Aaron Seltzer

I actually stopped documenting the movie's deluge of references after about 30 minutes, but here's a shortlist of some of the stuff that the Friedberg and Seltzer send up: 10,000 B.C., American Gladiators, Amy Winehouse, Facebook, Flava Flav, My Super Sweet 16, Dr. Phil, No Country For Old Men, Superbad/ McLovin, Angelina Jolie in Wanted, WWE Divas, Juno, High School Musical, Kanye West, the Jonas Brothers, the "Souljah Boy" dance, Justin Timberlake, Hannah Montana, Hancock, Sex and the City, Jumper, Step Up 2: The Streets, Twister (notice - the first actual disaster movie of the bunch), Hellboy, Alvin and the Chipmunks, Indiana Jones and the Kingdom of the Crystal Skull, and Cloverfield.

The film's basic structure parallels Cloverfield (which sort of qualifies), and there's a reference to Twister -- from 12 years ago -- and the only joke is that a tornado keeps throwing cows around.

Other than scant allusions to "Blacula" and "Buffy the Vampire Slayer," "Vampires Suck" stays pretty close to a true parody: it lambastes a single work of art--in this case, the "Twilight" series by Stephanie Meyer.

In “Vampires Suck,” the “Twilight” spoof by Jason Friedberg and Aaron Seltzer, the Bella character points out the Cullen family and asks a classmate about them.

No name newcomer Jenn Proske has K Stew down pat -- from her fluttering downcast eyes to her crooked little lip-biting trick, even the mannered way Miss "Twilight" fiddles with her hair.

The “plot” more or less follows that of Cloverfield (2008), until it somewhat inexplicably becomes Night at the Museum (2006) combined with Indiana Jones and the Kingdom of the Crystal Skull (2008).

Once upon a time the movie parody genre could be relied on to deliver laughs - Airplane!, The Naked Gun series and Mel Brooks's early movies always had a fair quotient of giggles.

Would-be comedy flies fast, but it all feels recycled and stupid—not so stupid it's funny, mind you, like in "Airplane!" and "The Naked Gun," which actually had brains behind their ridiculousness, but so stupid it's just plain stupid.

It's another opus that, despite opening titles done in the style of Armageddon 's and a feeble thru-line borrowed from Cloverfield (mixed with some of The Day After Tomorrow ), is as much a send-up of disaster-related films as Epic Movie was a spoof of actual epic movies.

You would think a motion picture called “Disaster Movie” would actually focus on films that have plots revolving around disasters, but aside from a few brief nods to “Cloverfield,” “The Day After Tomorrow” and “Twister,” it's just an onslaught of no-name cast members (What does it tell you when Kim Kardashian and Carmen Electra are probably the best known thespians in the bunch?) going through re-creations of scenes from unrelated movies.

Here we have references to Juno (2007), Enchanted (2007), High School Musical (2006) etc., with requisite appearances by Iron Man, Batman, Hellboy, the Hulk, Beowulf, Alvin and the Chipmunks and, of course, tabloid-trash divas like Amy Winehouse and Jessica Simpson for good measure.

Bonus: An “Enchanted” princess demonstrates that it’s not a wise decision to run in glass slippers.

American comedian Nicole Parker ( MADtv), who spiced up Spartans, does so again here with hilarious turns as Amy Winehouse, Jessica Simpson and the daffy princess from Enchanted.

Here we have references to Juno (2007), Enchanted (2007), High School Musical (2006) etc., with requisite appearances by Iron Man, Batman, Hellboy, the Hulk, Beowulf, Alvin and the Chipmunks and, of course, tabloid-trash divas like Amy Winehouse and Jessica Simpson for good measure.

…that’s basically the same principle as the woeful Friedberg and Seltzer parody movies (Epic Movie, Date Movie and so on), and those moments are similarly laugh-free here.

…and Top Secret! to the putrid and barely tolerable Wayans brothers' I'm Gonna Git You Sucka and the first two Scary Movies (which Friedberg and Seltzer co-wrote along with four other writers) to Friedberg and Seltzer's Epic Movie and Vampires Suck, films whose instantly forgettable titles signal a knowing level of unimportance.

Jones and his excellent crew, including crackerjack editor Paul Hirsch (whose career has swung wildly from Star Wars to Date Movie , with all kinds of stops in-between), cinematographer Don Burgess, and a phenomenal sound team led by Tom Bellfort, do such an amazing job of keeping the film sizzling along, finding an infinite number of ways to keep the flow between the high-energy scenes on the train and the slow-boil paranoia scenes in the Source Code mission room, that one could almost overlook the human element; certainly it's fairly boilerplate stuff about the power of free will and spirituality and all, but told with a fair degree of conviction, and well-acted, with Monaghan on her best behavior proving to be an outstanding romantic lead for Gyllenhaal; though the movie is rather stolen by Farmiga and Wright in two marvelous supporting performances, hers a subtle masterclass in conflicting emotions, the desire to be a decent, sympathetic person butting against the need to get the job done and be all mili…