A wonderful and peculiarly disturbing movie, with Baldwin's patented quick cuts, pop culture mashup, and political commentary filtered through a science-fiction conceit that has achieved a grotesque and influential life in the real world. By the end, the viewer's head is spinning and laughter is undercut with questions of just what one does and doesn't know about the history of our time. A spin on conspiracy theory thinking that has evidently spawned its owned flock of conspiracy theories.Hasn't anyone yet shown that this was the inspiration for David Icke's insane second career?

I wish I had not even rented this from Netflix.The on-screen quality of the video is bad: in other words, it's like (and may well be) a DVD copy of a video of a video.I guess there's an element of being a spoof to consider, but it is so infantile, and so USA centric, that it does not qualify as reasonable joke about documentaries and conspiracy theories.It is not even worth viewing to see how bad it is.It blends minor true facts (such as the Secretary of Defense Forrestal committing suicide) and outright garbage (such as a sister planet of Earth being on the other side of the sun 1,000 years ago) to make a paranoid person's idea of likelihood (as Judy Tenuta would say: "It could happen")

Craig Baldwins's found footage montage about the history of mankind and the evil aliens that haunt us. It's a straight faced pseudo-documentary that is a dead on send up of the UFO films of the 70's and 80's and of some of the alleged belief's of the Church of Scientology . It completely shreds your ideas about what is history and how we know what s real and what isn't simply because it makes its case so convincingly that if you didn't know any better you could actually believe it. Certainly it makes its claims in a more convincing way than many news programs. If you want to disappear for 45 minutes into a different mind set or want to see a really good science fiction tale give this a shot

The cinematic equivalent of John Oswald's plunderphonics which takes as its theme the demented paranoia of Cold-War militarism and fleshes it out with an ultra-critical pastiche of found-footage, comprising SF and black ops imagery amonst other stock sources, to launch a sustained attack on US intervention against the self determination movements of Latin America. Baldwin has called it a "pseudo pseudo documentary," a film that tells the truth about American imperialism and anti-socialist countersubversion through the faux documentary genre. At a formal level, Baldwin's film is an exercise in Brechtian postmodernism in which techniques of defamiliarization, verfremdungseffect, and cognitive shock tactics are exploited to produce a work of political art that is at once incisive and baffling. Ostensibly, the film claims to reveal an ancient conspiracy in which a race of aliens, originating, appropriately, from the planet Quetzalcoatl, have infiltrated South America and are waging a clandestine war with the United States. However, through its formal techniques and diacritical strategies, Tribulation 99 is simultaneously engaged in a damning indictment of the US government's historically tenured policy of political destabilisation throughout the Americas.