“High school rivalries turn murderous; one fabulous character makes this worth a rent.”
This predates both Jawbreaker and Teaching Mrs. Tingle, and thanks to being a cheap, indie film, manages to out-do them both. No studio to enforce post-Columbine political correctness here: the fight is on to be declared Prom Queen at Oak Hill High, located in the heart of Kansas. And when I say “fight”, I mean it – going head to head are Terra (Kelly) and Cherry (Balderson), but running interference is a sideplot involving the kidnap and murder of the principal. Though since his idea of fun involves molesting his students, he largely deserves it. This all builds to a murderous finale at Prom Night, at which bullets fly and flags burn.
Seeing Balderson in the credits, and realising she was a relative of the director – sister, actually – had us fearing Godfather III-style nepotism. But Balderson (bottom left) is actually the best thing in the film, lifting every scene in which she appears with venom, attitude and lines like, “I’m not insane – I’m an artist!”, as she chews up the opposition and spits them out in her wake. The rest of the cast aren’t even close to being in the same league, the most startling thing being Dreiling’s resemblance to Juliette Lewis. Without Cherry the film positively drags its feet, and the whole ‘principal’ subplot never catches light.
There is still a bunch of stuff to like: the cheerleaders practicing obscene chants; Terra’s inability to walk in heels; the Xena-like swoosh every time Cherry turns her head; spats over yearbook photos, etc. and if the film had stayed focused on the hell of high-school, it might have been more effective. As is, you’ve got one fabulous character and performance, and the rest is variably effective satire.
[The UK title is I’ve Been Watching You 2: Prom Night. Which is strange, since I’ve Been Watching You itself retitled the David DeCoteau vampire-frat-boys-in-underwear romp, The Brotherhood. The two movies have absolutely nothing in common.]
Dir: Steve Balderson
Star: Jennifer Dreiling, Brooke Balderson, Amy Kelly, Summer Makovkin
“Nice hats – shame about the movie.”
No, really. The milliner on this production deserves an Oscar, simply for providing the most amazing range of headgear I’ve ever seen. Everyone seems to have a different selection of pointy things to choose from; this civilization may have limited technology, but it’s clearly not short of hat-shops.
Unfortunately, this is largely the best thing about the movie. Nielsen, before getting buffed-up and implanted, doesn’t have the physical presence to carry off the role. On its own, this wouldn’t be fatal to the film, but she is woefully short on the emotional intensity which could have compensated (c.f. Hudson Leick) – she makes Arnie look like a talented thespian. The purpose for her revenge against Queen Gedren (Bergman – who turned down the title role, showing remarkable foresight perhaps) is glossed over so rapidly that it has no impact either, and the pointless and extremely annoying kid made me wish that the talisman stolen by Gedren would suck the entire universe out of existence. Way too many riding-riding-riding shots too, accompanied by one of Ennio Morricone’s less memorable scores.
Good stuff? Er…the fight between Sonja and Gedren at the end is actually pretty good, and you wish Sonja hadn’t spent the first 90% of the movie having to be rescued all the time. The only other saving grace is that it isn’t quite as bad a comic-book adaptation as Tank Girl. But how could it be?
Dir: Richard Fleischer
Star: Brigitte Nielsen, Arnold Schwarzenegger, Sandahl Bergman, Paul L. Smith
“Stylishly-shot but largely uncredible thriller, with a lame twist befitting bad soap-opera.”
Odds are you won’t see the key twist here coming, but on the other hand, it renders the preceding hour almost redundant. This sums up the entire film: as an exercise in technical style, few directors are as good at camerawork as De Palma, yet little here withstands scrutiny, despite an abundance of smoke, mirrors and Romijn-Stamos. She plays Laure, a jewel thief who cons her partners out of $10m in diamonds, then is lucky enough to fall into another identity. Seven years later, they get out of jail, still miffed, and she’s now married to the American ambassador. When paparazzi Bardo (Banderas) exposes her identity, she instigates a complex plan to play her various problems off against each other.
You have to admire De Palma’s guts: large chunks are without dialogue, and what’s spoken is mostly in subtitled French. It’s almost as if he wanted to piss off a typical American audience, not least in a finale so audacious, it almost invites you to come and have a go, if you think you’re hard enough. However, too often the style is pointless – a split-screen, except nothing of significance occurs on either side – and the twist remains a copout on every level.
While at best a borderline entry in the action heroine genre, femme fatales have a long, dishonourable history, going back to before women got to kick butt. Pointedly, the film opens with Laure watching Double Indemnity; both psychologically and mentally, she punts Bardo’s ass into 2008. This isn’t great art, and neither Banderas nor Romijn-Stamos were unjustly overlooked for Oscars, but any film where the heroine says, “You don’t have to lick my ass, just fuck me” has guilty pleasure potential.
Dir: Brian De Palma
Star: Rebecca Romijn-Stamos, Antonio Banderas, Peter Coyote, Gregg Henry
“Leading contender for least helpful DVD sleeve of all time, for a reason.”
Look at the picture. Note the complete lack of an English language title; I’ve heard of directors taking their name off a movie, but never the film’s name. Also notice the undeniable presence of Cynthia Khan: she is in the film for the first three minutes (in a scene lifted from Nikita), then vanishes without plausible explanation. It’s almost as if she quit the movie after one day, being replaced by Shaw, but they kept the footage shot of her.
There’s a lot going on that makes no sense, but it’s forgivable since we only discovered later that this is a sequel to Sting of the Scorpion, which we hadn’t seen*. The heroine is Maggie, a cop released after two years in psychiatric care because she shot her boss, blaming him for the death of her boyfriend. He sends her undercover to infiltrate a gang responsible for a string of mob-related murders, a task which includes shooting herself up with drugs. Then, as revenge for Maggie’s attack, he hangs her out to dry.
A lot of this is wildly incoherent, badly-staged or just plain dull. However, Shaw provides a cold-hearted performance that is occasionally very effective, in a Jade Leung kinda way, and there are some moments which border on genius. For example, as Maggie comes off the drugs, a fanlight casts spinning shadows on her body, to fabulous effect; once she’s down, the fan spins slower. Shame the scriptwriter, director and voice actresses doing the post-synching were nowhere near as talented as the DP.
* – We did have it on DVD, but on sitting down to watch it, found the box actually contained the wrong film! Wouldn’t mind, except we already had a copy of Mission of Justice…
Dir: Lee Kwok-Lap
Star: Maggie Shaw, Waise Lee, Lester Chan, Fennie Yuen
“In which our heroine learns the ropes…and the chains…and the rack…”
Much like the first, bondage fans would probably mark this a grade, possibly one and a half, higher given the amazing length of time the heroine spends tied to racks and other torture devices – or just tied in general. Not that this, per se, makes it a bad movie. No, the severely limited budget (the population of the land where this takes place appears to be about 1/10th that of San Marino) and clunky acting take care of that…
However, the writing helps, since tongue is in cheek, right from the movie’s subtitle: The Empress Strikes Back. It would be churlish to point out the total lack of any empress in the film. There’s also the mud-wrestling bout, carefully set up early on when a barrel of water is knocked over, instantly turning about two acres into the Everglades. As for the story, Clarkson plays Princess Amathea – her character has the same name as the first part, but how she became the king’s daughter is never explained – whose father’s throne has been usurped by the evil Ankaris (Bracho). She escapes and builds a band of curiously large-haired heroines to lead a revolt.
One interesting subplot is Ankaris’s daughter (Tijerina), a genuinely creepy teen with a disturbing interest in methods of torture. She has a crush on Amathea’s love interest and evokes the spirit of her dead mother to help her out. This angle adds a welcome depth, to a story that otherwise is largely what you would expect. The fighting is largely woeful: one participant holds their sword up while the other bangs their weapon off it. Yet, it’s never dull and Clarkson makes a good heroine, independent and feisty from the opening scene.
Dir: Joe Finley [probably a pseudonym for Hector Oliviera]
Star: Lana Clarkson, Greg Wrangler, Cecilia Tijerina, Alejandro Bracho
“Soft gun-porn with hidden depths. Probably too hidden.”
This is an odd little film; heroine Angel (Walden – by some reports now a ski-lift attendant) is an assassin, ordered to take out the leaders of a white slavery ring. After the first killing, she finds solace in the arms of a random guy, and you think you know where this is going: a killing, then a sex scene, for the rest of the movie. Yet this first is also about the last, from then on, the erotic thriller angle is largely ignored, in favour of her former partner George (Mulkey), who takes out any man with whom Angel forms a relationship. It’s almost like she’s working for SD-6.
The film may be all the better for this avoidance of the obvious, and certainly improves as it goes on – though after an opening credit sequence that appears to have been shot directly from the screen of a ZX Spectrum, it could hardly be otherwise. [It’s also the distinctly cheapskate method by which Angel gets her orders] Morton Downey Jr. makes a cameo, and the movie even brushes against self-reference, when one of Angel’s hits takes place on the set of a girls-with-guns movie.
Walden certainly looks the part, and there was one major surprise at the end. But the surreal, dreamy approach for which Goldstein appears to be aiming, comes off more as if the whole cast were dosed up on ketamine. Is there any reason why George is able to follow Angel’s entire life on the screen of an arcade game? It’s a rare genre entry, in that it was directed by a woman; however, it did take her eight years to make another movie. Read into that what you like…
Dir: Amy Goldstein
Star: Lynette Walden, Chris Mulkey, Paul Ganus, Jaime Gomez
“Workmanlike but largely uninspired serial killer thriller.”
Paul plays Philadelphia detective Laura Underwood; while investigating a string of deaths in which men have fallen from buildings, she discovers they are all her high-school classmates. Someone is clearly delivering payback for old misdemeanours. That someone would be Vicky (Johnson); the film is upfront about this, and indeed, there’s very little that isn’t out in the open. We know the who and the why, which leaves the film short on suspense. Paul is hardly credible playing a cop either, and Hall as her ex-fiance Brian is simply irritating.
Fortunately, the script is better than you might expect, with some thought going into the actual detective work – a phrase used by the killer during one of her taunting calls, eventually leads to the discovery of her identity. Brian gets his just reward, and the obvious cliches we expected, never quite materialised, though it teetered precariously close on occasion. There’s also a nice circularity; the opening scene, in which Underwood disarms an abused wife, who is threatening her husband with a gun, is more significant than you’d think.
The film still plays too much like an ABC movie of the week, or perhaps a discarded pilot, and there’s no reason to feel anything at all for the victims. If this one has a moral, it’s likely less the oft-stated, “Never trust a man after midnight,” and more “Don’t climb over railings to have sex with suspiciously-blonde women on the edge of seven-storey drops.”
Dir: Marc S. Grenier
Star: Alexandra Paul, Vlasta Vrana, Michelle Johnson, Anthony Michael Hall
“Dirty Harry with breasts. And angst. And a partner scared of roaches.”
Okay, pardon me if I’m confused. What the IMDB says is the plot for Metropolitan Police Branch 82 is actually Tokyo Blue: Case 1. However, there are multiple parts to the series, and I think that this tape from ADV may be the first. Or perhaps the second. Not that it’s important, but just so you know. :-) Mika (Inoue) is a cop with a liking for her Magnum, who loses her partner while capturing the criminal Nezu (Yamato). He then escapes, and she gets a new partner (Tayama), who is more concerned with fashion than the down and dirty world of criminal detection, and also hates cockroaches to the extent of unloading a full clip on one in the police station. Mika rolls her eyes a lot at this, but in Mika’s past lurks a dark secret when she shot first and asked questions later.
As they chase after Nezu and his accomplice (Lilico), there is a load of naked flesh, portrayed in the enthusiastic yet restrained approach typical of Japan. It probably isn’t worth your while, and you kinda wish they hadn’t bothered. In between times, there’s also a lot of the usual “mismatched cops” routine, and it’s no more fresh or interesting here, than in all the Hollywood movies which use it. However, the finale, set in a deserted amusement park, is well-staged and imaginative, with an underwater fight which makes you wish for more of the same. Inoue’s performance also lifts this one up a notch, doing a good job of the “hard case with a soft centre.” It’s still a cliche, but she brings enough life to it to deserve credit.
Dir: Daisuke Goto
Star: Harumi Inoue, Mamiko Tayama, Yukio Yamato, Lilico
“Proof that it’s easier to train an actor to fight, than a fighter to act…”
Cat opted not to follow in the footsteps of her father, shampoo magnate Vidal, preferring instead to win various karate titles (allegedly) before moving into movies. Between two parts of the Blood Fist series, she popped over to the Philippines, and made this one for Roger Corman, under the gaze of familiar GWG director Santiago (TNT Jackson, etc.). She plays an LA cop, who comes to Manilla to investigate her sister’s death – she was killed after photographing a political assassination. And, hey, whaddya know? She was also taking part in a karate tournament… I trust I need not extend the plot synopsis any further.
Quite how Sassoon won her titles is unclear from the evidence on view here; perhaps screen fighting isn’t her forte, but there seems to be a lot of doubling and not much apparent ability. She does, however, possess the necessary lack of acting talent – the only things more fake than her dialogue delivery, are her breasts. Which we see, along with Melissa Moore’s, frequently, to no real surprise or, being honest, effect (though the topless kung-fu in which Sassoon engages is a sleazy piece of inspiration, albeit one borrowed from Santiago’s earlier Silk 2)
There is a semi-interesting subplot, in that the villains are actually opposed to American bases in the Phillipines, and this allows for a slight level of political complexity. However, before too long, we’re back to mediocre fist-fights and more titty action. Sassoon, meanwhile, died at a New Year’s Eve party a couple of years back from a heart attack. Which is kinda sad.
Dir: Cirio H. Santiago
Star: Cat Sassoon, Melissa Moore, Michael Shaner, Denise Buick
“Infuriatingly uneven cyberworld pic: looks great, but loses its way far too often.”
While this is live-action, Oshii is best known for his anime work, such as Ghost in the Shell. That also had an action heroine, great visual style and lost its way in philosophical navel-gazing. There, it was the nature of self – here, it’s the nature of reality. Set in Poland, which may be a first for a Japanese film, the heroine, Ash (Foremniak), is addicted to an illegal computer game called Avalon. When she hears about the existence of a special level in it, she’ll stop at nothing to find the entrance. But, for her, the line between life and pastime is becoming more and more blurred…
It’s a fabulous concept, and the virtual world is realised beautifully, with CGI that are carefully made to look like CGI. There are any number of cool touches, such as how the only people in Ash’s “real life” who move are animals and other players – everyone else is frozen in place. But the tedium of her real life is hammered home to such an extent that it becomes every bit as dull to the viewer, as it is to her. Worse still, the final confrontation is interrupted by lengthy, pointless shots of an orchestra playing portentous classical music; what could, and should, be a gripping climax is brought to a grinding halt.
Still not quite convinced it completely makes sense, with a lot of unanswered questions at the end, some of them significant: suspect David Cronenberg’s eXistenZ covered similar ground with much more confidence. However, even if Oshii needs to exercise tighter control on scripting, this is probably still worth a look, purely for the eye-candy of the game sequences.
Dir: Mamoru Oshii
Star: Malgorzata Foremniak, Wladyslaw Kowalski, Jerzy Gudejko, Dariusz Biskupski