Once again, the direct-to-DVD movie studio The Asylum blatantly rips off a major Hollywood movie not just with its title, but with its story. Of course, the movie being ripped off is "The Day The Earth Stood Still". Make no mistake, this is a BAD movie, but I found it a little better than Asylum's other mind-numbing movie. There are a few okay special effects sequences, which come across even better when you know this was a REAL low budget movie. And star/director Howell really does seem to be trying on both sides of the camera. While his performance ends up just being adequate, he does at least score a few points with his direction, giving the government base interiors and a few outdoor locations a moody, somewhat creepy feel. But ultimately, the low budget and the screenplay defeat his efforts. Much of the movie looks really cheap, with little to no set dressing and few extras. The opening of the movie is somewhat confusing, starting at what seems to be chapter two. But the biggest problems the movie has is its tone. There seems to be no sense of urgency or panic, and although the running time is just 85 minutes, it feels like it runs at least a half hour longer. It's sad that Howell and Judd Nelson's careers have gone so low that they are working for The Asylum. Won't someone else with real Hollywood power give them another chance?

This film was kind of compelling to watch, just see how crap it could be.Acting? Do me a favour! The kids in a pre-school nativity play can act better than that.Special effects? Ha! The effects in the 1951 movie from which this was ripped off were much better. Even the screens in the control room were CRTs instead of LCD panels - bear in mind this was made in 2008! Plot? Please! Find out why humanity is worth saving by tea time, otherwise the planet is going to be zapped.I thought they had finally cracked how to show new born babies. Apparently not, as we're shown a clean six month old toddler that had just been born.I probably have seen a worse science fiction movie, but I can't remember when.

Six hundred and sixty-six huge robots from outer space land in strategic locales all over Earth wanting humanity to prove it's worth in the grand order of things or face certain annihilation. The robots don't ever say this outright (other then a few reactive strikes, they don't really do much of anything truth be told), but two other alien visitors, a guy & girl, let the military (as well as the viewer) know what's going on.As far as movies from The Asylum go, this is among the cream of the crop. This isn't because the film is any good whatsoever, mind you, just that the other swill that the company usually makes is so mind-numbingly God awful that the bar for them has been so vastly lowered as to make this seem better than it is. C. Thomas Howell continues his descent into sub-mediocrity with his continued part in these awful films, while Judd Nelson should've really known better. Really the only saving grace is Sinead and after her nude scenes are done (she has two very early on in the film) there's really no other reason to keep watching the movie.However it's STILL better then that crap big blockbuster Keanu Reeves travestyEye Candy: Sinead McCafferty provides the T&A (there's also some man ass)My Grade: DWhere i saw it: Instant Netflix via X-box 369

Even if it was cheap, there were big bloopers that could have been avoided and weren't. You can do cheap an good. Or cheap and careless. How come the completely naked alien woman had a heavy noticeable make-up? And that's the beginning. Just a little brain and those stupid mistakes –that required not money, just common sense- would have been adverted. How about when "every car in the town is paralyzed" and you can see far away a car racing through the street? Just to point the camera in a different angle. The robots were cool, even if almost they didn't move, and even if they were anthropologically useless in form (why such a machine had legs?). The actress was beautiful, obviously not a great performance and worst direction. The plot was bordering with a teenager script, but could have been forgiven if the long list of easily correctable mistakes were fixed.