Tubi is a veritable treasure trove of weird old movies, especially in the horror category. Everything is free to watch with minimal ads!
Of course, with such a huge selection, it can be tough to decide where to start. Let us cure your “what-to-watch” woes with this shortlist of the most beloved and bizarre movies on the platform.
Frankenhooker (1990)
- Director: Frank Henenlotter
- Cast: James Lorinz, Patty Mullen, Joseph Gonzalez, Jennifer DeLora, Charlotte Kemp, Louise Lasser, Lia Chang, Shirley Stoler
Just from the title, you might not expect Frankenhooker to be a particularly intellectual (let alone progressive!) film. Yet its messaging is distinctly feminist— no easy feat for a story told as an exploitation horror-comedy.
The movie satirizes everything from diet culture to rape culture, a commentary all the more incisive for its delightfully comedic packaging. Even quick vignettes manage to pack quite the comedy/commentary one-two punch. In one example, the local news report on Elisabeth’s demise hilariously parodies a very real problem in the way media sensationalizes and romanticizes (read: depersonalizes) female victims, particularly those of the “pretty, young, white” variety.
The overall narrative is a case study in the reduction of women to plot devices in their own stories. The further reduction of the female form to its constituent parts — literally and figuratively— both expounds upon and reinforces that central issue.
As main character Jeffrey Franken (haha) works to rebuild his diseased fiancée Elisabeth Shelley (get it?), he seeks out ladies of the night to…shall we say…strip for parts. In so doing, the movie explores the commodification of the female body in its most conspicuous case.
Again, don’t let the pejorative in the title fool you— the movie deliberately spotlights the ethical issues rife in the “world’s oldest profession.” The film explicitly illustrates how addiction is weaponized to control and subjugate women in that industry. And not only is the dehumanization of women examined with an unflinching gaze, it is literalized to terrific horror/comedy effect. Most impressively, none of it comes across as dull or preachy— true to its genre, this is a scary good time from start to finish.
James Lorinz’s superb performance as Jeffrey lends considerable charm to an objectively unlikable protagonist, with a final product reminiscent of Herbert West in 1985’s Re-Animator. He’s a bad guy, no bones about it, but he’s three-dimensional. At times, his story even gives an unexpectedly touching examination of grief— though not enough for the audience to feel conflicted about cheering and jeering when he finally gets his comeuppance. No spoilers, but the ending is the final nail in the coffin for any still raising a skeptical brow to my generous analysis of the film’s message.
Frankenhooker really does the impossible: delivers thought-provoking, high-minded social critique through side-splitting laughter and head-splitting gore. With all the uproarious fun of a “popcorn flick,” this movie is anything but empty calories.
Tammy and the T-Rex (1994)
- Director: Stewart Raffill
- Cast: Denise Richards, Theo Forsett, Paul Walker, Ellen Dubin, Terry Kiser, George Pilgrim
Ah, high school. Young love. Questionable fashion. Bullies and besties, math tests and megalomaniacal mad scientists performing experimental brain surgery on innocent teens. Wait— what?!
The unholy love child of Clueless and Jurassic Park, Tammy and the T-Rex offers a rejoinder to the age-old question “Would you still love me if I was a worm?” Namely: “Would you still love me if I was a giant animatronic dinosaur?”
Much of the humor is slapstick, most of the characters cartoonish (none more so than Byron, the Flanderized final boss of the gay best friend AND black best friend tropes), and every element of the production is unmistakably amateur. It’s frequently sexual but thoroughly unsexy. The oddly bare sets and near total lack of mood lighting give most scenes the eerily sanitized feel of a stock photo— an odd juxtaposition to the acid trip of a plot.
Yet for all its flaws, Tammy and the T-Rex has plenty of appeal. The movie wholeheartedly leans in to its wacky, utterly original premise. Denise Richards and the late great Paul Walker, both pre-fame, are irresistibly charming as the star-crossed leads. The special effects are great, the titular T-Rex approaching blockbuster quality. And while the cinematography could have been cleaner as well as more creative, the end result boasts truly memorable visuals that keep fans coming back to this day.
Be warned: not all Tammy and the T-Rex’s are created equal. The studio decided to go for a PG-13 rating on its American release, completely neutering the horror and severely hobbling the comedy. Thankfully, the version available on Tubi is the complete 90-minute R-rated version, so you can enjoy the film in its full sweary, gory glory. Just like God intended.
Bubba Ho-Tep (2002)
- Director: Don Coscarelli
- Cast: Bruce Campbell, Ossie Davis, Bob Ivy, Ella Joyce, Heidi Marnhout
An elderly Elvis in the midst of an identity crisis. A black man who believes himself to be former President John F. Kennedy, not dead but “dyed” (finally, a novel JFK conspiracy theory!) An ancient Egyptian demon haunting the halls of a nursing home, sucking the souls of its occupants out of their butts. These are the actual main characters of Bubba Ho-Tep.
This film will have you asking questions like: “Who thought of this?” “Who greenlit this?” and most importantly, “Why is it kind of…good?” It’s unhinged in all the best ways, then subtle and restrained where you’d least expect it. The geriatric King of Pop’s inner monologue is cranky, raunchy, and hilarious— yet his emotional journey over the course of the movie is surprisingly grounded. His ruminations on fame, family, aging, and identity are poignant and deeply human.
Of course, the character is effective largely in thanks to Bruce Campbell. The celebrated face of horror-comedy puts his comic talent and natural charisma to full use in a role that shouldn’t work but, somehow, totally works. The supporting cast, particularly Ossie Davis as “JFK,” carries it home.
There are definitely pacing issues from a horror perspective: most of the fright factor is packed into the last ten minutes. If you go into it expecting the no-holds-barred freak fest suggested by the premise, you will be sorely disappointed. Still, what it lacks in scares it makes up for in laughs, with consistently strong comedy from title card to end credits.
In a landscape of constant sequels, reboots, and remakes, Bubba Ho-Tep is refreshingly original and unpredictable— not to mention all the great life advice. Pro tip: if you’re touring elder care facilities, make sure to check the bathroom for hieroglyphic graffiti.
House of 1000 Corpses (2003)
- Director: Rob Zombie
- Cast: Sid Haig, Sheri Moon Zombie, Bill Moseley, Karen Black, Matthew McGrory, Chris Hardwick, Rainn Wilson, Tom Towles, Jennifer Jostyn, Walton Goggins, Erin Daniels, Michael J. Pollard, Walter Phelan, Greg Gibbs
If you’ve never seen the film that made the Firefly family famous, you’re in for a bloody treat. They say the best parodies arise out of love of the source material, and there’s not a better example than House of 1000 Corpses. Flamboyant, grimy, and unapologetically trashy, it’s a simultaneous send-up of and tribute to the heyday of exploitation horror.
Directed by celebrated heavy metal artist Rob Zombie, it’s no surprise that the sick soundtrack is a big part of what makes the movie…well… rock. Still, there’s no single aspect that elevates and distinguishes the project quite like the phenomenal acting.
We’ve all watched a cheap slasher and rooted for the killer— heck, with this kind of horror, that’s half the fun. Well, House of 1000 Corpses makes it all the fun. It’s hard to describe exactly why the protagonist band of deranged sadists is so oddly charming. Maybe because as events unfold, they’re having as much fun as we are; maybe because each member represents a time-honored slasher trope, reminding us of all our old faves; maybe because each actor embodies their character with a vivacious energy that’s downright infectious. There’s no denying the entire cast is superb in their roles, and the end result is pure entertainment.
Young Rainn Wilson is a delight as always, particularly so if you imagine his character as a cool(ish) teen Dwight from an alternate universe. Though, word to the wise— don’t get too attached. Bill Moseley has his all-time best role as Otis Firefly (this coming from a Texas Chainsaw fanatic!), and you won’t be able to take your eyes off the incomparable Karen Black as Mother Firefly.
Of course, Sid Haig’s Captain Spaulding is the standout icon from the movie, and for good reason: his performance is a masterclass in both horror and comedy. Though the movie as a whole feels every bit the early-2000s 70s homage it is, Captain Spaulding is effective in a way that’s simply timeless. You get the feeling this character could work as a vaudeville act or a current stand-up comic… just never someone you’d want to encounter in the wild!
A true love letter to exploitation cinema, House of 1000 Corpses is nostalgic, splashy, and laugh-out-loud hilarious. Genre fans will be able to appreciate its layers, but newcomers need not shy away: this is a movie that anyone with a strong stomach and irreverent taste is sure to love.
Repo: The Genetic Opera (2008)
- Director: Darren Lynn Bousman
- Cast: Alexa Vega, Anthony Head, Paul Sorvino, Sarah Brightman, Terrance Zdunich, Paris Hilton, Bill Moseley, Nivek Ogre
Imagine The Rocky Horror Picture Show by way of Saw— sponsored by Hot Topic— and you’ve probably got something close to Repo: The Genetic Opera. Since this movie is so difficult to describe, you can expect many more odd comparisons as I attempt to do so— things like “if Quentin Tarantino made a musical” and “Bioshock: Infinite x The Haunted Mansion ride.”
What’s the plot, you ask? Who cares! The movie sure doesn’t: the bulk of it is told through (admittedly quite stylish) comic panels. The songs largely function as emotional elaboration rather than advancing the narrative, which— let’s face it— is a major flaw in a musical. Hey, at least the music itself is good! Granted, some of the songs are bad. Okay, a lot of the songs are bad. And yes, they frequently drag on too long or completely grind the story to a halt. (Keep an eye out for the jarringly incongruous Avril-Lavigne-knockoff number.) While every actor throws their soul into every scene, and the performances do make the movie… they kind of have to be great actors, since most of them aren’t great singers.
Still, Repo has plenty to offer. The whole thing is straight out of a millennial theater kid’s wildest goth-grunge dreams (nightmares?) and absolutely nails that steampunk nu metal vibe. The first live-action scene had me genuinely wondering if Amy Lee worked as the artistic director; if Evanescence and Andrew Lloyd Weber ever collaborated, Repo’s soundtrack would be that album. Its seamless mix of antiquated and futuristic aesthetics set on a post-apocalyptic backdrop will appeal to fans of games like Fallout and the aforementioned Bioshock. Its commentary on capitalism and private healthcare is sharp and timelier than ever. Class warfare, but make it catchy!
Repo: The Genetic Opera pulls from so many sources that it’s completely unlike anything else. It’s the type of movie you explain to a friend by saying “just watch it.” It’s the kind of thing you love to love ironically, then start to enjoy unironically.
It never takes itself seriously, and the viewer shouldn’t either— we’re laughing with the movie, not at the movie. It would be a mistake to call this “campy;” true camp must be earnest, and this film is thoroughly tongue-in-cheek. Which begs the question: if it’s intentionally so-bad-it’s-good, doesn’t that make it just…good? Decide for yourself and watch Repo: The Genetic Opera—one of the most intensely weird, creative, and downright fun films ever made.