The Glory of “Corpse Grinders II” (2000)

Reverse trigger warning: No boobs or blood. This movie is wholesome.

Landau and Maltby will never be employees of the month. They murder their boss, the owner of Lotus Cat Food, and send him through its grinding machine, clothes and all, to cover their tracks. Then, they take over, paying a gravedigger named Caleb to provide them with dug-up dead bodies in place of meat byproducts. However, they cheat Caleb and end up killing him too, plus his wife for good measure. Soon, they’re strangling hobos to meet the growing demand of their customers. Because of this, cats across California develop a taste for human flesh and revolt, having disliked us already. After multiple poorly staged cat attacks, a Dr. Glass and his nurse/girlfriend Angie decide to investigate. With the help of a detective who waits until the literal last minute to act, they manage to shut down the factory.

That’s the plot of the minor drive-in classic The Corpse Grinders (1971), directed by Ted V. Mikels (Strike Me Deadly, The Astro-Zombies) from a screenplay written by Arch Hall Sr. (Eegah). I’m always surprised by the lack of necrophilia, given its title. Mikels was an eccentric man who enjoyed a lengthy career in schlock. His old Hollywood movies tended to be kind of boring. Ironically, his personal life behind the scenes at that time was anything but. A polyamorous sadist, Mikels lived in a castle-like home with many beautiful women. Just call him “Dr. Sex”, a character from one of his movies. For some reason, once he moved to Las Vegas and switched to using a video camera, his output really got fun.

It would be unfair to use the following adjectives to appraise The Corpse Grinders — good, exciting, expensive, hearable. It made a boatload of money, though, on a burial-themed triple bill with The Undertaker and His Pals and The Embalmer dubbed “The Final Dimension in Shock”. One thing I do feel comfortable calling The Corpse Grinders is realistic. Mundane. Granted, it has its weird moments. A woman strips down to her underwear to drink beer on her couch, the murdered businessman’s wife is a little too cheerful considering her husband is missing, and the grinding machine is laughably cheap. It was constructed from plywood, old lawnmower parts, and a bicycle wheel. But, by and large, the movie is based in reality.

That’s why nothing could have prepared me for the sci-fi insanity of Mikels’ belated SOV sequel The Corpse Grinders II (2000), except perhaps the equally crazy Mark of the Astro-Zombies (2002). There’s a lot to unpack in the text crawl alone. “In a galaxy many light years away, there is a planet called Ceta.” It tells us. “Its inhabitants emulate their ancestors, the cat-worshippers of Egypt and Atlantis. There is a shortage of food and water on Ceta and the cat-people struggle for survival against the elements. The dog-people of the neighboring planet Traxis wage war against Ceta and have plans to invade.”

Credit: Tubi TV

A Traxian.
Credit: Tubi TV

A Traxian in profile.
Credit: Tubi TV

Why would these dog-people invade when no resources stand to be gained? Also, are they too descended from Earth? If not, how did they evolve to resemble our dogs? The chances of that happening are whatever the number preceding infinity is to one.

Before we can work out the answers to these questions and more, we’re tossed into a Star Wars-ian dogfight — pun intended — between the two factions, featuring the worst CGI I’ve ever seen, and stock footage from something I don’t care to research. Three Cetans in hideous tunics and headdresses watch the battle unfold on a hologram in Ted Mikels’ living room. The only catlike characteristics they display are big goofy elf ears. They announce to a small group of frightened, meowing citizens that they will venture to Earth, where legend has it they came from, in search of food.

Credit: Tubi TV

They land their craft in the Mojave Desert. Astronomer/possible ufologist Professor Mikoff (Ted Mikels himself) just so happens to witness it. He’s quickly escorted away by two Men in Black and brought before ASTAPP, Awareness Suppression to Avoid Public Panic, a branch of the US Department of Public Information. They politely ask him what he saw, then release him. Mikels’ character is pointless and slows down the pace applying for grants. He doubles as an analytical chemist when called upon to inspect samples of Lotus’ product, but nothing really comes of that except the astute observation “these ingredients are only found in human flesh”. At the end, he leaves Earth to further his research.

Credit: The Simpsons,, Disney

One of the Cetans, Felina (Shanti, pictured above), gets out and wanders through town, somehow concealing her ears. She’s given a free sample of Lotus cat food by Ed Wood’s one-time girlfriend Dolores Fuller at a grocery store and determines it’s just what her people need to survive. She and her fellow travelers fax ASTAPP requesting their spaceship be loaded with it. The way they figure, they can afford as much as they want because they possess the ability to convert lead to gold, and humans love gold. Is it just me, or is this a bad plan? It’s not sustainable. They should bring seeds home to grow their own food.

Besides the space opera nonsense, the plot is identical, down to the names. The nephews of Landau and Maltby — referred to as “Landau” and “Maltby” for simplicity’s sake — reopen the family business without rebranding. Before even trying to operate legally, Landau (Mikels regular Sean Morelli) convinces Maltby (one of the killer kids from Bloody Birthday all grown-up) to stoop to the same measures their uncles did, as if various agencies won’t be keeping a close eye on them. They continue their streak of big-brain decisions by hiring homeless alcoholics and indigent senior citizens to run their factory. Next, they strike deals with the caretaker of the cemetery from Part 1, unbelievably also named Caleb, to supply fresh cadavers, and the owner of a funeral home to “embalm” said cadavers with beef, chicken, & pork-flavored concentrate. Fish will be ready tomorrow, Maltby assures him. This time, the caretaker’s wife is played by Liz Renay (below, Desperate Living).

The meeting with Caleb is held knee-to-knee in his tiny-ass kitchen. This visual cracks me up.
Credit: Tubi TV

A third kind of alien, a typical Strieber-esque gray, teleports into, then right back out of, Liz Renay’s bedroom. This strand of the story is picked up again in Mikels’ retroactively related Mark of the Astro-Zombies (Astro-Zombies M3 establishes that Mikels’ works exist in a shared cinematic universe). Renay screams in terror. Annoyed husband Caleb chokes her to death because fifty bucks is fifty bucks. He later blames her for dying. I swear I’m not making this up.

Credit: Tubi TV

Production of Lotus brand cat food resumes. The drunks load some cases into a van. A few yards away, in plain sight, the MIBs surveil through binocs.

When a Dr. Glass gets bitten by his nurse/girlfriend Angie’s cat, he decides to look into the new food they’ve been using. However, he quickly gives up and their strand of the story is dropped altogether. For no discernable reason, Col. Packwood of ASTAPP (I bet Mikels packed wood and tapped ass) launches his own investigation. He stops by the factory, introducing himself to a kook tasked with wrangling the company’s free-roaming cats as being from “the government agency”. While poking around, he discovers the horrifying truth. Maltby is more than happy to meat him.

“I’m from the government agency.”

“I’m Tim. I’m the caretaker here. I feed the cats and do the other things.”
Such inspired dialogue. What are these other things?
Credit: Tubi TV

After, like, one day, stock is so valuable that an “unnamed entity” offers to buyout the company. A shareholder meeting is held. Felina puts in a bid (she might be the unnamed entity, that part is kind of unclear). Alas, the shareholders agree not to sell. Among them is Flora Myers! She was a pornographic actress and friend of auteur Nick Millard who appeared in his once-mythically-rare outing Dracula in Vegas. She was not Millard’s mother, despite a longstanding rumor to the contrary and the fact that she shares an IMDb page with her, which is missing this movie. Interesting: Millard, like Mikels, fled Tinseltown for Sin City. Seems all the best do.

The mother of the vampire herself!
Credit: Tubi TV

Meanwhile, the Men in Black visit the factory looking for Packwood. Landau says he was never there. The MIBs just accept this and breach national security by announcing they need four-hundred cases of cat food for aliens. They proceed to hand Landau and Maltby a $10,000 advance, because they consider them “trustworthy”. A short while later, the MIBs teleport back with instructions for delivery, explaining it’s easy to harness “dimensional forcefields” when you know how the pyramids were built. They refer to Landau and Maltby as “Earth people”, implying they are a fourth kind of alien.

Hilariously, there is no resolution, nothing tying the loose ends of this cat-batted yarn ball together. Landau y Maltby are forced to hire additional drunks to handle the workload, but get the job done. Nobody busts them and they’re seen as heroes, true patriots. The Cetans blast off with forty-cases of canned cadavers that won’t last them long. Their war-torn planet is still out of food. And water. I love it. Maybe Mikels was leaving the door open for a Part 3 (he eventually produced one shot in Spain, though it doesn’t follow this story).

Something to keep in mind is that Mikels was North of seventy, past retirement age, when he set about sequelizing his properties, so I consider the sequels bonuses. I don’t judge them too harshly, I’m just thankful they exist. The only criteria I grade movies on anyway is fun-ness, their ability to make me laugh or ask “What the fuck?”, and they certainly do that. Now, are they good? No, of course not. By mainstream standards, they’re some of the worst stuff imaginable. But their hearts are in the right place, and that’s all that matters.

If you grabbed a handful of movies from different genres, cut them apart, and combined all the scenes that seem dumb or weird out of context, taking special care to ensure the result was in no way coherent, then turned down the budget, effects, acting, etc. with a magical knob, you’d have something close to The Corpse Grinders II. It’s triple cheap, quadruple confusing, and thoroughly entertaining. It’s so bad it’s great, an outrageous B-movie party on the level of Troll 2 with production values approaching a Death Nurse that nobody ever brings up. It deserves to be celebrated. It’s what being human is all about, what consciousness was intended for. Let’s start our own extrasolar colony dedicated to worshipping Corpse Grinders II. Dibs on leader. Nevermind, that’s too much work. Let’s hold a bi-monthly conference. I love this flick. As mentioned above, there are so many wonderful moments within. I couldn’t get to them all if I tried. Some I plan to examine more closely in future posts. Until then, you can watch for yourself on Tubi TV.

This random woman breaks out in “Amazing Grace” at a funeral, but gets the lines wrong. She’s never seen again. I feel like that summarizes the movie quite well.
Credit: Tubi TV

“The SafeHouse” (2009)

Directed By
William Morroni

As a teenager, Nicole was gang-raped and force-fed cocaine by the high school football team. Now, she’s got “the bad man virus”, an illness that makes her date scumbags. Worse, she’s so strung-out, she’ll do anything for a hit. As one character puts it, “She’s a coke whore… Give her some powder, she’ll slob your knob.” And boy does she prove it! One day, she wakes up to witness her drug dealer boyfriend Jimmy blast an undercover cop. Frightened, she and her friend Kim devise a plan to break away from the gang. But that night, while Jimmy’s posse is killing and robbing its rivals, Nicole is found cowering in a public park by police and arrested. After she’s guaranteed protection, Nikki sings, reluctantly agreeing to testify against the gang. The next day, she and the two cops that booked her, Keith and Jason, move in to a house that was seized in a meth bust. Shortly after they set up camp, Nicole is attacked by an unknown assassin disguised in standard Giallo get-up. Is it a gang member come to silence her? One of the cops? Someone else? Or, is she merely experiencing hallucinations brought on by the coke withdrawals? Increasingly paranoid, Nicole perceives herself to be in a kill-or-be-killed situation. One thing’s for sure — this safehouse is anything but!

Thoughts (Possible Spoilers)
I wasn’t a hundred percent certain what to expect when I ordered this flick. In any event, I wasn’t let down. In spite of its shoestring budget, this one is enjoyable start to finish, with far better acting than I had anticipated, a sense of humor, and a well-written story that might get you guessing, well, in the last half-hour at least.

The SafeHouse‘s cast mostly comprises bad to serviceable unknowns, but its leads are great. Sure, we’ve all seen these roles before — Nicole is an addict, Jason a “good” cop, Keith a hard-nosed, sarcastic-as-Hell “bad” cop — but they make them unique, turning in good performances. The chemistry’s there, and their scenes together are easily the best parts of the movie for me.

The only actor I actually recognized was former pro wrestler Al Burke, who shows up for a bit part as a nameless cop. Some of you more astute low-budget horror fans may recognize him as Punchy the hobo clown from Killjoy 3, 4, & 5.

Compared to Morroni’s previous effort Little Corey Gorey, The SafeHouse is less ridiculous. Now, don’t get me wrong, that’s not to say it’s not funny. A lot of the jokey dialogue made me laugh, but it’s more of a serious film overall — even though it starts off on a goofy note with an awkward, fully-clothed rape. Allow me to elaborate. A young Nicole and her then-boyfriend, a football player, are making out. When he’s pushed away for getting too handsy, the guy chants, “Team! Team! Team!” The rest of the football team inexplicably assembles, surrounding Nicole, then sort of just bumps and grinds without getting naked, hooting, hollering, forcing coke in her POV, shouting phrases like, “Everyone’s gonna hear about this!” and “Bitch, you love it!” The whole opening gang bang feels like a weird, WTF nightmare. Which it is. Though, it turns out it’s also a flashback. I liked it.

As long as we’re on the subject of Little Corey Gorey, fans will enjoy an obvious wink toward the end when it plays on TV.

A ways into the movie comes another favorite sequence of mine when Nicole rigs a hand-made hand grenade to an RC truck so the pin yanks out when it’s driven. She also makes use of a walkie talkie, super glue, and a second hand grenade. I was hoping this part was setting up for an awesome Home Alone-like finale where it turned out Nicole had booby-trapped the entire safehouse with hilarious toy-themed traps, but alas, it wasn’t in the cards. That’s ok, the real ending works well enough.

As far as effects go, there’s not a whole lot for us horror fans — Jimmy lops off an Asian guy’s finger and one of his cronies gets stabbed. That’s about it. But hey, this one’s an action/cop movie, so it doesn’t really need gore — explosions maybe, of which there is one. Like I said, its strong points are more so its leads and its story. And the scenes I mentioned above. And a boob.

Whether you’re a supporter of independent film or simply a fan of action/cop movies, give this bad boy a look. You can purchase your own DVD from (link now dead). Bear in mind, it was made for next to nothing. Don’t go in expecting Lethal Weapon or anything.

A Few Questions
Are door stops really enough to keep addicts from busting out of a house to get high? Yes!
Jimmy doesn’t know where Nicole lives? Weren’t they dating? He’s never picked her up?

The Verdict
Buy it and watch it.

Home Alone (1990)

This post first appeared on my old blog. I may have revised it and added new thoughts.

It Came From Tubi TV: “Thankskilling” (2009)

I’m a little late to the party with this one, seeing as how we’re fast approaching the new year, but here it is anyway. Better late than never, I say. Join me as I take a look at this holiday horror.

Directed By
Jordan Downey

Version Reviewed
Tubi TV version

Total Runtime
1 hour, 6 minutes, 40 seconds

A title card tells us it’s 1621, “moments after the first Thanksgiving.” The opening frame is a close-up of an areola. Ok, they’ve got my attention. How did they know I like breasts?! The camera zooms out to reveal two massive melons attached to a pilgrim (middle-aged porn star Wanda Lust). Screams can be heard. There’s at least one murder going on in the background. The pilgrim woman runs, boobs a-bouncin’. She trips, she falls. Something with purple Evil Dead vision swoops in behind her. She turns around to see a rubbery turkey head staring back at her (voiced by writer/director Jordan Downey). “Nice tits, bitch!” it quips. An axe is shown rising up before SLASHING DOWN!

She dead.
Credit: Tubi TV

Fast forward. It’s Fall in some college town. Generic Gin Blossoms-esque music plays while students walk around campus. Five unlikely friends pile into a jeep. There’s Johnny the quarterback, Billy the big fat party animal, Darren the socially awkward nerd, Ali (pronounced Allie) the airhead, and Kristen the good girl. There’s some funny banter here. Ali hits on Johnny. Kristen jokes that Ali’s legs are harder to shut than the JonBenét Ramsey case.

Off in the woods, somewhere close by, an old hermit’s dog pees on a gift shop totem pole sticking out of the ground, causing the turkey, whose name is apparently just “Turkie”, to rise from the leaves. “Aw fuck, I’m pissed!” he exclaims between gulps of dog urine. Turkie takes out the dog with yet another axe. Alright, where is he getting these axes, and more importantly, how is he holding them?

[continued below]

Thoughts (Possible Spoilers)
Johnny’s Jeep overheats as the sun sets. With no other option, he and his friends hike off into the woods with two tents as night falls. Nobody’s wearing a sweatshirt. It looks too warm to be late November. Then again, my kids and I jumped on the trampoline Christmas Day. Darren finds a broken sign on the ground that reads “Crawberg”. It reminds him of an old legend he heard and remembers all the details of, rather conveniently. He goes on to recite that legend to his friends while they drink beers around a campfire in typical slasher movie fashion. An amateur flash animation plays through. Darren explains that a Native American man placed a curse on the town causing Turkie to appear in arbitrary intervals of 505 years to kill white people, because vengeance. The cartoon representation of the Native American man has disturbingly long nipples.

Synchronously, the stroke of midnight marks — you guessed it — 505 years since Turkie’s last appearance, placing this movie in 2126, one-hundred-five years in the future. That… doesn’t seem right. I don’t think they ever bothered to crunch these numbers before.

The calculations don’t lie

Meanwhile, the raggedy hermit (indie rocker General Bastard, whose songs, including “Liquor & Whores”, are available on for a buck apiece) tramps through a thicket in search of his beloved dog Flashy, or maybe it’s Lassie. He soon comes upon a gruesome scene.

“Your dog had an accident.” Turkie begins.

“What the Hell? What kinda accident?!” the hermit demands to know, never pausing to question how or why the foul fowl is speaking.

“Well, I took this here axe, and I axe-identally cut him.”

Wocka! Wocka!
Credit: Tubi TV

As hard as it is to believe, his “jokes” only get worse.

Minutes later, while checking in with her sheriff dad, Kristen glimpses the ghastly gobbler. She tries to warn her friends, but they laugh her off — even after an eviscerated baby bunny sails into their campfire, and Darren identifies its wounds as having been inflicted by a turkey beak. Not just any beak, a turkey beak, specifically.

The next morning, Billy wakes up to find turkey droppings all over his chest and the old hermit standing guard with a shotgun. This happened to me with a chihuahua. Johnny tells the hermit to buzz off and they all get back in his Jeep. He takes Ali home first. Kristen makes the exact same JonBenét Ramsey joke she made earlier and the others react like they haven’t heard it before.

The next scene gets dark in a hurry. A passing motorist pulls over to ass-fuck the turkey, but has the tables turned on him. Turkie whips out a shotgun and makes the man call his daughter so she’s forced to hear while he shoots her dad in the face. Then, he drives off in the car (!). I can only assume he’s going after the protags.

Will they put an end to the curse before they’re pecked off? Things are looking up when they just so happen to find a copy of the best-selling book “ThanksKilling Night: How to Kill a Demon Turkey” in Kristen’s garage, but all hope is dashed when they see it’s written in math equations for some reason. Brainiac Darren cracks the code in short order and tells his friends to remove Turkie’s amulet (what amulet?), burn him alive at the stake like a witch, and recite a prayer backward. Seems easy enough.

While they scramble to meet these conditions, the old hermit returns out of nowhere and blasts Turkie point blank in the face with a shotgun. Against all odds, the bloodied bird lands atop a garbage can full of toxic waste and gets even more powerful. Who can stop him now?

Hilariously, the “book” the protags consult is a few pieces of cardboard taped together which give the wrong year for the opening slaughter — 1491. That would put us in 1996.


Thankskilling was shot in eleven days in Ohio in 2007 for $3,500. It’s a very silly movie that doesn’t take itself seriously or care about suspension of disbelief. With every scene, it seems to get sillier and more random until it’s so far removed from reality it feels like a weird dream. Its sense of humor is stupid, its kills are in some instances physically impossible, and its characters don’t act like humans. Nothing is as it should be. I find it hard to invest myself in a movie like that. I’m not saying Thankskilling is terrible. It has its moments. And I’d be lying if I told you it didn’t make me laugh out loud a few times. I’m just saying I can’t really get into it.

My lack of enjoyment isn’t due to the (low) budget or quality. Most of my favorite movies are cheap and/or “bad”. It’s due to the silliness. In my opinion, silliness is best kept to parody comedy. Your Airplanes, Spaceballs, Naked Guns, Loaded Weapons, and who could forget the Wayans Brothers classic Don’t Be a Menace to South Central While Drinking Your Juice in the Hood? I prefer it when horror presents itself seriously, or at least semi-seriously. The final result — “good”, “bad”, “so bad it’s good” — is irrelevant.

Of course, I do make exceptions. I’m only human. My opinions are complicated and occasionally contradict each other. Jack Frost and Leprechaun are two silly horrors I like. Although, to be fair, they’re a thousand times more serious than this.

Speaking of Jack Frost and Leprechaun, Turkie loves spouting one-liners like they do, right before and/or after he kills people. Most are intentionally bad, but some are anti-jokes where the punchline or lack thereof makes zero sense. For example: “There’s no such thing as a talking bird. Oh wait, I lied!” In what world does that qualify as a joke? None. The answer is none. The movie’s tagline “Gobble, gobble, motherfucker.” isn’t much of a joke either.

In one scene, Turkie kills a guy who’s railing a chick from behind and takes over. The girl doesn’t notice. Later on, someone finds an “extra small, gravy-flavored condom” by her body. I know both these things are supposed to be funny, but I’m struggling to figure out how.

In another scene, Turkie disguises himself as a cooked turkey, magically enters a character’s stomach without being eaten, and bursts out of his chest like an Alien™. This is what I mean when I say the kills are impossible.

Then you’ve got the part where Turkie peels a man’s face off, wears it as a mask Leatherface-style, and successfully impersonates him in front of his daughter. When Turkie finally reveals himself, the daughter isn’t phased in the slightest. She’s smiling and kissing a dude less than three minutes later.

“When will I realize that this skin I’m in, hey, it isn’t mine?”
Credit: Tubi TV

In fact, no one seems to be phased by anyone’s death except Darren (Billy’s hits him pretty hard). The others are totally unconcerned with the fact that a turkey is talking and killing their loved ones. This is what I mean when I say the characters don’t act like humans.

At least in Full Moon’s The Gingerdead Man, which I’m mentioning here because it also involves a rubbery, wise-cracking hand puppet, characters have trouble believing what’s happening. They say things like “What in the hell was that thing?”, “Are you telling me that thing is a cookie you were baking? That’s crazy.”, and “It had to be fake.”

Here, they don’t even question it. I guess that’s why Turkie repeatedly calls them retarded.

The overall vibe I get from Thankskilling is that of a Troma movie. I’m not a big fan of those. I’ve been trying to pinpoint just what it is about Troma movies I dislike, and a few things I’ve noticed they all have in common are: they never take themselves seriously, they exist in their own little universe, they throw a lot at the screen all at once to offend people, and they have an attitude that what they’re doing is better or more important than other movies. So, maybe it’s a combination of all of those things? However, the more I read about Troma head Lloyd Kaufman, the more it seems like he’s actually a stand up guy and I haven’t been giving him a fair shake.

For example, I didn’t know until recently that Kaufman is a vegetarian and has been married to the same woman for nearly fifty years. I admire those things in a person. I also recently saw Kaufman in an episode of Cursed Films (in drag for some reason) stressing the importance of “safety to humans” on his sets, claiming he’d hate to see one of his cast or crew members get hurt, because “a movie is only a movie”. Plus, a lot of people look up to him, including successful directors like James Gunn. I must be missing something.

In light of all this, I’m thinking of signing up for a free month of Troma Now and giving them another chance. I’ll let you know if I do, and how that goes. But this review’s not about Lloyd Kaufman or Troma, it’s about Thankskilling.

I first saw Thankskilling several years back. One of the funniest things I came across when I researched it then was Wanda Lust’s IMDb page. It used to say she was born in 1994 (I’d believe ’64 or ’74) and appeared in her first pornographic video in 2006… at the age of twelve. Last I heard, that was highly illegal. That’s some Traci Lords shit. My guess is that Lust is the one who filled out the info to make herself appear younger, without stopping to think how it made everyone she’s ever worked with look like a pedophile by extension. Her bio has since been amended. According to the cover of MILF Does a Brotha Good!, she was thirty-nine in 2007.

The sequel, ThanksKilling 3 (there is no ThanksKilling 2, except as a plot device in Part 3) is even more out there. It features a whole family of turkeys, a little boy muppet, a rapping old lady muppet, and weirdest of all, an intergalactic bounty-hunting robot piloted by a penis-worm thing. While it has its moments like 1, ThanksKilling 3 makes no sense and is far too ambitious for its budget.

Body Count
10 people, 1 dog + 1 animated death.

Bod Count
1 pair of boobs, 1 cartoon cock and balls.

Overall Enjoyability
2 or 3 JonBenét Ramsey jokes out of 5.

I Got My Copy From

these other ornithological epics:

The Giant Claw (1957)
The Birds (1963)
Blood Freak (1972)
Beaks (1987)
Zombie 5: Killing Birds (1988)
The Birds II: Land’s End (1994)
Poultrygeist: Night of the Chicken Dead (2006)
Kaw (2007)
Birdemic: Shock and Terror (2010)