns their father ‘King Martian’ Kimar (Leonard Hicks). This is actually a curious foreshadowing of society’s viewing habits today, but it’s the only thing remotely interesting in the vapid, lifeless script. After all, we’ve already sat through Zadora dragging her nails down the chalkboard with opening song ‘Hoo-ray For Sant-y Claus’…

Enlisting the help of Earth kids Billy and Betty (Victor Stiles and Donna Conforti), our naughty extra-terrestrials snatch Santa and get him back to Mars, successfully sidestepping Tom Cruise, H.G. Wells and NASA public relations staff. Once there, the big guy is tasked with turning out some toys and is given the dim, but well-meaning, Dropo (Bill McCutcheon) as his ‘comedy’ sidekick. All round bad egg Voldar (Vincent Beck) hasn’t got time for all this nonsense, though, and plans to sabotage the operation.

Santa Claus Conquers The Martians (1964)

Robby the Robot’s Ketamine habit had really taken its toll…

But Voldar’s up against it, folks! You see, just being in the presence of Santa makes everyone ridiculously happy! Even cardboard box robot Torg no longer follows orders. And the Martians are soon convulsed with hysterical laughter at the old man’s wit. ‘What’s soft and round and you put it on a stick and toast it in a fire…and it’s green?’ The answer? A Martian-Mallow. You can see why it’s hopeless to oppose him, can’t you?

There are several other ‘delights’ on offer too. A man dressed up as a polar bear. McCutcheon’s hilarious idiot schtick as the ‘lovable’ Dropo. The US Airforce scrambling fighter jets (and a bomber?) to intercept the Martian spacecraft via the reliable old medium of lots of stock footage. A po-faced newsreader providing completely pointless commentary. The first ever appearance of Mrs Claus (Doris Rich) as a character on film. Endless talky scenes that don’t advance the ‘plot’ a centimetre. Oh, yes, and McCutcheon’s a riot as the hapless Dropo…oh, I already mentioned that, didn’t I?

The young Zadora went onto some level of notoriety in the entertainment world, particularly in America. After marrying a millionaire businessman, she got her first big break as a model in a national advertising campaign in the late 1970s. Never mind that her husband held a significant financial interest in the product concerned. From there it was a short step to the magic of Hollywood but headlining her first grown-up film in a cast that included Orson Welles and Stacy Keach was not a move commensurate with her acting experience. Despite (somewhat controversially) winning a Golden Globe as best ‘New Star’ for ‘Butterfly’ (1982), her performance was universally critically panned. She earned two Razzie awards that year, and more such ‘acclaim’ followed for next project ‘The Lonely Lady’ (1983). The award for ‘Worst Actress of the Century’ came her way at  the Razzies in 2000.

Elsewhere, most of the cast were minor Broadway performers and only McCutcheon ever achieved any significant level of screen recognition, appearing as Uncle Wally in episodes of TV’s ‘Sesame Street’ between 1985 to 1998. Director Nicholas Webster made an ill-advised return to the red planet four years later with the excruciating ‘Mission Mars’ (1968), a film so unutterably tedious that it should come with a government health warning attached. However, his career took an upward swing in the 1970s with gigs directing episodes of TV shows like ‘Bonanza’ and ‘The Waltons’, and as occasional writer-producer and director of TV’s ‘In Search of…’ hosted by Leonard Nimoy. He followed up in the same vein with cryptid documentary ‘Manbeast! Myth or Monster?’ (1978).

Santa Claus Conquers The Martians (1964)

‘Can’t you get on with it? The Merseyside derby’s on the box in a minute…’

The nature of what’s on display, together with Zadora’s reputation has led to the film’s growing reputation as a cult classic in recent decades. A remake was even planned in 1998 with Jim Carrey as Dropo, but it never appeared. However, there were various theatrical adaptations in 1993, 2006 and 2011, and a satirical novelisation of the story appeared in 2005.

So, here’s the obvious question; is it ‘so bad, it’s good’? The answer? Not really, no. It’s just too boring. A dull and dreary slog through a quicksand of cheapness and infantile banality. There aren’t even any bizarre quirks to alleviate the sheer monotony.

Is it the worst film ever made about Mars? No, actually, I don’t think so. Director Webster’s own ‘Mission Mars’ (1968) is a whole different level of ghastly. And don’t even get me started on ‘The Wizard of Mars’ (1964)!


Santo El Enmascarado De Plata Vs. ‘La lnvasion De Los Marcianos’/ Santo Vs The Martians (1967)

Santo El Enmascarado De Plata Vs. ‘La lnvasion De Los Marcianos_: Santo Vs The Martians (1967)‘It detects brain waves and l can adjust it to the mental vibrations of the Martians.’

Concerned about mankind’s experiments with the a-bomb, a team of Martians come to Earth in a spaceship to put a stop to our aggressive ways. Their plans bring them into conflict with legendary silver-masked wrestler, Santo, who is determined to thwart them at all costs.

Good afternoon, grapple fans! We’re back south of the border in the company of El Santo, who is facing off against an extra-terrestrial threat, rather than the usual gangs of enemy agents, vampires, werewolves and mad scientists. Sadly, there’s no Blue Demon to help him out here, but he does have backup in the form of genius egghead Professor Ororica (Manuel Zozaya) whose various inventions of a transistor radio-compass and a Martian detecting cigar box prove to be quite the ticket. And everyone’s favourite luchador is going to need all the help he can get this time!

You see, these Martians haven’t just got lots of space technology stuff on their side, they’re also just so with it, baby! The guys dress in silver wigs, silver hats with a third eye, silver shorts, silver boots, and silver cloaks that fasten at the throat to show off their bare, muscly chests. The gals are real space babes too; what with their skimpy silver gear and mean go-go dance moves, which they use when they kidnap the old Professor from a dinner being held in his honour. Helpfully, their glorious leader Wolf Ruvinskis decrees they will all speak Spanish for the duration as it’s the language of the country they are travelling to. They picked Mexico as their destination due to its reputation for seeking world peace and disarmament.

So what exactly are they up to? Well, the first thing they do is take over all TV broadcasts to explain it. Basically, they don’t trust us! They think we are an aggressive species who need to be taken in hand. What they propose is to dissolve all national boundaries, create a world government under one language, impose global peace and foster a brotherhood of man. A dastardly plan, to be sure, and completely against the principals of a free market, capitalism, war for profit and manifest destiny that we all enjoy today. Luckily, everyone thinks they’re joking (and no wonder!) so they determine to use more convincing methods.

The Martian’s next move is to interrupt random stock footage of sporting events by sending one of their number to disintegrate a few random bystanders using his ‘Astral Eye’. This doesn’t go down well with our silver-masked hero who is busy nearby, teaching kids wrestling moves and imparting important life lessons. Of course, our Martian visitor is no match for Santo when it comes to grappling and is forced to use his belt to dematerialise when in the big man’s grasp. Which is interesting, because throughout the rest of the film the aliens abduct people in just that way, by being in physical contact and using their belts. But it never works on our main man. Maybe he’s just too muscular and heroic to be affected by science!

lt’s after tangling with the masked man that the alien’s mission statement goes awry. They seem to forget about all this pinko commie ‘world government and peace’ malarkey and start kidnapping random people instead, starting with a typical family who spend all their time watching TV. Why? So they can take them back to Mars. Why? Well, l’m sure they have their reasons. Ruvinskis also decides that his crew’s appearance is having a detrimental effect on the mission because it frightens the earthlings (rather than making us laugh!) so orders everyone into the ‘Transformation Chamber’. A little dry ice later and they emerge in left over costumes from a toga party. As a result they can’t become invisible anymore or use the disintegrating powers of their ‘Astral Eye’. Instead, Ruvinskis gives them all the names of famous characters from Greek Mythology! It’s an interesting tactical decision to be sure. Where are the authorities in all this? No idea.

Santo El Enmascarado De Plata Vs. ‘La lnvasion De Los Marcianos_: Santo Vs The Martians (1967)

The Bangles weren’t sure about their new stage costumes…

Up until now, there’s been one other noticeable absentee from proceedings: wrestling. So it’s time to head over to the gym and catch Santo in training. The Martians observe on their scanner (there’s a lot of watching TV in this film!) and send over two sexy space babes to hypnotise his opponents. Their charms don’t impress Santo, of course, although one of them does unmask him later on, only his back is to the camera and it’s all a hallucination anyway.

The obligatory face off in the ring finds him pitched against alien ‘Hercules’ who is disguised as ‘The Black Eagle’ (for some reason). But the Martians’ main problem is that their spaceship has ‘the big lever that blows everything up’. lt’s a strangely common design flaw in extraterrestrial craft and secret laboratories throughout cinema history.

This was one of the last ‘Santo’ pictures to be presented in black and white and, ridiculous as the whole enterprise might be, at least a little more care and attention has been devoted to the project than on later entries in the series. Ruvinskis was one of Santo’s real-life rivals in the ring, already familiar to Mexican cinema audiences as heroic wrestling superhero ‘Neutron’ in a short series of rival films, including ‘Neutron Contra El Dr Caronte’ (1963).

Fed up with the current world situation? Wish we could have world peace and brotherhood? Well, just remember. We’d already have it if it wasn’t for El Santo!

Himmelskibet (Heaven Ship) (1918)

Himmelskibet_(1918)The Danes go to Mars!

A young aviator builds a spaceship and flies to Mars, despite opposition from the scientific establishment. As the weeks pass, his crew threaten to mutiny, and when they arrive on the red planet their actions aren’t too clever either. Luckily, it takes more than a few crude earthlings to upset the indigenous population.

At a length of approximately 80 minutes, this Danish picture is quite possibly the first full-length feature ever made that portrays space flight and landing on another planet. Inevitably, the science is pretty wonky with our vehicle looking like a cross between a shed and a sea plane and likewise horizontal flight to escape Earth’s gravitational pull is rather quaint. The interior of the ship resembles a submarine, which is understandable given the technology of the time, and at least there is some effort to make it look functional with various dials and switches.

Our young, ambitious hero Avanti Planetaros (Gunnar Tolnæs) recruits his father to help out with his interplanetary project as somewhat conveniently he happens to be a scientist/astronomer. His sister’s boyfriend is also one of the white-coated brigade, and is happy to come along for the ride. Unfortunately, the rest of the crew are a motley bunch of volunteers and includes Dan the Dane, who’s a big, rough looking chap who likes his ale. I couldn’t help but wonder what his actual duties were on the ship. Anyway, our Earthbound villain is Professor Dubius, who is err… a bit dubious about the whole thing, and doesn’t mind letting people know about it, both at meetings and in the newspapers.

Despite all these problems the expedition finally reaches its goal, helped over the last few yards by the Martians themselves. These prove to be a bunch of insufferable old hippies, who hang around in flowing robes and carry tree branches. Mars is a utopia (’Heaven’ possibly?) where no one actually does any work and the young girls do the ‘Dance of Chastity’ (stop sniggering at the back, it’s actually rather cute). Scenes of this rural idyll are intercut with scenes of life back on Earth, mainly featuring drinking, violence, inappropriate dancing, and other sinful pursuits. ‘Love is what you call God’ the Martians sing, making us quite grateful that this is a silent movie.

But, despite all this loveliness (or perhaps because of it) the crew want to go back home. This Martian utopia looks all well and good, but of course it’s not exactly a thrill a minute. Our hero has fallen in love with the Headman’s daughter (the angelic Lilly Jacobson) which complicates things a tad, until she decides return with him to spread the word of the Martian’s creed of love and peace. Good luck with that!


‘For God’s sake, reconfigure the lateral sensor array!’

This film is actually most interesting for its pacifist stance. Produced towards the end of the Great War in Europe, the slaughter in the trenches must have had a profound effect on society; so much so in fact that everyone waited a whole 20 years before doing it all over again. But, to be fair, there’s nothing wrong with wearing your heart on your sleeve and the Danish filmmakers do it unapologetically here. It may seem a little naive and dated to a modern day audience though.

As a drama this is so-so stuff, but it does have some noteworthy aspects. And obviously meteors had yet to infect interstellar space in the overwhelming numbers that were present during the 1950s.

Worth a look if you are interested in the early evolution of cinematic science fiction.

A Trip To Mars (1910)

A_Trip_To_Mars_(1910)The first American Science Fiction movie…

A scientist discovers a substance in his laboratory that reverses the effect of gravity. Covering himself with it, he floats off into the sky, eventually reaching the planet Mars where he meets its giant inhabitants.

This 10 minute short is America’s first ever science fiction film, courtesy of Thomas Edison’s studios. It was released in the same year that they gave the world the first ever cinematic interpretation of ‘Frankenstein’ (1910). Unsurprisingly, it’s heavily influenced by the pioneering work of French filmmaker Georges Méliès, with whom everyone active at the time really has to be compared. The basic plot also borrows from H.G. Wells to some extent, with the magical anti-gravity material reminiscent of ’Cavorite’ from his novel ‘The First Men In The Moon’ which was published 9 years earlier.

The effects and design are acceptable, given the vintage of the film and the primitive techniques employed. However, it does lack the Gallic charm of Méliès’ best work, especially if it was supposed to be a tongue-in-cheek fantasy in the same mould. That seems likely as it’s hard to credit the finished film as serious science fiction speculation, given that the hero simply floats off to another planet. We don’t see a lot of the red planet actually, save for the giant plant-like creatures that live there, one of which picks up our hapless hero for a closer inspection.


‘Pleased to meet you, hope you guess my name…’

Facially, the Martian somewhat resembles a satanic caricature, and it’s possible there may have been an intention to draw a religious parallel concerning the inadvisability of space travel (and meddling in things that man should leave alone). Of course, it’s impossible to be sure about that over 100 years later, although that general theme was the cornerstone of nearly every fantasy film to come out of Hollywood in the ensuing decades. The Martian dispatches our hero on his way, and he returns to Earth perhaps a wiser and less adventurous man.

Of course this is all very basic stuff; baby steps in the early days of science fiction. But, based on this evidence, it does appear that the Americans had some serious catching up to do, Méliès work had far more flair, visual sense and invention than that displayed here. Narrative films of greater length had already been created in the U.S. by the time of this production; some to massive box office success such as ‘The Great Train Robbery’ (1903). But science fiction was a latecomer to that party, to some extent inevitable with the technical limitations of the time.

A Message From Mars (1913)

A_Message_From_Mars_(1913)The world’s first feature-length Science Fiction movie.

Produced in the U.K. shortly before the outbreak of World War I, this is basically a simple re-telling of Dickens’ ‘A Christmas Carol’ (1843), but with a Martian instead of the ghost of Jacob Marley.

Our Scrooge character is the well-to-do businessman Horace, played by famous English stage actor Charles Hawtrey. No! Hang on! Charles Hawtreyl? That weedy bloke from all those ‘Carry On’ comedies?I It can’t be him, surely! Well, no, actually it can’t. The two weren’t even related, although the 1960s comedy star deliberately adopted the name and often claimed to be his grandson. Very naughty. What would matron think?

Inevitably there is a level of theatricality to the proceedings; these are stage actors after all, and the finished product often resemblances a filmed play, especially when the action is located in Horace’s front room. There are some exteriors though, and we do get a couple of slow panning shots, so the camera isn’t completely static. There’s also an intriguing mixture of horse-drawn vehicles and ‘new- fangled’ motor cars on the street, one of which sideswipes a cast member in a less than convincing example of early stunt work.

Back at the story, Horace begins as a good little capitalist, viewing everything in terms of financial gain and money, alienating everyone around him. I feel a certain amount of sympathy for grumpy old git, actually. He tries to get some innocent amusement by watching a puppet show in the street, and is hassled by beggars. He wants to spend a quiet night in by the fire and gets interrupted by his fiancée and her mother who want to go to a dance. A hooray Henry friend of the family turns up to offer everyone a lift. A tramp knocks on the door because he wants a job, and then this bloody Martian turns up… After a few ineffectual attempts to persuade Horace to mend his ways, the Martian turns him into a beggar, which eventually alters his perspective on things somewhat. It does seem an unnecessarily harsh thing to do to a sour old man really; it’s not as if he’s actively persecuting the poor like a politician or a banker.

The storyline and resolution are very simplistic, of course, and the old grouch’s transformation into a kindly soul is a little overdone at the end. Not only does he save a poor family from a house fire, he takes them into his own home afterwards!


Nights out down the pub with the Martian always ended in tears before bedtime.

SFX are of the Georges Méliès’ school of ‘stop the camera, put the actor in the shot, start the camera again’ variety but there is an intriguing moment when our Martian hero strikes the hapless Horace. The entire picture seems to flex. It may possibly be a deficiency of the surviving print, but it looks intentional and, if so, is the best thing in the film. Mars looks like an empty stage with a painted backdrop, and the Martians wear tights, and flowing, hooded jackets (with tails!) The Egyptian Ankh is their symbol of brotherhood.

The print I saw is in beautiful condition, thanks to the tireless efforts of the British Film Institute, and the hour length suits the subject.

A fascinating relic of a bygone age.

Mission Mars (1968)

Mission_Mars_(1968)‘A large ball-like thing has just materialised about 50 yards in front of us.’

Three astronauts go to Mars on the first manned U.S. rocket. The Russians have already launched a spacecraft, but rumours from behind the Iron Curtain suggest that it’s gone missing. Back home, the astronaut’s women worry and the Mission Commander tries to hold things together.

Mars has been a graveyard for many filmmakers over the years, from the famous to the infamous. From Brian De Palma – Mission to Mars (2000) – and John Carpenter – The Ghosts of Mars (2001) to David L Hewitt – ‘The Wizard of Mars’ (1964) and Larry Buchanan – ‘Mars Needs Women’ (1967). So what chance Nicholas Webster with his micro-budget epic starring Darren McGavin and Nick Adams? Well, none at all, really.

The film opens, fairly inevitably, with that long-standing friend of low budget science fiction: rocket launch stock footage. At least by the late 1960s, V2 missiles had turned into Saturn V rockets and black and white had changed into colour. It all turns out to be a nightmare anyway, as McGavin’s wife (Heather Hewitt) frets about his imminent trip into space, but feels better once the two of them go all ‘From Here To Eternity’ on a nearby beach. But McGavin is off to the stars all too soon; captaining a three man crew comprising impulsive geologist Nick Adams and bland George de Vries. Adams also has a worrying wife/girlfriend back home and the two ladies spend a lot of time talking about their worries with Mission Controller Michael DeBeausset. De Vries doesn’t get a ‘woman who waits’ so we all know what’s going to happen to him!

Ironically, the film actually comes up with some probable realism during the transit between planets. Yes, the cabin is far too big; yes, there’s complete artificial gravity; yes, they are hit with the inevitable meteor shower (that looks like electrical sparks from a welding torch), but what it does get right is the sheer tedium of it. By the time our dreary heroes reach their destination, it truly feels as if the audience has been cooped up with them for months on end. McGavin provides fascinating voiceover facts by reading out of an encyclopaedia (probably)! Adams navigates by looking out of a porthole and using a sextant (no computer for him!) The worrying women back home watch television and worry! The mission controller chews out some colleagues who worry about their sums! The worrying women talk to the Mission Controller! Again! Adams eats a pastrami sandwich! And so on…and on. It’s all so dull and lifeless that brain cells begin to disengage and die slowly.


Hell’s Astronauts head for their Moon Sickles…

Arrival on Mars is followed by more pulsating action. Adams digs rocks and the others inflate balloons that float into the camera. Adams finds a frozen Russian. There’s a hole into the supply module. Eventually, our heroes encounter a multi-limbed statue thing that flashes bright lights at them. In accordance with reasonable first contact protocols, they blast it! (If science fiction of the 1950s and 1960s has taught us anything it’s that firearms are essential equipment for space exploration).

All of this takes place on a tiny cardboard set that doesn’t resemble the model landscapes. But we do have to cut the filmmakers some slack here. Apparently, the original sets were destroyed by bad weather the day before filming and had to be rebuilt in a hurry in a nearby basement! Similarly, the film is probably best known for the motorcycle helmets that the astronauts wear on Mars. Worse than their obvious origin is the fact that these are ‘open face’ helmets, leaving a wide gap beneath the visor. Again, there were mitigating circumstances. The original custom-made headwear apparently didn’t meet McGavin’s high standards and he smashed his against the set, necessitating some last minute replacements from a local store!

McGavin went on to find lasting cult fame as ’Kolchak: The Night Stalker’ on U.S. TV and many supporting roles in big budget films; usually as a shady authority figure. Adams made only two more films before he was found dead from an overdose at the age of 36. It was probably an accident, but both murder and suicide have been suggested over the years. Although successful in a late 1950s/early 1960s TV show called ‘The Rebel’, Adams was most famous for his friendships with both James Dean and Elvis Presley. He went to Japan to take the American lead in Toho Studio’s ‘Frankenstein Conquers The World’ (1965), but it’s clear his career was not in good shape by the time he made it to the red planet.

This is really a quite dreadful experience; a slow, pitiful crawl through one cliché after another, culminating in a planetary exploration as one dimensional as it is brutally dull. But one question remains. Is it the most boring film about Mars ever made? The obvious answer would be ‘yes’ if not for the existence of David L Hewitt’s ‘The Wizard of Mars’ (1964). I’d have to watch both back-to- back to make a decision but, you know what? You’d have to pay me. A lot.

The X From Outer Space (1967)

The X From Outer Space (1967)‘Doctor, whatever the origin, it’s heading for Tokyo!’

Half a dozen manned spaceflights to Mars disappear under strange circumstances. A joint Japanese-German(?) mission rocket follows, the crew hoping to both land on the Red Planet and solve the mystery of what happened to the previous expeditions.

Several other Japanese film studios tried to emulate the international achievements of Toho Studios and their monster movies in the 1960s. The most successful of these were Daiei with their ‘Gamera’ series but there was also Nikkatsu with ‘Gappa, the Triphibian Monster’ (1967) and Shochiku, who presented ‘The X From Outer Space’ (1967).

In a nod to the international market, the boffins on the ground here include Franz Gruber as a fuel expert who assists headman Eji Okada, an international name after appearing in ‘Hiroshima Mon Amour’ (1960). We also get blonde Peggy Neal as the space crew biologist, although she’s very poorly dubbed, her accent sometimes German, sometimes not. Neal already had experience with Japanese monsters, her previous role being in Kaitei Daisensou (‘Terror Beneath the Sea’) (1966), which featured mutant cyborg fish men.

After a mission briefing explaining things you would have thought the crew should already know, our zeroes head off to Mars but are intercepted by a UFO that looks like a large orange pie. After this unexciting close encounter, they land at Moonbase, where they dance, jump around in the low gravity and take Jacuzzis with synthesised water that isn’t real (eh?). This is obviously far more important that investigating mankind’s ‘first contact’ with alien life. Back in space, the ship is hit by the inevitable meteor shower, a circumstance for which they are pitifully unprepared considering it had happened to every cinematic spacecraft in the previous couple of decades. Another encounter with the alien pie ship leaves their capsule covered with a strange substance so they decide to call it a day and head back home for tea.

The X From Outer Space (1967

Guilala nailed the audition for ‘Super Size Me 2’

Whilst having a knees-up at their ‘welcome back’ shindig, our gormless astro-naughts find out that the strange intergalactic substance they brought back has escaped from the lab and metamorphosed into a giant, gnarly space chicken.

This fine example of intergalactic poultry goes on a rampage, shooting flame from its mouth and wading through sets of tiny skyscrapers. The military and the scientists get round the big table to try and sort it all out (as they usually do) but they don’t have any ideas. They do name the creature though (‘Guilala’) so that’s all sorted then. Later on they reject the idea of a nuclear strike and decide to use toxic soap suds from the moon as their ultimate weapon instead.

Ultimately, the films plays like a poor photostat of a Toho Production, devoid of both technical artistry and fresh ideas. The spacecraft models aren’t that badly done (although they are still obviously models) but it’s the miniature sets in particular that come up short. And the monster itself, of course. It looks like a bloke in a silly suit on his way to a primary school to teach kids some aspect of health and safety.

After the Nikkatsu studio folded, Shochiku announced a ‘Gappa vs Guilala’ movie but it never happened. Not such a bad thing in my opinion…

Buy ‘The X from Outer Space’ here