Over here in the UK, the rebranded SyFy Channel - now the much more palatable Sky Sci-Fi - christened its late night Asylum Movie Slot in 2022 with the latest from the mockbuster factory: Thor - God of Thunder.
Like the majority of The Asylum's output it's not great, but I've seen far worse and, as I've come to expect with this particular genre of film, it has some interesting Asylum-style twists on established mythology and fables.
Thor: God of Thunder opens with some deceptively decent CGI of an aerial Asgard, clearly "inspired" by the version we know from the Marvel movies, but as soon as it cuts to inside we're back on more familiar Asylum turf, resplendent as it is with amdram levels of set decoration and acting.
Loki (Daniel O'Reilly) escapes imprisonment, stabs Odin (Vernon G. Wells), steals some trinkets and flees to Earth, with the aim of freeing the giant wolf-god Fenrir.
Sadly, in hi-def, Loki's staff - clearly made of cardboard and gold-painted gaffer tape - looks rather cheap and nasty.
The god, who may be Thor's brother or uncle, wants Fenrir to destroy Yggdrasil - The Tree of the Nine Realms - so he can plant a new one and shape the universe to his own designs.
Summoned by his dying father, the titular god of thunder, Thor (Myrom Kingery), follows Loki to Earth and arrives at an archaeological excavation in California.
Grace Choi (Vaune Suitt), the site manager, had believed they were excavating an Indigenous Native American grave, but - just moments before the pair of Norse gods show up - she begins to suspect that the cave system is something more, possibly a prison for Fenrir.
The wolf-god is freed and it's now up to Thor and a handful of humans to stop Loki's schemes before the Earth shakes itself to pieces and a new world is born in the image of the trickster god.
On one - very large - hand, Steve Doucette's script, under Noah Luke's direction, is riddled with weak dialogue and plot holes, but on the other the impressive thing about Asylum films is there is usually no unnecessary padding and they don’t tend to hang around.
Thor: God of Thunder makes great use of its 87-minute run time, with enough momentum and action that - unless you're deliberately hate-watching this - will buoy you along with a wry smile on your face.
Sure, some of the CGI is naff and a lot of the acting is overacting; for instance, Vernon G. Wells (possibly best known as Wez from 1981's Mad Max II: The Road Warrior) has clearly been taking lessons from the William Shatner School of Acting, cranking up the mid-sentence dramatic pause to 11.
And while initially I was disappointed that Myrom Kingery's Thor lacked the golden locks we're accustomed to from the old Norse myths and Marvel Universe, he had the physicality of a Viking and his portrayal grew on me through the movie.
Even if every time he cried out for Odin all I could picture was this scene of the brilliant Matt Berry from The IT Crowd :
But for all the slack I'm cutting Thor: God Of Thunder, there was one scene that was simultaneously pure Asylum and possibly a new low.
At one point, towards the climax of the film, Thor is "rowing" a Viking ship across the sea and absolutely no effort is made to suggest that he is actually anywhere near water, it's almost as if Myrom Kingery is simply waving a paddle around in the air.
Honestly, the film is almost worth watching for that scene alone, even if you're not traditionally a fan of The Asylum's unique oeuvre.
I'm also surprised - and I suspect it's due to the lack of budget, which probably also explains the absence of decent wig work - that The Asylum, when mockbusting a Marvel movie (this one's clearly targeted at the Thor: Love and Thunder audience), don't employ the classic mid- or post-credit scene, potentially setting up a sequel.
Grace even asks Thor: "Will we see you again?"
And I half-expected him to look to camera and say: "That depends on how well this film does!"
However, no matter how much Myrom Kingery's Thor grew on me, I also think it's a shame that The Asylum didn't get back Cody Deal - who played the character for them in 2011's Almighty Thor - as, at the time, he'd said he was up for a sequel.
Like the majority of The Asylum's output it's not great, but I've seen far worse and, as I've come to expect with this particular genre of film, it has some interesting Asylum-style twists on established mythology and fables.
Thor: God of Thunder opens with some deceptively decent CGI of an aerial Asgard, clearly "inspired" by the version we know from the Marvel movies, but as soon as it cuts to inside we're back on more familiar Asylum turf, resplendent as it is with amdram levels of set decoration and acting.
Loki (Daniel O'Reilly) escapes imprisonment, stabs Odin (Vernon G. Wells), steals some trinkets and flees to Earth, with the aim of freeing the giant wolf-god Fenrir.
Sadly, in hi-def, Loki's staff - clearly made of cardboard and gold-painted gaffer tape - looks rather cheap and nasty.
The god, who may be Thor's brother or uncle, wants Fenrir to destroy Yggdrasil - The Tree of the Nine Realms - so he can plant a new one and shape the universe to his own designs.
Summoned by his dying father, the titular god of thunder, Thor (Myrom Kingery), follows Loki to Earth and arrives at an archaeological excavation in California.
Grace Choi (Vaune Suitt), the site manager, had believed they were excavating an Indigenous Native American grave, but - just moments before the pair of Norse gods show up - she begins to suspect that the cave system is something more, possibly a prison for Fenrir.
The wolf-god is freed and it's now up to Thor and a handful of humans to stop Loki's schemes before the Earth shakes itself to pieces and a new world is born in the image of the trickster god.
On one - very large - hand, Steve Doucette's script, under Noah Luke's direction, is riddled with weak dialogue and plot holes, but on the other the impressive thing about Asylum films is there is usually no unnecessary padding and they don’t tend to hang around.
Thor: God of Thunder makes great use of its 87-minute run time, with enough momentum and action that - unless you're deliberately hate-watching this - will buoy you along with a wry smile on your face.
Sure, some of the CGI is naff and a lot of the acting is overacting; for instance, Vernon G. Wells (possibly best known as Wez from 1981's Mad Max II: The Road Warrior) has clearly been taking lessons from the William Shatner School of Acting, cranking up the mid-sentence dramatic pause to 11.
And while initially I was disappointed that Myrom Kingery's Thor lacked the golden locks we're accustomed to from the old Norse myths and Marvel Universe, he had the physicality of a Viking and his portrayal grew on me through the movie.
Even if every time he cried out for Odin all I could picture was this scene of the brilliant Matt Berry from The IT Crowd :
But for all the slack I'm cutting Thor: God Of Thunder, there was one scene that was simultaneously pure Asylum and possibly a new low.
At one point, towards the climax of the film, Thor is "rowing" a Viking ship across the sea and absolutely no effort is made to suggest that he is actually anywhere near water, it's almost as if Myrom Kingery is simply waving a paddle around in the air.
Honestly, the film is almost worth watching for that scene alone, even if you're not traditionally a fan of The Asylum's unique oeuvre.
I'm also surprised - and I suspect it's due to the lack of budget, which probably also explains the absence of decent wig work - that The Asylum, when mockbusting a Marvel movie (this one's clearly targeted at the Thor: Love and Thunder audience), don't employ the classic mid- or post-credit scene, potentially setting up a sequel.
Grace even asks Thor: "Will we see you again?"
And I half-expected him to look to camera and say: "That depends on how well this film does!"
However, no matter how much Myrom Kingery's Thor grew on me, I also think it's a shame that The Asylum didn't get back Cody Deal - who played the character for them in 2011's Almighty Thor - as, at the time, he'd said he was up for a sequel.