From a Mockbuster Version of ‘The Odyssey’ to a ‘Jiu-Jitsu Nun’: How Producers Are Keeping the Low-Budget Film Market Alive Via Streaming and FAST Channels (and Even Lower Budgets)

From a Mockbuster Version of ‘The Odyssey’ to a ‘Jiu-Jitsu Nun’: How Producers Are Keeping the Low-Budget Film Market Alive Via Streaming and FAST Channels (and Even Lower Budgets) hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 10, 2026 8:15am PT From a Mockbuster Version of ‘The Odyssey’ to a ‘Jiu-Jitsu Nun’: How Producers Are Keeping the Low-Budget Film Market Alive Via Streaming and FAST Channels (and Even Lower Budgets) By Alex Ritman Plus Icon Alex Ritman @alexritman Latest Former Hello Sunshine and AGC Studios Execs Wifreddy Chiang and Anant Tamirisa Launch Baseline Media 23 hours ago Jonathan Bailey to Star in Gay Romance Film ‘Insomniac City’ 23 hours ago Vera Farmiga to Star in Supernatural Horror ‘Inferno’ (EXCLUSIVE) 23 hours ago See All Add us as a Google Preferred Source Comments “Our journey begins with the Cyclops,” says a ginger-bearded and bald Odysseus somewhat nonchalantly in the trailer for “ The Odyssey ,” moments before a giant one-eyed AI-generated monster bursts onto the screens. The film, based — rather loosely — on Homer’s epic poem, released this summer and was met with mostly comic derision and a flurry of one-star reviews.

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“Dumb, ridiculous, embarrassing, nonsensical,” wrote one online critic. “Not a single redeeming feature,” bellowed another.

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But this “Odyssey” was not Christopher Nolan’s $250 million “Odyssey,” the epic from Universal, something many online said they’d discovered only after buying the film online. Nor was this the “historical accurate” retelling touted by Elon Musk and made using Grok.

This was the $250,000 version from the Asylum , the B-movie icons and American Film Market stalwarts both loved and loathed for its vast number of so-called “mockbuster” rip-offs, its cult “Sharknado” franchise and an array of ludicrous film posters often involving multiple-headed monsters. In fairness, “The Odyssey” — thanks to being in the public domain for roughly 2,500 years — isn’t strictly a mockbuster.

The title didn’t need to be tweaked for copyright reasons, like the Asylum did with other self-aware cash-ins “Top Gunner,” “The Da Vinci Treasure,” “Jurassic Domination,” “Alien Disclosure Day,” “Immortal Combat” and many more. But the film was absolutely made and timed to ride on the $125 million M&A coattails of Universal’s pic and, the company claims, succeeded.

“It performed very well,” says David Rimawi, CEO and co-founder of the Asylum. “We’ve said this before, but we’ve found there’s a direct correlation between how well the studio film does and how well ours does.

If it’s a hit, ours is generally a hit as well.” Related Stories ‘Wanted’ Broadway Review: Dazzling Cast Can’t Elevate the Musical’s Muted Narrative ‘A Few Good Men’ Review: Broadway Revival Breathes New Life Into Aaron Sorkin’s Courtroom Classic Other recent Asylum mockbuster hits include “The Last Hail M.A.R.Y.,” a sci-fi with a similar Earth-saving theme to Amazon MGM’s “Project Hail Mary” (but, instead of a CGI alien rock creature, it’s “a dude with some prosthetics,” says the Asylum co-founder David Latt); “The Mummy,” a totally different horror story to “Lee Cronin’s The Mummy” yet released around the same time; and, more recently, zombie copycat “Resident Dead.” (The company notes that it chose not to make a low-budget version of “Digger”). But success today is markedly different to how it was two decades ago.

Back in 2005, the Asylum shocked itself by selling around 100,000 DVDs of its $500,000 “War of the Worlds,” its first — and, it claims, mostly coincidental — mockbuster, released just a day before Paramount’s Tom Cruise-led behemoth. In the years that followed, its DVDs — often cunningly designed to look like a major Hollywood release or wi

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