Despite minor details such as no supporting science or foothold in rational thought, this year will be chock-full of 2012 prophecy talk, and all the related end of the world ballyhoo. And while the likelihood of planetary collision or other cataclysmic occurrence is about the same as any other year, it is a deliciously topical chance to catch a few post-apocalyptic flicks. Nothing as obvious as Mad Max or the soulless spectacle of 2012 here — and no stark, Cormac McCarthy realism welcome.

2019,  After the Fall of New York (1983)
A classic of Italian trash cinema, 2019 showcases the aftermath of nuclear fallout (infertility) and wraps it in a low-budget blanket of action and violence as our hero Parsifal endeavors to locate the last remaining fertile woman. We get needlessly intense weaponry (and outfits!), mutants and more in this gnarly clunker of an Arthurian homage.

Zardoz (1974)
If you want to blow a few movie-loving friends' minds, tell them you have a Sean Connery film you're dying to show them. Five minutes into Zardoz and you will have either demolished any respect for your taste they may have had - or forever earned it. The definition of "see it to believe it" films, Zardoz is the story of a post-apocalyptic world where the near-primal survivors worship an anti-procreation, gun-spewing stone head idol and (a scantily clad) Sean Connery discovers a secret, affluent society far removed from the violence of the outside world. Part heady sci-fi, part camp masterpiece, and part red loin cloth, Zardoz is unlike anything you've seen — for better or worse.

A Boy and His Dog (1974)
It is post-nuclear war, and the titular Boy, Vic (Don Johnson. Yes, that Don Johnson) and his dog, Blood, roam the land, scavenging for what they can to survive. That ol' Blood happens to be a telepathic pooch with a bottomless stomach and what they're scavenging for is primarily female companionship, and that's just the tip of the iceberg. Darkly humorous and with a vaguely nasty streak, A Boy and His Dog is something of a cult classic and is pulp sci-fi at its ragged, eccentric best.

Solarbabies (1986)
In the new world order water is hyper scarce and orphans form friendships through competing in a rollerball/hockey hybrid - sounds realistic thus far. But when one of the Solarbabies (that's the name of their team, obviously) finds a glowing orb with supernatural powers, things get a little far-fetched. And by "far-fetched" I mean "ludicrously magnificent," because Solarbabies is a delirious ‘80s romp from start to end. Who knew all it took to rise up against your water-enslaving oppressors was a magic E.T. ball and some roller skates?

Horror Express (Films)

A fantastic monster-runs-amok film, Horror Express stars Christopher Lee as an uptight professor who discovers a frozen man-ape and Peter Cushing as his meddling rival. The film works due to the dynamic, claustrophobic train setting and the chemistry of Lee and Cushing, who play off each other perfectly. Throw in some excellent make-up effects (even 40 years later, that ape monster is freaky!) and an unhinged Telly Savalas as a vodka-swilling Cossack and you have the recipe for a perfect horror matinee.

Lethal Ladies Collection (Shout! Factory)
Fresh from viewing Machete Maidens Unleashed, the wild journey into Filipino exploitation films, I had a hankering for more glorious trash and the Lethal Ladies triple feature from Shout! Factory more than fit the bill.

Squeezing more than four hours of butt-kicking, explosion-filled, jaw-dropping action insanity onto two discs, this collection is some of the worst (therefore best) that ‘70s and early ‘80s female-lead grindhouse action had to offer. With the tropical setting and eagerness of the government to court U.S. filmmakers, you get some surprisingly large set-pieces and thrills as explosions and gunfights look far bigger than they have any right to.

But what it comes down to are attractive ladies kicking butt with no interest in taking names, and the Lethal Ladies Collection has more than your recommended daily allowance.

Lucky, premiering March 13, is the third feature film between Rebel Picture's Michael McCallum and UnSAFE Film Office's Anthony Griffin. The two Michigan men have been making films together since 2005 and their first film together, Fairview St., took home multiple awards and accolades.

"We have similar tastes; a similar sense of honor and accountability. We key off each other well," Griffin said.

Don't get the wrong idea about the talented duo though. Griffin and McCallum didn't make Lucky -- or any other film — together for recognition and awards.

"We focus on stories that are smaller and more personalized and regionalized. The audience wants to be challenged, so we give them a story and let them form their own opinions," Griffin said.

"Our films are not cookie cutter. We tell the stories we want to tell," McCallum added.

Lucky is just that. It's a personal film shot entirely in Lansing over a period of a year and a half. The drama was written and directed by McCallum, while Griffin was the man behind the camera. Lucky follows the tumultuous love life of Henry, played beautifully and sincerely by McCallum himself, over the course of a couple years. The film isn't just about Henry's trouble and lack of commitment when it comes to the opposite sex though. It's more about the journey and the people he meets along the way.

What makes Lucky so personal this time around though is the fact that the filmmaking duo tried a different approach to conveying the plot. Instead of memorizing static lines and spitting them back out verbatim, Michael and Anthony encouraged improvisation. The result is a refreshing and very natural feel to the entire story. In addition to mixing up the acting in the film, they also played around with the cinematography.

"Lucky is an evolution of style because the camera work evolves along with the story. It's very different from the first two films we made together," McCallum said.

McCallum and Griffin also make sure to pay attention to all things local in their films. Not only is it shot in Lansing and features Michigan actors, but the music is completely local as well; a fact McCallum seems genuinely proud of.

"I just want to be supportive of someone else trying to do their thing. It adds such a flavor to our films and instead of paying thousands for Marvin Gaye, we can do it locally."

During the week of March 13, Lucky will be showing at Celebration Cinema Lansing with its first run on that Sunday at 7 p.m. For a complete list of showing times, click here.