She is a lot of fun. That and Hundra are a tidy little double bill.
I'm struggling to think of a time where economic realities have had a real impact on me liking a film and I'm not coming up with anything so far. If it's a matter of ideas or ambition not being fully realized that is the problem, I'm simply happy to have the ideas and the ambition even if the film can't afford them. Let's not pretend ideas and ambition are a common commodity
I think it's more a matter of scale. Like I was saying about Krull, a whole lot of stuff actually works and comes across really well (honestly, the Slayers, with their giant-slug brains that rush out of their bodies when they die, are pretty awesome compared to Stormtroopers who couldn't hit the broad-side of a barn with laser-guided missiles) but when your ambition is "We're basically the new Star Wars" and suddenly everything on the screen but the two main actors is like the worst blue-screen anyone's seen since BEFORE
2001, and the villain himself is a guy in a rubber suit only slightly better looking than It! (The Terror From Beyond Space) fully 25 years earlier, that's where I run into the issues.
Trancers is easily the best overall movie I've seen yet for this thread (and my postings are four movies behind) and it had a lower budget than
Legend,
Krull, and
Conan The Destroyer. But that's a movie that spent its money well and kept its scale to what it could afford to pull off. I mean, you take a movie like
Halloween, made for $80,000 where they literally gathered up and re-used their dried leaves but it plays like they had all the money they needed and compare it to something like
The Being, made for $4.5M, that plays like $4.48M of that money was laundered.
Lemora,
Messiah, even
Malatesta, all are movies that punched way above their weight while
Krull ultimately seemed like it fought above its weight and got its ass handed to it and
She, let's be honest, at times looks like they were filming in a high-school gymnasium or something because they didn't understand their scale and how to capture it. It's really an artistic failure not an economic one to not understand why
The Strangeness, filmed on weekends in the director's grandparents' garage, works for what they had to work with while your movie looks cheap and shitty by comparison.