Author: Jim McLennan

Don’t Play With Fire

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★★★½
“A grim cinematic road-accident; hard to watch, yet harder to stop watching.”

This bleak, nihilist view of 1980’s Hong Kong ran into severe trouble with local censors, for its depiction of the colony as populated solely by violent brutes. Leading these is Pearl (Lin), a teenage girl who redefines the term “troubled”, and whose brother (Lo) is a cop with a short fuse. She witnesses a hit-and-run accident and browbeats the three kids involved into joining her in a relentlessly-escalating series of violent escapades. When they find themselves in possession of 800 million yen belonging to gun-smugglers, you just know things are going to go wrong. And they do: pointedly, Hark finishes the film with photos taken during the 1967 riots in the colony. Make of that what you will…

Right from the start, with Pearl sticking pins in the head of a mouse, the film doesn’t shy from depicting cruel behaviour, particularly towards animals, and there’s hardly a sympathetic character in the film. Pearl does at least have some justification for her lack of morality, and her attempts to weld her new “friends” into something like a team, or even a family are touchingly pathetic. At one point she suggests they’ll escape to Canada and live happily ever after, which is definitely not going to happen. However, the film swerves wildly around, leaping from plot to plot with little coherence, though censorship may explain why certain threads, such as the bombing campaign, seem especially underdeveloped.

Whether robbing a gang of Japanese tourists, or taking revenge on a banker who gave them bad information, Pearl is the lynch-pin who keeps the movie focused, and when she departs, the interest level drops noticeably. Still, if you’ve only seen Tsui’s subsequent, more fantastic films, the venomous realism will be a shock. Keep an eye out for him in an uncredited role as a toilet attendant(!), as well as fellow directors Ronnie Yu and Stephen Shin.

Dir: Tsui Hark
Stars: Lin Chen-chi, Lo Lieh, Albert Au, Paul Che
a.k.a. Dangerous Encounters of the 1st Kind

Monster (2003)

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★★★½
“Powerful portrayal by Theron, but tells us little we didn’t know already.”

monsterGot to give Theron the credit she deserves here, especially since the biggest previous impression she made was probably her 2 Days in the Valley catfight with Teri Hatcher. Safe to say her performance here will lend that scene an extra chill, as she plays Aileen Wuornos, America’s best-known female serial killer, a roadside hooker who killed seven men before being caught and executed. The film depicts her life, from when she meets lesbian-wannabe Selby (Ricci), with both women looking desperately for affection of any kind. The two fall into a downward spiral; initially, Wuornos kills to escape a brutal client, but by the end, she’s doing it simply to get money and a car.

Despite Theron’s remarkable transformation – both psychological and physical – the movie seems hollow at its heart, not least because Ricci seems wildly miscast, stumbling around behind Wuornos like a bumbling puppy. Oddly, Wuornos’ real lesbian lover was a strawberry-redhead called Tyria Moore, so the film is clearly well off complete accuracy. This is perhaps for legal reasons: the dead can’t sue; the living can, and frequently do. While the film effectively ends with her capture, Nick Broomfield’s jaw-dropping documentary covers the later period of the case perfectly well.

The two central characters operate in a vacuum; there’s hardly anyone with more than one scene. As a result, the movie makes Wuornos out to be the victim of an incredibly hard life, yet an unexplained gulf still remains between that, her general hatred of humanity, and her multiple murders. While Theron’s performance is certainly worthy of praise, for a better look into the abyss, watch Henry: Portrait of a Serial Killer.

Dir: Patty Jenkins
Star: Charlize Theron, Christina Ricci

Wrestling Queen

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★★★
“Great for wrestling fans, non-marks may be less impressed.”

Despite the title, and the fact that Vivian Vachon is the most featured wrestler, the portion of this film which has much to do with women’s wrestling is actually rather small. It’s more a general overview of wrestling and it’s fans, during a strangely innocent era (the early 1970’s), before Vince McMahon dominated, when it still worked to give the illusion of a genuine sport.

Vivian Vachon was one of thirteen children, and with two brothers already involved in pro wrestling, it was no surprise she followed them in. This film follows her on a tour of the States, but it also diverts into her family history, and has interviews with her relatives, fans, other wrestlers, promoters and, it seems, anyone else who happened to come within range of the cameras. There’s also a fair amount of wrestling action, but this is probably the weakest point of the film; it’s edited, removing any flow, but they also only have a single camera at ringside, often making it hard to see what’s going on.

The interviews, on the other hand, are fab, though I speak as a pro-wrestling enthusiast, and action femme enthusiasts will likely be less impressed. But I find characters like her brother Maurice ‘Mad Dog’ Vachon, endlessly interesting anyway; with a voice like Bluto, he made the leap from Olympic wrestling to the pro ring 40 years before Kurt Angle. Some of the fan insights are also priceless, not least the footage of them getting seriously carried away. As a documentary on wrestling, it’s thus a hit – as a feature on women’s wrestling, it’s less relevant, but anyone who has ever been embarrassed by what all too often passes for women’s wrestling in the WWF, will undoubtedly feel a sense of nostalgia for an era when it was every bit as legitimate as the male version.

Dir: Don Chaffey
Star: Vivan Vachon, Maurice “Mad Dog” Vachon, Andre the Giant

Angel on Fire

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★★½
“Dumb but not irredeemable – never mind the quality of the action, look at the quantity!”

Supermodel-thief Mimi (Melanie Marquez) steals an artifact from a Chinese temple, then heads to the Philippines, via Hong Kong. HK and Chinese cops (Khan & Yeung) are on her tail, as is former partner Ko. This is, frankly, a mess. Yeung apparently does no detective work; Khan goes on a date to an illegal street fight; they’re supposedly partners, but only share one scene; and what is the stolen item? It’s only ever called “the precious thing” (at least in the sub version; even we wouldn’t touch the dub [right] with a ten-foot pole). I found it all amusing rather than irritating; your mileage may vary…

Actionwise, it largely explodes in the lengthy finale which occupies about thirty minutes, sprawls across what seems like most of the Philippines, and fails to make much sense either – we certainly lost track of who was doing what to who. While Yeung is hardly allowed to act, she does get a couple of good fights, but the wire-work is poor, with one especially obvious harness. On the other hand, Khan’s martial-arts abilities are underused, and she gets to spend time hanging out with that apparently rare breed, an honest taxi-driver (Ricketts). A couple of decent moments, and Khan’s usual watchability, lift this up to just about acceptable, though only if you are in a forgiving mood.

Dir: Phillip Ko
Star: Cynthia Khan, Philip Ko, Sharon Yeung, Ronnie Ricketts

The Magic Crane

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★★★½
“Plotplotfightplotfightplotfightfightplotfight.”

This is one of those Hong Kong movies which seems to believe that if they cram in enough complications and characters, you’ll overlook the deficiencies. They’re kinda right: if you can let go (I did, Chris couldn’t), you will enjoy this a whole lot more, though here, it’d take five times as much plot to make you ignore the truly woeful titular bird. There would seem to have been confusion in the prop department over whether the request for a “giant crane” meant a bird or a piece of construction equipment: it looks as if they split the difference, building something with feathers, which remains (painfully) obviously mechanical.

All the kung-fu masters are getting together to carve out territories; Leung and Lau represent about the smallest school imaginable, but are befriended by Pak Wan Fai (Mui), a mysterious lady who rides the crane. Her foster-sister (Kwan) has been building resentment for 20+ years, and inevitably, someone else is plotting to wipe out all their martial-arts rivals. The battles are great, and most of the characters too (among the supporting cast, especially memorable is Jan Lau’s engagingly slutty Lady Jade Flute, who brings a Basic Instinct approach to her kung-fu) – but there are way too many, and the same goes for the plot elements (Killer bats? A guy with no legs in a well?). Less would certainly be more; instead, they don’t get the attention they deserve. As you’d expect from a Tsui Hark production, the visual side is stylish and impressive – just don’t look for a high degree of coherence.

Dir: Benny Chan
Star: Tony Leung, Anita Mui, Rosamund Kwan, Damian Lau

Fatal Termination

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★★★
“No kids were harmed in the making of this film. Fingers crossed, anyway.”

At first, this isn’t much of anything, least of all an action heroine movie. Cop Simon Yam investigates a customs officer (Shou) who is smuggling guns; it’s pretty ho-hum until an innocent underling is killed after finding evidence of the crimes. When his sister Moon (Lee) and her husband (Lui) get involved, this swiftly leads to the one scene in this film that everyone remembers…

The villains snatch Moon’s daughter off the street (literally!), and drive away with Mom on the bonnet, trying to fight her way into the car. The daughter – who is probably about 2 1/2 – is dangling out the passenger window, held by her ponytail, as they whizz through Hong Kong streets. This is impossibly impressive CGI (especially for 1990), and I suspect they genuinely did hang a frightened toddler out the window of a speeding car… At the bottom of the page, you’ll find a clip which gives you an idea of what we mean, from an era where traumatising small children was apparently not an issue of concern. It’s one where you go, “Well, they’re only showing it in clos… Oh, damn. Okay, at least they’re not going faster than 15 mp… WHAAAAAAT?”

This kicks off an amazingly intense 15 minutes in which, without giving too much away, things get even worse for the daughter. :-( It belies both the opening, and a finale that’s little more than a lot of people driving around, shooting at each other. Moon Lee has a cool fight against the big boss, and gets to fire off some large weaponry, but the one who truly deserves to be called an action heroine in this film, is that un-named little girl.

Dir: Andrew Kam
Star: Ray Lui, Philip Ko, Moon Lee, Robin Shou + the unknown toddler

Kim Possible: A Sitch in Time

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★★★★
“Somewhere between Alias, Buffy and The Powerpuff Girls lurks Kim…”

“I’m working with a man named Monkey Fist. My evil career is so in the toilet!” Thus complains one villain in the first Kim Possible movie, a relentless barrage of sight gags and dry humour likely to amuse those of any age, whether regular viewers or not. We probably fall into the latter category, having a natural aversion to the Disney Channel [if you’ve seen the Lilo & Stich series, you’ll understand], but KP is a show likely to pause our channel surfing. Kim is a teenage girl who spends more time saving the world from a range of bizarre bad guys and gals, than the usual pursuits involving the bathroom, phone or mall (if our daughter is anything to go by). Her parents are remarkably cool about these extra-curricular activities. In this edition, the bad guys team up to grab a time-travel device and alter the future so they can rule the world. It’s up to Kim and friends to restore things. [Should mention the title is as given, “sitch” being Kim-speak for situation, as in “What’s the sitch?”]

It does remain a Disney show, hence the irritating musical interludes and, while the action is fast and furious, no-one ever gets hurt – though the sequence where a naked mole-rat comes out of a kid’s trousers is frankly freaky. But assisted by a stellar supporting cast (Elliott Gould, Michael Dorn, Dakota Fanning, Michael Clarke Duncan, Vivica A. Fox and – slightly less stellar – Freddie Prinze Jr.), this is a great parody of the whole genre: as one character says, “Time travel – it’s a cornucopia of disturbing concepts.” The tongue-in-cheek self-awareness is a delight, both heroes and villains having a refreshingly world-weary attitude, cheerfully admitting the paradoxes inherent in the story. Even an evil, golfing, kilt-wearing Scot comes over as endearing rather than insulting – Mike Myers, please note. The expected fluff blends with some surprisingly dark moments, such as the “Re-education Center” which seems right out of 1984. This is what the Tomb Raider movies should have been like.

Dir: Steve Loter
Star: Christy Carlson Romano, Will Friedle, Richard Gilliland, Nicole Sullivan

Buffy the Vampire Slayer (film)

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★★★
“If at first you don’t succeed…”

Buffy may be the only successful TV series based upon a failed film. A critical and commercial flop, creator Joss Whedon just wouldn’t let it lie, and finally got the mix of drama, horror, comedy and action he wanted in the show. The movie is a different matter, and has not aged well. The SoCal culture now seems incredibly dated, and Swanson takes too long to become the sympathetic heroine essential to the film. It also has no idea what to be: for a comedy, large chunks are not funny (despite classic lines involving coat-racks and clapping); if it’s a horror movie, it’s a lame one, with vampires largely as threatening as harvest-mice; and if you want social satire, you’re far better off with Clueless or Heathers.

The supporting cast help rescue the uneven material, with Sutherland as the guru whose near-impossible task is to convince Buffy of her mystical calling. Hauer plays a Euro-vampiric nemesis impeccably, but top plaudits go to Paul Reubens. About as far from Pee-Wee Herman as imaginable, he gets one of the finest death scenes in cinematic history. The cast also includes future Oscar winner Hilary Swank, Natasha Gregson Wagner, David Arquette and uncredited roles for Ben Affleck and Ricki Lake. Ironically, the part played by Seth Green, werewolf Oz in the TV show, ended up on the cutting-room floor.

Perhaps the most interesting aspect is comparing this incarnation to v2.0 from five years later. No Scooby Gang (bad), no Angel (good), no cool dustings when the vampires are staked (bad). On the whole, it’s about what you’d expect after an interesting concept from a rookie film writer has been chewed up and spat out by a corporate studio. Hard to say which is more miraculous: that Whedon got another chance, or that a corporate network didn’t do worse still.

Dir: Fran Rubel Kuzui
Star: Kirsty Swanson, Luke Perry, Rutger Hauer, Donald Sutherland

One Girl, 2 Guns

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½
“Possibly the worst girls-with-guns movie in history?”

Even given that this was shot in 6 days for $5,000, it sucks on every conceivable level. Scenes are twice as long as necessary, or totally superfluous. The script has little of interest. And since there’s absolutely no sign of talent whatsoever, I have to presume the director slept with his leading lady. Hope she was better in bed than on screen. Rachel and Jane execute drug deals for their boss – emphasis on “execute”, since they get both the cash and your drugs. Jane’s qualms get worse when Rachel is shot dead, and she leaves the organization, until an FBI agent forces her to return, in order to kill her employer. She also gets frequent visits from the ghost of her dead friend.

In case the above sounds remotely interesting, let me repeat: this sucks on every conceivable level. The original choice for Jane quit because of qualms about the script: an excellent decision. Replacement Moss had never acted before, and it shows. Even as she’s being raped, I’ve seen pond scum with a bigger range of emotions, and if it’s an attempt to depict emotional numbness, she fails, coming across simply as tediously bad. Renee Roland does better as Rachel, and the film might have had a chance if they’d swapped parts – “dead” being just about in Moss’s dramatic range.

The rest of the cast irritate, with dialogue that’s not as clever as it thinks; the nadir is an inept scene where two henchmen bicker over how to cut up Rachel’s body. Beesley apparently wants to be Tarantino, but it’s woefully clear he lacks writing skill – indeed, any skill at all. Given his failure to work on a pic since, he might have been better off sticking to Playgirl magazine, an appearance in which helped fund this movie. Curiously, Googling Mike Lee Beesley turned up one in Palmdale (where the film was partly shot), who’s now founder and president of Cross Fire Ministries, Inc. If that’s him, wonder how he views this work?

Dir: Mike Lee Beesley
Star: Kirsten Moss, Renee Roland, Michael McGaharn, Tom Rees

Dragon Blue

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★★½
“Into each generation a rubber-suited monster slayer is born…”

When the island site of a proposed resort starts seeing mutilated bodies turn up, they call in Feng Shui specialist Mayuko (Tanaka) to investigate. However, as she herself discovers, she’s no ordinary psychic, but the next in a line of guardians dedicated to stopping demons from entering the human world. With the aid of some conveniently informative dreams, a down-to-earth cop (pro-wrestler Mutoh, known in the West as The Great Muta) and a sword she finds underwater, it’s up to Mayuko to stop the Hellmouth from openi…er, save the world.

Despite careful thought clearly having gone into the back-story and related folk legends, this wastes time meandering around before its climax, where Mayuko finally gets her powers by snapping her rock crystal power bracelets [incidentally, available at Trash City :-)] It probably doesn’t help that the monster is…well, let’s say that despite the involvement of Steve Wang, it’s no coincidence that this was released in the US by ‘Rubbersuit Pictures’. Though its relentless interest in human women – particularly topless ones – is amusingly reminiscent of B-pics like Humanoids from the Deep, that sound you hear is the Creature from the Black Lagoon sniggering.

This lacks the necessary enthusiasm which would counter the obvious budgetary restrictions. While possessing a smattering of sex and violence, the film as a whole is overly restrained, well-mannered and simply too damn polite to be of much interest.

Dir: Takuya Wada
Star: Hiroko Tanaka, Keiji Mutoh, Tomoroh Taguchi, Ryo Hayami