Category: Review

Bloody Chainsaw Girl

  By

★★★
“Japan Chainsaw Mascara.”

A solid enough entry in the Jap-splat genre, this benefits mostly from a winning central performance from Uchida as the title character, Giko Nokomura. Her family are in the demolition business, which is at least a token gesture towards explaining the F-sized chainsaw she carries everywhere – initially in a guitar case! She’s a bit of a delinquent, harking back to the sukeban movies of the sixties like Terrifying Girls’ High School: Lynch Law Classroom, and with some resemblance to Meiko Kaji, in attitude more than anything. Despite her bad girl credentials, she does want to graduate (there’s a speech later on about how delinquents actually love their schools, and the identity it gives them), and on this summer day, is going back to the otherwise largely-deserted educational establishment, to re-take a missed test.

Of course, it’s never that simple, is it. For pitted against her is her nemesis, Nero Aoi (Yamachi), plus the army of cyborg students created by this wannabe mad scientist. She started off by kidnapping and working on pets, but now has a lethal array of “enhanced” humans at her disposal, such as “Whole-Body Bomber” and former cheerleader Sayuri Bakutani (Sato). Nero is intent on taking her revenge on Giko, following a perceived slight which the latter has long forgotten. Even before she has arrived at school for the exam, Giko is under attack by the first three of these, including a girl with a rocket-launcher embedded in… a most unusual part of her body. Let’s just say, reloading is fun.

Based on the manga series Chimamire Sukeban Chainsaw, by Rei Mikamoto, it has the fast-and-loose sensibility you’d expect, with things taking place for little or no reason other than the maker thought it’d be entertaining. Sometimes they are correct, other times… not so much. There seem to be flashbacks every three minutes, explaining how everyone got to where they are, and it alternates between scenes that go on beyond their merit or purpose, and ones which feel too short. The low-budget is often palpable, falling well short of being able to deliver what is asked of it, and the blood is more digital than physical.

Despite these flaws, I was entertained, though obviously, those of delicate sensibilities should stay well away. Uchida has an appropriate range of expressions for the situations in which Giko finds herself – “deadpan astonishment” is probably the main one which gets used. There’s a dry sense of humour in concepts like the school having a Ninja Club, such as them still deferring obsequiously to the jocks). When Giko meets the president of Shop Club, who is also about its only un-cyborged member, her chainsaw gets some power-ups (“Extending Chainsaw”), though it still proves no match for Nero’s “Chainsaw of the Dead”. Actually, how you react to that sentence will likely determine whether or not you’ll enjoy this. Personally, if a little short of the best entries in this strange little genre, I still found plenty here to appreciate.

Dir: Hiroki Yamaguchi
Star: Rio Uchida, Mari Yamachi, Seira Sato, Yuki Tamaki

She Never Died

  By

★★★★½
“Angel of vengeance”

This is neither a prequel nor a sequel to He Never Died, but is clearly related, and takes place in the same universe. Like its predecessor, it was written by Jason Krawczyk, who hands the directorial reins over to Cummings for this. And it probably works better as a result. I tend to think having a separate writer and director allows each to build on the other’s talents, while countering the weaknesses. In particular, He, which starred Henry Rollins, didn’t have quite enough plot to sustain it. That isn’t an issue here, resulting in improved pacing. Combine this with the ultimate “give no damns” performance at its core, and you’ve got one of the best action heroine films of 2019.

That performance is Adeliyi’s portrayal of “Lacey”, whose real name we learn at the end, and which will make some sense to students of Biblical lore. Like Rollins’s character, she plays an immortal being, doomed to wander the planet for eternity, sustained only on human flesh. However, she operates on a code, eating only scumbags. This still brings her to the attention of local authorities, in particular the thoroughly world-weary Detective Godfrey (MacNeill). But when he discovers Lacey’s nature, he makes the ill-fated decision to weaponize her, and points her in the direction of a sex-trafficking ring run by Terrance (Danby), which he has been unable to take down by more formal methods. Complicating matters is the gang’s victim, Suzzie (Madeira), whom Lacey encounters during her first mission, and who becomes something of her acolyte.

Lacey is potentially among the most taciturn bad-asses of the genre, a woman of few words, whose remarkable healing powers allow her to take a baseball bat to the head, and then discuss the mild irritation of having to wait for a detached retina to repair itself. No wonder Suzzie is confused, wondering “Are you just a jacked-up lady blitzed out of her mind? Or a government experiment on the lam? Robot? Zombie? Vampire? You sound like a vampire.” The contrast between the pair, one hyper almost to the point of manic, the other deader than deadpan, is a joy. Seeing Adeliyi in action is another. This film doesn’t shortchange her diet, and Cummings background in horror is apparent. About the only person who can half-stand up to Lacey is the person in charge of the traffickers – which makes me wonder if they, too, may be more than human.

It’s one of the intriguing questions which this poses. Particularly at the end, after things appear to have been tied up nicely, the story opens an entire case of cans of worms, with both Godfrey and Lacey having encounters that’ll leave you going “Hmmm…” And that’s not even including the Bikers of the Apocalypse. While it’s definitely not necessary to have seen He Never Died, the cross-over of information may slightly enhance your information of both. I’m wondering if it’s all pointing towards a third entry – They Never Died?- in which the characters from these two films team up. If so, where do I start the queue?

Dir: Audreey Cummings
Star: Olunike Adeliyi, Peter MacNeill, Kiana Madeira, Noah Danby

Screened at Phoenix FearCon 2019

The Witch Files

  By

★★★
“The Breakfast Coven.”

If John Hughes directed a film about witchcraft, it’d probably end up like this. For you have five stereotypical high-school girls in detention: Brooke the rich bitch (Ziolkoski); Greta the jock (Adrienne Rose-White); M.J. the timid mouse (Robinson); Jules the goth (Flatmo); and Claire the nerd (Taylor), who isn’t actually in detention, just doing a report on it for the school TV channel. [90% of the film is the ‘found footage’ she shoots of subsequent events, a conceit for which I usually don’t have much time… and here is no different, occasionally requiring pretzel-like contrivance.] Jules mysteriously triggers the fire-alarm to get them all out early. After she reveals this no big thing was part of her witchy skills, the other four enthusiastically agree to take part in a ceremony binding them together, into a coven.

At first, it’s remarkably easy: they basically just chant whatever they want, and it shows up. Life becomes a bowl of free designer clothes and undeserved ‘A’ grades. But, inevitably, there’s a price to pay, and the young women start to find that minor physical ailments are accelerating at a highly disturbing rate. [This is nicely tied into the historical portrayal of witches as wizened crones, explained as a result of the magical energy expended] While some of the girls want to stop their dabbling in occult practices, others have become addicted to their new-found powers and refuse to stop. Given the previous binding, this is a problem. Additionally, the town’s past offers a long association with witchcraft, and a recurring pattern of strange events, taking place every seventeen years. As in almost every American high-school horror film since Carrie, this builds to a showdown at a school party.

This over-familiarity is likely the main problem, with both characters and story-line coming over decidedly as nothing you haven’t seen before. Even if you never watched Charmed or The Craft (or Swedish take on the same, The Circle), the tropes in question will be entirely recognizable, and the film offers few if any surprises. Credit is due to the actresses, however, who take their two-dimensional characters and do a good job of bringing them to life. This keeps the film rolling along, when on occasion it threatens to stall out completely. Ziolkoski probably does best, helping the audience understand the allure of mystical power, though the entire ensemble gel together nicely.

In the end though, there isn’t sufficient here to set it apart from those which have gone before. It doesn’t help that the magical battles in the final third are well beyond the capacity of the budget to depict. The optical/digital effects unfortunately mostly feel like they were copy-pasted in from an eighties Full Moon Features project. There is one nice bit of vehicular mayhem, though even there, Final Destination did it better. If you haven’t ever seen a film about teenage girls and witchcraft, you could certainly do a lot worse. But there can’t be many of you out there.

Dir: Kyle Rankin
Star: Britt Flatmo, Holly Taylor, Alice Ziolkoski, Tara Robinson

A Vigilante

  By

★★★
“The grubby truth about vengeance.”

Sadie (Wilde) has escaped from an abusive relationship with her husband (Spector), but at a terrible cost: the death of her son. In an effort to come to terms with her grief, and make use of the survivalist skills forcibly imposed on her, she becomes a vigilante. Responding to coded messages left on her phone, she travels around to confront abusers and prove that there is someone tougher, willing to stand up for the victims against them. But this doesn’t give Sadie the closure or peace that she seeks. Before she can help others, she’s first going to have to help herself, and confront the man who made her what she is.

There’s a grim, messy realism about this, which is plausible, and is both the film’s biggest strength and its greatest weakness. Violence, or the threat thereof, doesn’t really solve anything, and there’s precious little satisfaction gained by Sadie from it. Or anyone else: you could argue that, by robbing others of their agency, she’s doing more harm than good. But nor does this mundane approach make for great cinema. It’s one thing to rob vigilante violence of its adrenaline-powered rush, and the film consciously does that, even cutting away during the final confrontation between protagonist and antagonist. However, the film-maker needs to find something to replace it, otherwise you’re left with an empty experience. Admittedly, that may be the intended conclusion here. Yet if your point is the pointlessness of it all… what’s the point?

There is something to be said for the banality of the evil we see portrayed here, especially in the first case, when the well-dressed businessman is revealed to be an abuser. Yet, I can’t help noting the complete lack of any due diligence by Sadie. If a woman says she’s abused, well, that’s clearly good enough to justify a good helping of the old ultraviolence. A less polemic film might have leveraged that into its story, though again, perhaps her lack of interest in justice (despite her stressed reluctance to kill) is part of the flawed package she represents, along with a supreme disinterest in what happens to anyone after she has left the building.

The looming presence of her abusive husband is a little too convenient, especially in the way he suddenly pops up when dramatically necessary; some kind of foreshadowing would have helped. No denying the strength of Wilde’s performance though, and you get to see and feel every ounce of pain as she experiences it, in a way that becomes almost uncomfortable to watch. In the end, however, it doesn’t really tell us anything we didn’t already know. No matter how many “upbeat” vigilante movies I see, I enjoy them purely for the cathartic exercise, not as a primer. I don’t think I need a cinematic antidote like this, in order to be reminded that it’s actually not a good thing to take the law into your own hands.

Dir: Sarah Daggar-Nickson
Star: Olivia Wilde, Morgan Spector, Kyle Catlett, C.J. Wilson

The Leine Basso series, by D.V. Berkom

  By

Literary rating: ★★★
Kick-butt quotient: ☆☆½

Leine (short for Madeleine) Basso quit her job as a somewhat-sanctioned government assassin, after realizing her boss was using her to carry out off-book, non-sanctioned ops for his personal gain. Oh, and he also tricked her into killing her lover, and b Initially working in private security, she is hired on a reality show, following the murder of a contestant (Book 1: Serial Date) by a serial killer out to make a point. Leine’s daughter is abducted, and it turns out the perpetrator is a shadow from her past, with a grudge.

In the next entry (Book 2: Bad Traffick), she’s the bodyguard to a Johnny Depp-like actor, Miles Fournier. A young girl, trying to escape from human traffickers, seeks Miles’s help, and Leine finds herself involved in taking down the ring. This experience convinces her to join up with former colleague Lou Stokes at SHEN, a private group committed to fighting human trafficking, and this forms the focus of both the third and fourth volumes. In the former (Book 3: The Body Market), a American girl on a weekend in Tijuana is abducted; the latter (Book 4: Cargo) sees an American girl holidaying in Bangkok abducted. While the third is perhaps the best in the series, I could probably have done without what feels very much like a repeat immediately afterward.

Berkom seems perhaps to have felt similarly, for the next volume (Book 5: The Last Deception) marks a sharp turn in direction. While visiting a friend at a Middle East refugee camp, Leine comes into possession of a flash-drive with potentially explosive contents, revealing a plot by a rogue Russian to lure the US into a Middle East war. While there is still an abducted girl who needs to be rescued (the daughter of an arms dealer), it’s more a sub-plot, rather than the main focus of the story. I confess to not yet having read the final two entries (Book 6: Dark Return and Book 7: Absolution), but based on the synopsis they are a little “rescue an abducted girl” and a little “forcing her to revisit a dark and violent past she thought she’d left behind.”

I haven’t mentioned A Killing Truth yet, either. Chronologically, it’s the first, though is more of a novella, coming in at a crisp 156 pages, and takes place at a point when Leine was still a federal employee. @@@@ It was the last one I read, though it doesn’t make too much difference. Berkom is good at referencing past events where relevant in future volumes. But there is not much in each book which requires particular explanation, and you could pick up any one as a standalone entity without real bother. I got editions 1-3 as an omnibus, then tacked on #4 and #5; discovering there is now an omnibus edition for them plus #6 was rather annoying. I wish there was some way I could “trade in” those two and get the omnibus.

That’s a technical issue, not particularly relevant to this review, however. To be honest, when I got the first book, I was expecting more globetrotting assassinations, and less stuff more befitting a PI or homicide detective, which is really what the first two books are more like. Things perk up considerably in #3, with Leine having to handle life south of the border; you’ll probably be crossing Mexico off your list of potential destinations by the time you’re done there. They do seem – consciously or not – to become more exotic and international, as they go on. #4 and #5 take place almost exclusively abroad, to the point that I felt a bit sorry for Leine’s boyfriend, who must barely see her!

That is a bit of an issue, though it’s a double-edged sword. I’m no fan of romantic dalliances in my action, but after Berkom sets them up as being passionately involved in one book, it seem odd for their relationship to be so apparently non-committal in the next. The same applies to Leine’s relationship with her daughter, which goes from estranged to deeply-devoted, and then back to “Leine seems little more than irritated her daughter has been abducted by Middle Eastern traffickers”. The stories work rather better when she’s operating purely on her own; then again, I don’t expect an assassin to be much of a “people person”.

Indeed, there’s part of me which wants to hear more about her earlier escapades, based in particular on some crisply effective excursions into termination with extreme prejudice: “Several yards away, a man smoking a cigarette stood with his back to her, an AK-47 at his side. He appeared to be alone. Without a word, she raised the gun and fired, hitting him twice in the back of the head.” As is though, this feels a bit like the adventures of Sherlock Holmes… after he had retired to take up bee-keeping.

Author: D.V. Berkom
Publisher: Duct Tape Press, available through Amazon, both as paperbacks and e-books as follows:

Fatal Defense

  By

★★½
“There is nothing that’s going to empower you more, than if you kick the crap out of somebody. “

Single mother Arden Walsh (Scott) and her daughter Emma (Guest) are traumatized by a home invasion, and at the insistence of mom’s cop sister, Gwen (Fortier), Arden signs on for a self-defense class given by the hunky Logan Chase (Cade). He’s a bit… intense, shall we say. Despite some initial bonding over their ex-marriedness, it’s not too long before Arden discovers his methods leave “unconventional” lying in the dust. Probably about the point where he zip-ties Arden and tosses her in the trunk of his car. At this stage, she decides to forego further classes. Except, Logan is having none of it, and even teams up with the original burglar to put Arden through further “training”.

By this point, I’ve seen enough Lifetime TVM to know where this was going, and if you’re a regular here, you’ll have read enough reviews to figure it out as well. Logan ends up kidnapping Emma, in order to lure Arden to her final “examination”. Though I can’t help thinking, this works mostly as a tacit commercial for firearm ownership. If Arden had only followed Gwen’s advice in the self-defense department – rather than responding, “I’m not gonna have a gun in my house with Emma, no way” – the problem which is Logan would have been solved a) a great deal more quickly, and b) with considerably less trauma for little Emma. The finale, involving the intervention of detective Inspector Banks (Sherilyn Fenn), kinda proves this point.

The biggest flaw is the lack of credible motive for Logan. It’s not quite clear what he’s trying to do here. Seems like Arden is not his first victim, and he has clearly been unhinged by the loss of his wife during a rural robbery. Yet I can’t help but think there were easier ways to achieve his (ill-defined) goals, not least because he seems almost to want to die at the hands of his trainees. I suspect that picking on the thoroughly no-nonsense Gwen might have presented a better chance of that happening, and it does seem a bit of pointless doubling up to have both her and Inspector Banks as supporting characters, even if it’s to get round the “You’re not allowed to investigate cases involving your own relatives” rule. Which I presume is a thing.

While I’d rather have seen more of Fortier, Scott is okay as the lead, and her action scenes occasionally have slightly more impact than I expected. However, this is largely doomed by the relentless predictability of things as they unfold. There are two particularly obvious bits of foreshadowing: one involving hot tea, the other wet leaves. About the only thing which remains in question is, which one of these will actually be relevant to the ending, and which will be a red herring. I’ve no intention in spoiling all the film’s slight pleasures, so if you want to find out, you are going to have to watch this yourself.

Dir: John Murlowski
Star: Ashley Scott, David Cade, Sophie Guest, Laurie Fortier

The Witch: Part 1. The Subversion

  By

★★★
“Lucy  in disguise…”

The first in an intended trilogy, this stands on its own reasonably well, balancing between tying up the loose ends and leaving the future uncertain. The heroine is Ja-Yoon (Kim), who begins by escaping from a shadowy, quasi-governmental facility as a raw eight-year-old, despite being hunted by the woman in charge, Dr. Baek (Jo) and her minions. She is found by husband and wife farmers, and they adopt Ja-Yoon, who has no apparent memory of her early life as their own. Ten years later, with Mom suffering from Alzheimer’s, and the farm struggling financially, Ja-Yoon enters a nationwide singing contest. However, the resulting attention brings her firmly back on the radar of Dr. Baek and Nobleman (Choi), the other survivor from that night a decade ago. The not-so-good doctor won’t let Ja-Yoon escape this time.

After a messy opening, which establishes Dr. Baek as someone specializing in giving no damns at all, this certainly takes its time to get going. For most of the first hour and a half, it’s mostly Ja-Yoon and perky best friend Myung-hee (Go) interacting and progressing through the competition. Though when you hear her… ah, let’s just say “startling” and leave it at that, rendition of Danny Boy, you’ll wonder if perhaps she was selected as the Korean version of William Hung. Meanwhile, the villains are hovering nearby in ways which appear so obvious and suspicious, they would be rejected as painfully unsubtle by Auric Goldfinger.

Eventually, even they realize a more direct approach is needed, i.e. Nobleman storming the farmhouse and threatening everyone Ja-Yoon cares about if she refuses to co-operate. This proves successful, and she meekly goes off to see Dr Baek at her new facility. But as the title and the cover both suggest, Ja-Yoon might be quite comfortable, coming to terms with her inner superwoman. The final 30 minutes show her to be not so meek after all. The movie certainly makes up for lost time, with a slew of well-choreographed mayhem, as our heroine goes all Lucy on the asses of everyone within reach, now she’s using more than 10% of her brain. Or maybe all Hanna? For, in many ways, this is a cross between them, with the pseudo-scientific approach of the former, and the “innocent who strikes back” of the latter.

At more than two hours in length, it would probably have benefited from being about half an hour shorter. The entire “talent show” angle could have been covered just as effectively in about five minutes. And if the bad guys has been more direct, instead of opting for lurking and dropping ominous hints, that would have been a major time-saver as well. However, the twist near the end is handled effectively, and the resulting carnage is brutal and effective. I was left with more than slight interest in the next entry. It will hopefully provide more in the action department, and less in the way of poorly-executed exposition.

Dir: Park Hoon-jung
Star: Kim Da-mi, Jo Min-su, Choi Woo-shik, Go Min-si
a.k.a. Manyeo

Part-Time Spy

  By

★★★
“Korea careers.”

An amiable piece of light fluff from Korea, while this probably doesn’t need to be 117 minutes long, the time passed comfortably enough. After many years of failing the civil service entrance exam, Jang Young-shil (Kang) finally succeeds and is rewarded with a contract job in the national security agency. However, she’s still mediocre, and is laid off. Fortunately, she overhears her boss (Jo) having been phone-phished out of $500,000 of departmental funds, and is the only agent available to go undercover in the ‘boiler room’ carrying out these scams. There, she recognizes another employee, Na Jung-an (Han) – having seen her take out a pickpocket on the subway, she knows Na is an undercover cop. The two women, of sharply disparate backgrounds and skill-sets, form an uneasy alliance, seeking to take down the charismatic boss of the con company, Min Seok (Namkoong).

The similarities to the Melissa McCarthy vehicle, Spy, extend to more than the title, being a similar combination of goofy comedy and action, with a lead who is far from conventionally pretty [the poster on the right is spectacularly misleading, as far as 50% of the actresses are concerned]. Though neither the comedy nor the action here prove quite as successful. For all Kang’s charms, she lacks the impeccable comedic timing of McCarthy, though her long list of former jobs e.g. dog whisperer provide some amusing moments – as well as coming in surprisingly handy, for example when the villains unleash their canines of war. Han isn’t exactly Jason Statham in the martial arts department either. That said, her anger management issues are a nice touch, making her far from the perfect choice to go undercover at a sketchy call-centre, and she can pull discontented faces with the best of them. Her efforts to seduce Min are delightfully OTT as well.

For an action-comedy, I found this surprisingly eye-opening too. The concept of having to pass an exam to get a job with the government, for instance. Or the entire voice-phishing thing, which seems to be an epidemic in Korea, if this movie is to be believed. In the film’s defense, it is possible that cultural differences such as these may partly explain why some of the humour occasionally falls painfully flat. However, even local reviewers seemed unimpressed with the more slapstick elements, so it probably isn’t just me who was highly underwhelmed by these aspects. It does build nicely, with the finale seeing our two heroines sent to scam an army officer out of $500,000 – money which Jang’s boss intends to “requisition” and replace the money he lost. Needless to say, things don’t quite unfold as expected, especially after another employee overhears Jang and Na talking, and realizes they are not who they claimed to be.

It’s the kind of film I can easily see being remade by Hollywood, perhaps with McCarthy and Sandra Bullock as the tw… Oh, hang on: they already did that, and it was called The Heat. But in most ways, this is its equal: slickly-made and unashamedly commercial, if also largely forgettable.

Dir: Kim Deok-su
Star: Kang Ye-won, Han Chae-ah, Namkoong Min, Jo Jae-yoon

At Your Own Risk

  By

★★½
“Reality bites.”

This is one of those films where the making-of is probably more interesting than the movie itself. For this was made for a thousand dollars, with the shoot consisting of two cast and two crew members, filming on property belonging to the director’s parents. This is what micro-budget film-making should be about: knowing your limitation, and working within them, so they don’t appear obvious. On that basis,it is s an impressive achievement, for it looks and sounds thoroughly professional, not least in capturing the scale of the outdoor environment in which it operates. Unfortunately, it’s considerably underwritten, and even at a terse 72 minutes, there just isn’t enough going on here.

Taylor (Santos) and Angie (Boylan) are running a struggling PR firm in Las Vegas – matters not helped by the secrets each woman is keeping. However, there is hope, in the shape of a potential new customer (Schroeder). He is running a high-end adventure business which sends customers into the New Mexico desert on a geocaching treasure hunt. But before giving Taylor and Angie the contest, he wants them to go through the process as if they were customers, in order to understand it better. They agree, and head into the wilderness. However, the further they go, the clearer it becomes that not everything about this “experience” is what it seems.

The problem is that for the great bulk of the film you only have the heroines wandering around the desert, from Point A to B… to C… to D… They chat, and the secrets mentioned earlier are revealed. However, we already know about one from the opening scene, and the other is severely lacking in impact. Meanwhile, there’s not enough of an antagonist. It’s clear that they are being watched, yet the observer is thoroughly passive, and all you really have as a result, is a very mild “women vs. nature” story, without sufficient threat to make you genuinely concerned for the safety of the lead characters. Throw in a broken leg, for example, and that might have helped generate the drama and tension which, as is, the film desperately needs.

. I didn’t mind the lead performances. Both portrayals manage to feel like real people, and I wasn’t left hoping a pack of hungry coyotes showed up and ate them. Given they’re on screen for almost every scene in the movie, that’s something of a feat in itself. We eventually reach a final reveal, explaining the reasons behind what has happened, though this provoked not much more than a shrug and a “Huh,” than any shock or awe. Indeed, it’s dragged out to such a point, it feels almost as if the footage was tacked on, purely in order that the film reached feature length. While there’s enough talent here I wouldn’t be averse to seeing what the makers create in future, this remains something I wouldn’t watch on a regular basis – even if condensed to an hour less commercial breaks.

Dir: John K.D. Graham
Star: Helenna Santos, Alexandra Boylan, Jeff Schroeder

Cats Kill

  By

★★
“Dead cat bounce.”

It’s quite a feat for a film which runs a crisp 67 ½ minutes to outstay its welcome, so… Well done? The problem is mostly that far too much time is wasted on the set-up, introducing us – in quite excruciating detail – to characters in whom we have little or no interest. These would be the friends who decide to spend a weekend in upstate New York, unaware they are about to cross paths with a pair of bored locals who have decided to alleviate the tedium by going on a killing spree. When one of them gets cold feet, however, it’s left up to Cat (Rafferty) to follow through on the original plan, which she does with some enthusiasm. Just a pity this doesn’t happen until roughly the final twenty minutes.

Up until that point, the film makes the mistake of concentrating on the victims. They are, by and large, not people with whom you would want to spend more than five minutes. To the movie’s credit, this does appear to be deliberate, yet it renders every moment an increasingly aggravating experience. That’s especially the case, when contrasted with the lack of motive provided for Cat and her partner, who simply choose to become murderers in virtually the first scene, with little or no justification. More time spent building towards that decision, and less watching the Big Apple pals swapping tedious banter, would certainly have been a wise move. Heck, hanging out with the New Yorkers for a bit first would surely convince anyone about the wisdom of murder as a moral imperative. No jury in the land would convict.

Indeed, the whole spree-killing couple angle is given such short shrift, I was left wondering why the directors bothered. However, this isn’t necessarily a bad thing, as when it’s just Cat operating by herself, things get done at a considerably brisker clip, which is certainly to the film’s benefit. [I’m not certain the likes of Milton Bradley, Victoria’s Secret and John Deere will be quite as enamored by the name-checks their products receive over the course of proceedings here – particularly the last] After capturing and disposing of a set of victims, it ends with Cat going up against final girl Alana (Loren), and it’s then that the film is at its bes… uh, least underwhelming.

Definitely a case of too little, too late however, even with the final twist, which I’ll admit gave me a dark chuckle. The makers here claim they were going for something giallo-esque. I know giallo. And this is no giallo. Given the complete lack of style shown, it’s more like a bad eighties straight-to-video slasher pic, with all the lack of gore, shortage of tension and terrible pacing that implies. Rafferty gets a full pass and Loren a partial, with their more energetic performances something the rest of the cast would have benefited from following. Otherwise, it’s hardly catnip for horror fans.

Dir: Alexander Cherney, Gregory Casino
Star: Alanah Rafferty, Kay Marie Loren, Daniel J. O’Connor, Will Scarlett