Robert Yesk

Robert Yesk’s filmography is kind of a trip through ‘90s cult cinema, if you ask me. Let’s start with The Fantastic Four from ‘94—not the shiny Marvel blockbuster, but the weird, almost mythic version that never really saw the light of day. Shot on a shoestring budget, the movie’s like a fever dream of rubber suits and wild ambition. People still talk about it as this lost gem or disaster, depending on who you ask. Honestly, it’s legendary for all the wrong reasons, which sort of makes it legendary for the right ones. Then there’s Johnny Skidmarks, a gritty little number from ‘98. It’s got that late-‘90s neo-noir vibe: seedy motels, washed-out colors, everyone’s got secrets or a questionable haircut. It’s the sort of flick that’s full of character actors oozing sleaze and desperation. Not exactly a date night movie, unless you like your romances with a side of existential dread. But it’s got a following, and you can see why—something about those offbeat crime stories just sticks with you. And don’t forget Shootfighter: Fight to the Death from ‘93. This one’s pure, unfiltered martial arts madness. Think underground fight clubs, over-the-top villains, and enough roundhouse kicks to make your head spin. It’s cheesy, loud, and completely unapologetic about it—basically, everything you want from a VHS-era action flick. So yeah, Robert Yesk’s got his fingerprints on some truly wild projects. Not everyone can say they’ve been part of cinema history’s oddball corners, but he sure can.

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Personal details

  • Professions: Camera and Electrical Department, Actor, Producer

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