Category: Review

Lust of the Dead 1-3

  By

★★★½
“The dead want women.”

Though it may be difficult to believe such a thing, the original Japanese title for this franchise of low-budget efforts was even more politically incorrect: Rape Zombie. If ever a title change was understandable… I went into this, largely on the basis of the covers, and braced for something awful. On that basis, I was pleasantly impressed: yes, this remains staggeringly offensive. Yet it’s clearly made by people who are familiar with, and love, zombie films. There are signs of actual brains being present – and not the kind normally found in the genre, being chewed on by the shambling antagonists. Five films have been made: for now, I’m covering the first three, which are the only ones available with subtitles [because, y’know, understanding the dialogue is so important here…]

The concept is more or less the standard one: a global outbreak of some kind of illness, turning the victims into mindless creatures, who attack any non-infected person they encounter. The difference here is that the disease affects only men, and turns them into sex-crazed rapists, who will sexually assault every woman they meet. [This does an amusing job of explaining the traditional slow, shuffling gait of the zombie – here, it’s because their pants are around their ankles.] Making things worse, their semen kills their victims. Needless to say, 50% of the population is less than happy with this situation, setting up a literal war of the sexes, with the now female-led military distributing weapons to its civilian colleagues, for the battle against those pesky rape zombies.

The sex is actually the least interesting thing here – though I note, up until the very end of part 3, there is apparently no such thing as a gay zombie, who goes after other men. What is far more entertaining is the shotgun social satire at play, with the makers turning the heat up on just about everyone. Feminists. Male rights activists. The media. Politicians. Women. Men (for once, “toxic masculinity” is not hyperbole). Social networking. Idol culture. For instance, the rapidly appointed female Prime Minister proclaims, “We’re only in this situation because we allowed men to run wild with their perverted fantasies!” – then high-tails it to Hawaii, immediately she finds out North Korea has launched a nuke at Japan. When that missile flies across the skies of Tokyo, everyone just whips out their phones to take video of it.

There are four heroines in the series: two pairs, who team up following some initial distrust. Momoko (Kobayashi) ends up in hospital as the crisis breaks, after slashing her wrists at work. There, she’s befriended by nurse Nozomi (Ozawa), and when all hell breaks loose, the pair flee the hospital, and end up taking refuge in a Shinto shrine. There, they meet Kanae (Asami) and Tomoe (Aikawa), a battered housewife and a schoolgirl who have also been trying to survive the carnage. The actresses portraying all four, incidentally, are best known for their adult work, though seem to acquit themselves credibly enough with the (admittedly, fairly limited) acting required here.

The main…ah, thrust of the trilogy is that men’s vulnerability to the virus (or whatever it is), is dependent on their pre-epidemic sexual appetite and activity. So, the jocks and pretty boys of society are pretty much toast: who inherit the earth are the otaku. That word is probably best translated as the Japanese version of nerds/fanboys, though more derogatory in connotation there, with a particular lack of social skills. When things settle down, they form the “Akiba Empire”, blaming women for the collapse of society. They hunt the remaining “3D women” with the air of domesticated zombies. On the other side are the “Amazons”, consisting of women soldiers from the Japanese Self-Defense Forces, and other survivors, including our four heroines and scientists working on a cure.

There are a couple of further wrinkles to this scenario. Momoe ended up pregnant by her husband, but is also raped by a zombie, though survives. The resulting child – born remarkably quickly – is apparently seen as some kind of saviour by the zombies and th Akiba Empitre, who won’t attack it or Momoe. She ends up apparently driven insane, a crypto-divine figure to the otaku, worshipped as an idol – in the J-pop sense at least, performing excruciatingly bad (deliberately, I sense) musical routines for them. Meanwhile, Tomoe – spoiler – dies at the end of part one, but comes back in two and three as an American combat robot, complete with laser eyes and lightning-producing fingers. She’s sent to Japan, both to gather data and carry out something called “Project Herod”. Which is what you would expect: part three ends in a cliff-hanger, with her and Momoe in a face-off.

It would have been very easy for this to simply be a porn film with zombies in it, which I’m sure exist. As I hope the above makes clear, it isn’t. Horror fans will have fun spotting the riffs on other genre entries, such as the twist on Return of the Living Dead where a captive zombie is quizzed to its motivation: the answer here, naturally, being “More… pussy.” [As an aside, certain words are bleeped out on the Japanese soundtrack, which seems surprisingly prurient, given the nature of these films!] The second also introduces Shinji, a non-otaku seemingly unaffected by the epidemic, and his girlfriend, Maki; he becomes a key part of the scientific research, though it turns out his immunity isn’t quite what it seems. Despite the copious nudity, it all feels not dissimilar to George Romero’s Day of the Dead, located at the shadowy nexus of science and the military-industrial complex.

Overall, the trilogy manages to cram in more invention than entire later seasons of The Walking Dead. It’s especially impressive considering each film runs barely an hour – less if you discount the “Previously…” opener and closing credits. I’m not entirely convinced there needs to have been five of these films; with editing, you could likely condense them all into two, maybe two and a half, hours and lose little or no impact. There are certainly times where the intent far outstrips the available resources, to an almost painful degree, and I’m no fan of the CGI splatter which is used more often that I’d like. It remains a rare case where exploitation comes with actual smarts, and that’s a combination you just don’t see very often.

Dir: Naoyuki Tomomatsu
Star:  Saya Kobayashi, Alice Ozawa, Yui Aikawa, Asami 
a.k.a. Rape Zombie

Mohawk

  By

★★½
“A hair short.”

This takes place in upstate New York during the 1812 war between Britain and America, when combatants are courting the Mohawk tribe to join forces with them. The natives are suspicious of both, and won’t commit to either. Working for the British is Joshua (Farren), who is in a slightly odd, three-way relationship with Mohawk warrioress Oak (Horn) and fellow native Calvin (Rain). On the other side is Hezekiah Holt (Buzzington), and his small band of Americans, who are out for redcoat blood. When they blame the Mohawk for murdering some of their number, their violence quickly extends to encompass Oak and Calvin, as well as Joshua. After Oak is left all alone, she goes on the war-path to take revenge on Holt and his men.

Low-budget period pieces are always on shaky ground, because creating genuine period atmosphere typically costs money. This sidesteps the issue by largely taking place in the middle of the woods, thereby limiting costs to a selection of uniforms and other costumes. It is a slightly obvious swerve, and I was also distracted by the sizable presence of WWE wrestler Luke Harper (under his real name, Jon Huber) as one of Holt’s platoon. The main problem, however, is the abrupt switch over to a supernatural theme for the final act. After the film has been thoroughly – and gorily – grounded in reality for more than an hour, it suddenly turns into a native American version of The Crow.

This is a shame, as the story to that point had taken some standard tropes and twisted them in interesting ways. While I’ve classified this as a “Western,” it’s more of an Eastern in terms of its location on the continent, and dates from an earlier era than usual as well. It could easily have become a scenario painted in black and white; instead, it’s considerably murkier, with motivations largely kept under wraps, especially those of Joshua and Oak. The latter, in particular, spends a good chunk of the movie lurking in the woods, with the focus on Holt and his dwindling crew. They’re in particular trouble after their tracker is picked off, giving a decisive advantage of terrain to their enemies.

As noted, it’s enthusiastically messy and brutal, as appears to be a recent trend in the more revisionist of Westerns (hello, Bone Tomahawk). But I was probably expecting more emphasis on Oak rather than Holt, which doesn’t happen until after the shift in tone also mentioned earlier. Horn does deliver a powerful performance, very much quiet and understated, and I’d like to have seen more of it. Given this inner strength, it didn’t seem logical to me for Oak to be bailed out by help from the spirits of her ancestors or whatever, in order to carry out her vengeance. Leaning on this as the story does (and where were these spirits when everyone else was being massacred?), seems a bit of an unnecessary cop-out. Not by any means terrible, yet could certainly have been better.

Dir: Ted Geoghegan
Star: Kaniehtiio Horn, Eamon Farren, Justin Rain, Ezra Buzzington

Hanna (TV series)

  By

★★½
“More is less.”

I was quite surprised to hear about Amazon taking up Joe Wright’s 2011 movie of the same name, and turning it into a TV series. There didn’t seem to be an enormous amount of point: the film was perfectly self-contained as it was, and didn’t appear to need expansion. Having now watched the eight 50-minute episodes from the first season… I’m still not sure of the point.

The first three are more or less a stretched-out version of the original movie, beginning with Hanna (Creed-Miles) and her adoptive father Erik Heller (Kinnaman) living completely off the grid in the middle of a European forest. They are re-located by the CIA black operation which had attempted to turn Hanna into a super-soldier, under the control of Marissa Wiegler (Enos – amusing to see her and Kinnaman on opposite sides, since they were partners on the American remake of The Killing), and from which Erick had freed her. Hanna is kidnapped, and taken to a secure facility, though escapes and has to make her way across Europe, solo, in order to be re-united with her father.

So far, so adequate, though the knock-off Chemical Brothers electro-noodly score served mostly to remind me of how good the original was, and we could certainly have used more of Hanna in action. It’s in the middle section that this completely loses its way. If you’ve seen the film, you’ll know on her trans-continental journey, the heroine is befriended by a British family and their daughter, Sophie (Barretto). Here after they part ways, Hanna takes a detour to Britain, hangs out with Sophie, and spends the middle episodes being a teenager, with all the annoying brattiness that entails. Was there anyone who wanted to see this? Certainly not me, and this very nearly went into the “Did not finish” pile as a result, because it’s extremely annoying.

The series does somewhat redeem itself over the final couple of episodes. We discover that the project from which Hanna was spawned, is still operating – and this comes as much of a shock to Marissa as anyone. Hanna and Erik head towards the complex which houses it, with the aim of liberating all the other proto-Hannas, pursued both by Wiegler and the combined forces of the military-industrial complex. However, not everyone necessarily wants to be rescued… The series ends on an open note, and Amazon recently announced there will be a second season. To be honest, you couls get caught up by skipping the first six episodes entirely, and just watching the movie, then parts 7-8.

The series does fill in much more of Hanna’s back-story, in particular how she became part of the project, and I also did like the way Wiegler’s position shifts over the course of the show. It will be interesting to see where she goes in the next season, since her position is now little less precarious than Hanna’s [and as we see at one point, Marissa has some skills of her own!]. On that basis, I’m not prepared to write this off yet, since it will now have to find fresh earth to till. Hopefully Farr does a better job there with original ideas, than of transforming his own work for the small screen.

Creator: David Farr
Star: Esme Creed-Miles, Joel Kinnaman, Mireille Enos, Rhianne Barreto

Death Angel December

  By

★★
“Liable to provoke hibernation.”

Marginally competent, and just not very exciting, this low-budget offering is the story of December (Kurishingal). As a young girl, she watched as the rest of her family was slaughtered by Law (Ramsey) and his villains, the result of a debt owed by her father. A decade or so late, she has grown up and taken to the streets as a vigilante, seeking vengeance on those responsible. Or, until she finds them, any other perpetrators she comes across during her night-time ramblings through the mean back alleys of the city. Helping her mission, is that she now works for the police, which puts her in a prime position to ensure, for example, that any evidence pointing in her direction goes “missing”.

The main problem here is the lack of any significant progression in story or characters. Once the basic concept is established, it’s more or less clear where this is inevitably going to end: in December confronting Law – who, miraculously, looks exactly like he did when killing her family a decade previously – and his minions. Little of interest happens during the eighty minutes in the middle to escape from the cinematic rut which this ploughs, save perhaps a brief interlude where one of her colleagues on the force mistakes her nocturnal activities for something else, and consequently thinks she’s moonlighting as an escort. They have a good laugh about this confusion, needless to sa… Nah, who am I kidding: she rips open his chest and pulls out his heart.

That’s actually one of the highlights – it helps that it is largely realized through physical effects, rather than the crappy CGI, of which we see rather too much in the rest of the film. The old nemesis of low-budget cinema, bad audio, also rears its ugly head on occasion, most notably a scene shot in a foyer, which sounds as if it was recorded inside a toilet bowl. Re-recording dialogue in post is an actual possible thing, y’know: given the copious voice-over, the makers would seem to know this. Not helping is the painfully inept nature of the fights, especially true for the final battle, which appears to have been filmed in a public park, using swords made of tin-foil.

On the positive side, Kurishingal has a striking appearance that makes for a great poster, and director Woodell does know what to do with the camera. Between the two of them, they manage to stop things from collapsing entirely, even if my interest was sorely taxed at times. The IMDb tells me this was apparently a remake of a short film the pair made two years earlier, called Scarlet Widow. That ran about a quarter of the length, and may well have been a more appropriate running-time for the content. The additional 70 minutes here feels almost like needless padding, with a script in need of significant additional development in order to sustain itself over the length of a full feature.

Dir: Bennie Woodell
Star: Leena Kurishingal, Will Cummings III, Chad Meyer, Charles Ramsey
a.k.a. The Long December

Naam Shabana

  By

★★★½
“Four for the price of one?”

If you took four different films, by four different directors, and edited them together into a single entity, you might end up something similar to this. Oh, make no mistake: I still enjoyed most of this. It just doesn’t feel like a coherent whole, perhaps because it is a spin-off involving some of the same characters from an earlier film, Baby. For at least three-quarters of it, however, not having seen its predecessor shouldn’t be too much of a problem.

The first chunk is perhaps the weakest, introducing us to the heroine, Shabana Khan (Pannu), a college student and judo expert, with something of a quick temper. She has just started going out with a new boyfriend, when they get into an altercation with some cat-calling men, which ends with him dead in the street. It’s all rather unconvincing, not least the early incident which does a very poor attempt to establish Shabana’s zero tolerance for harassment.

Things do improve significantly thereafter, for it turns out she was under observation by a shadowy arm of the Indian government as a possible agent. She’s contacted by Ranvir Singh (Bajpayee), who offers to help her take revenge on her boyfriend’s killers, if she comes to work for him. With the authorities apparently uninterested in the case, Shabana accepts, and the next section covers her vengeance, and subsequent training under Singh. This is likely when the film is at its best, taking an interesting concept and executing it with some energy and flair.

Shabana then vanishes from her own movie in the third quarter, as we return to the topic of international arms dealer Mikhail (Sukumaran) he was briefly glimpsed at the beginning, making short work of two Indian agents in Vienna. Authorities have tracked down his ally, Tony, and apply pressure, hoping to discover Mikhail’s location. However, it turns out Mikhail has been using the services of a doctor to change his appearance, making the task of locating him that harder, and it becomes a race against time before he changes again, and the trail is lost.

Which brings us to another switch in direction for the final section, in which Shabana is sent into the hospital where Mikhail is about to get plastic surgery, in order to assassinate him. Here, she’s teamed up with Ajay Singh (Kumar), who was apparently the hero of Baby. There was a point where it looked like he was going to take over – not that we’d have minded too much, as we’ve always enjoyed seeing Kumar in action (despite his creepy mustache here), but this is supposed to be an action heroine film. Fortunately, that’s where it ends up.

Despite feeling a bit like Nikita, a bit like Peppermint, a bit like Alias and a bit like a Jason Bourne movie, there’s plenty going on, and the running time feels considerably shorter than its 147 minutes. It helps that its heroine is made to look relatively plain, rather than the typically stunning Bollywood actress. 

Dir: Shivam Nair
Star: Taapsee Pannu, Akshay Kumar, Prithviraj Sukumaran, Manoj Bajpayee

Slaughter in the Desert, by Michael Beals

  By

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

Katelyn Wolfraum is a German expat, who was working as a field agent for MI-6, until an unfortunate incident just before the war, involving a member of the British Royal Family, left her persona non grata with the authorities. Fast forward to 1941, the depths of World War II, and she’s an intelligence analyst under Colonel Lyons and Major Trufflefoot in the North African desert. With Field-Marshall Rommel tearing across the terrain in a blitzkrieg, she finds herself trapped deep behind enemy lines, along with a motley international band of Allied soldiers. When they discover evidence of a Nazi super-weapon about to be deployed, Kat and her colleagues decide to take the fight to the enemy and sabotage the Third Reich’s plans. But complicating matters is the presence of Kat’s foster father, who is now a high-ranking officer in the SS, tasked with ensuring the saboteurs are stopped.

A shaky start here, with the map in the frontispiece depicting a country called “Lybia”. Oops. And, indeed, after an early burst involving Kat’s imprisonment in, and subsequent escape from, the Tower of London, the first half of the book is mostly generic soldier stuff. She’s just one of a group, and not a particularly important one either, to the point that I was seriously wondering whether or not this would even qualify for the site. These stages weren’t very interesting or exciting, with a lot of random zipping around sand-dunes and running gun-battles against Ze Germans and Eyetalians. However, things improve in both departments further in: Kat became more pro-active and independent, demonstrating a hatred for fascists, that drives on her comrades when some would prefer more cautious options, and a love of Really Big Explosions which is quite endearing. The presence of a specific mission – stopping the Nazi super-weapon from being deployed – also gives proceedings some much-needed focus.

It’s still not what I’d call great or even good art, and there are too many unexplained holes in areas such as Kat’s background [though some may be explained in the second book, going by the snippet included as a teaser at the end here] The only sequence which sticks in my mind is the final attack, when Kat and the men launch a potentially suicidal assault on a coastal facility: they don’t know which of the three submarines docked there is the real target, so need to sink all three. It’s startlingly hyperviolent, culminating in two thousand tons of explosives going up – though describing it as “roughly equivalent to a 2-kiloton atomic bomb” is another faux pas, considering no atom bombs even existed for several years after this is set. Given the efforts made at military accuracy elsewhere by the author, I’d expect better. Overall, it needs considerably more Kat, and there’s no reason why she couldn’t have been operating solo for much of this, rather than diluting her obvious talents.

Author: Michael Beals
Publisher: Amazon Digital Services, available through Amazon, both as a paperback and an e-book
Book 1 of 2 in the Adventures of Kat’s Commandos.

Bad Apples

  By

★½
“Rotten to the core,” indeed…

Ineptly constructed on just about every level, this proves that stealing from better movies – most obviously, Halloween and The Strangers – is not a guaranteed recipe for success. Teacher Ella (Grant) is has just moved into a new home with her husband, Robert (Skipper), who works at the local hospital. Left alone in the house on Halloween night – that whirring sounds are my eyes rolling – Ella becomes the target for two young girls (Prichard + Collins) in masks, whose unfortunate pre-natal experience has apparently left them with severely psychotic tendencies. Or so we are left to presume, for the bulk of what follows.

It’s not a terrible set-up. Unfortunately, the execution is almost irredeemable. Let’s begin with the technical aspects. The audio levels are in dire need of balance: I lost track of how many times I had to lunge for the remote control, either to turn the volume up, or then back down. And the cinematographer appears to have been a cat, going by how much of the film takes place in near-impenetrable darkness. This all becomes such a chore to watch, an Oscar-winning script and performances would have struggled to keep your attention. Not that this will exactly be unjustly overlooked by the Academy, shall we say.

For this feels like a 20-minute short extended to feature length. So many scenes end up being little more than empty padding, outlasting their usefulness – if they even had any to begin with. Is this a horror film, or a drama about a married couple moving house? There were times when I wasn’t sure. Indeed, the entire Robert character could be excised from the film with little or no impact. Yet, just when the sisters are stalking Ella through her house, and the tension should be ramping up inexorably, the film breaks away to a particularly superfluous sequence of her husband at work.

Then there’s the ending. If the preceding 75 minutes require the usual horror movie idiocy from the victims… Well, it’s nice to see the film is equal opportunity, and demands the same from its killers. After this, comes a coda. We know this, because we are given a large, superfluous inter-title: “CODA”. I literally LOL’d at that. This ties everything back up to where we started, though tells us little we probably couldn’t have guessed, and thus largely falls in line with the other superfluous scenes.

This would probably be somewhat more tolerable, if you looked at it as a loving homage to 80’s slasher flicks, with their practical effects and simplistic approach. The problem is, this is rather closer to the tidal wave of post-Halloween knock-offs, which a friend at the time memorably disparaged as “shot on video shit-heaps”. While nice to see a film with women on both ends of the stabby implements, the problems here are monumental, and this demonstrates that good intentions are no more a guarantee of success than aping better movies.

Dir: Bryan Coyne
Star: Brea Grant, Graham Skipper, Hannah Prichard, Andrea Collins

Shira: the Vampire Samurai

  By

★★
“Blade-ette”

I could have sworn I’d seen this before, to the point where I almost skipped over it on Amazon Prime. But on checking, appears not. Did I watch it, and just not review it? Or does it only seem very familiar? It’s clearly trying to be a low-budget, female version of Blade, with its half-vampire heroine taking on her cousins, with their plans against humanity. In this case, Shira (Jason) is bitten by a vampire in medieval Japan, but somehow ends up not going full-bloodsucker herself – apparently because she tried to commit suicide first. The film bounces back and forth between then and the present day, where she has become a vampire hunter, along with her Scooby gang. Yet she has also come to the attentions of Kristof (Zmed), who owns a strip-club for reasons that, I’m sure, are entirely necessary to the plot. He and his former Nazi death-camp vampire scientist assistant want to use her in a breeding program to create a new race of super-vampires, who can go out during the day. Shira, naturally, is having none of this.

This probably would have worked better if it had decided whether it wanted to be Shira’s origin story or not. Either stick to the feudal Japan setting or the modern one: instead, the constant bipping between the two is thoroughly confusing rather than enlightening. A better-written script would have handled her creation in a brisk five minutes, then have allowed more opportunity to develop the contemporary portion, which comes off as rather under-cooked. Not helping matters here are the slew of supporting characters, most of whose purpose and motivations are never adequately explained. The whole thing feels almost as if this was a trilogy, edited down to feature length, with little regard for a coherent narrative. As a result, subplots are left sticking out at a variety of awkward angles.

For example, Shira is being pursued through the centuries by Kenji (Klein), a samurai with a grudge. What is the serum Shira apparently has to take on a regular basis? And a descendant of Professor Van Helsing also shows up, to no particular purpose. On the plus side, the fight scenes are copious and surprisingly well-choreographed. Admittedly, with regard to the latter, it probably helps that I watched this immediately after the dire Hollywood Warrioress, which would make anything look good in comparison. So, amend that to be “seem surprisingly well-choreographed,” perhaps. And if you don’t like this one, there’ll be another along in a couple of minutes. It builds to a “homage” to Enter the Dragon, with Shira chasing Kristof through a hall of mirrors. Because…  Hell if I know. Why not?

It makes about as much sense as the rest of the film, e.g. why does Shira’s boyfriend (Dwonzh) spend so much time with his shirt off? Pondering these enigmas may well provide as much amusement as the movie itself.

Dir: “Simon” (Jeff Centauri)
Star: Chona Jason, Adrian Zmed, Louis Klein, Lawrence Dwonzh
a.k.a. Vampire Shadows

Hollywood Warrioress

  By

★
“Just because you can make a film…”

The IMDb says this is a 2016 movie. The copyright in the end credits says 2014. But shooting was apparently going on for this at least as far back as 2011, according to Internet reports. I suspect a lengthy production, shot on weekends, when the participants have some spare time, which may well explain the presence of five credited directors and eight cinematographers. Which in turns helps explains the wretched awfulness of this. Clearly a passion project for Dutch, who is its star, (one-fifth) director, (one-third) writer and executive producer, this proves that passion by itself is not sufficient.

She pulls double duty, playing both the goddess Athena, and Deborah, her chosen vessel on earth. Deb is tasked with stopping the evil machinations of multimedia mogul Girard Devereau (Young), who is kidnapping teens around Los Angeles for some malevolent purpose [a news broadcast early on puts the number of victims at 500; at the end, the number Debbie actually releases, can be counted on the fingers of one hand]. To this end, the Deborator is given ill-defined special powers, which she largely fails to use, while traipsing around Hollywood, looking for her niece, wannabe singer Anna (Andrews). She has been kidnapped by Morgana (D), one of Devereau’s minions who moonlights as a therapist. Or maybe it’s just to stop Anna from singing – in which case, we’re firmly on Team Morgana.

The best thing which can be said, is that Dutch looks good in her battle bikini. About the only genuine laugh I got from this, was when she was hit on by a pimp, who thought she might “appeal to the ‘warrior princess’ crowd”. Otherwise… Well, I initially thought it was an interesting stylistic choice to have all the fights in slow-motion. Then I realized that was actually the speed at which the “combatants” were moving. Welp. Right from the start, the digital effects are similarly inadequate. It would be charitable to say that they might have passed muster 25 years ago. At this point, you’d probably be able to match them on a mid-level iPhone.

Maybe we should nickname her Deborah “One Take” Dutch, given the occasion on which an actor obviously flubbed their line, yet the take was still used? More damning than all the technical flaws, are a storyline which has no sense of escalation or urgency to it at all. I’m not even certain I could state with confidence what Devereau’s end-game is supposed to be here. Rule #1 of movie villains: Have a clear purpose. Actually, it goes for heroes, too, and the Deb-meister is no better. Sure, she’s trying to recover her niece. Yet for someone supposedly blessed by Athena with special powers… her methods are largely indistinguishable from those of any normal person, worried about a missing relative: contact known associates and the cops. By all accounts, Dutch seems really nice, so it pains me to be so harsh, but there’s unfortunately very little of merit – or even acceptable quality – to be found here by a neutral observer.

Dir: Christine Dupree, Deborah Dutch, Chad Hawks, James Panetta and Rusty Pietrzak
Star: Deborah Dutch, Edward X. Young, Angelica Drum Andrews, Debbie D

Teenage Hooker Becomes a Killing Machine

  By

★★
“Why, yes – yes, she does…”

You’ll understand why, when skimming leisurely through a streaming channel on the Roku, I screeched to a halt at this title. Even though the “official” English title is just Killing Machine, I knew I immediately had to watch it. Yet, while the title technically reflects what happens, it’s a masterly bait-and-switch. For instead of the expected grindhouse apocalypse, it’s far more arty and surreal. The word “Lynchian” is likely over-used, yet it’s hard to argue its accuracy here. If David Lynch had been contractually obligated to deliver a movie with this title, it’d perhaps have looked very similar.

The synopsis is about what you’d expect. The nameless schoolgirl prostitute (Lee) is caught turning tricks by her teacher (D-t Kim), and the pair start a relationship. But when she becomes pregnant and declares her love to him, he decides the best way out is, with the help of a few friends, to convert her into a cyborg killer for hire. Except, in a Robocop-like twist, she proves capable of breaking her programming, and turns her new found talents (including a machine-gun, mounted in a place machine-guns were never intended to go) on those who created her.

All of which still sounds a lot of fun. Except, trust me, it’s not, and it’s clearly not intended to be. Nam is interested more in Creating Art, with a capital A. This is apparent right from the beginning, which opens with the credits, running very slowly, backwards. They run again, in a forward direction, at the end; this pretension seems like unnecessary padding in a film which (perhaps mercifully) only runs 58 minutes, including about ten minutes for both sets of credits. It’s a lurid, shot on video nightmare, that takes place in a back-alley world, where the lighting is perpetually neon-harsh, and there’s always a hip soundtrack, ranging from Ryuichi Sakamoto to the Gypsy Kings.

It almost feels like an hour-long performance art prank at the audience’s expense, not least given the amount of time devoted to characters laughing hysterically for no apparent reason. Nam seems to feel that anything worth doing is worth overdoing, in the sense that virtually every scene continues well past the point where it has worn out its welcome or point. Yet it’s clear he knows his B-movies: for instance, the heroine’s first mission is obviously inspired, almost to the point of plagiarism, by the one in Nikita. It’s as if the director was going, “Well, I could give you what you expected… Nah. Let’s not. Instead, here’s another scene of the bad guys laughing hysterically for no apparent reason.”

I will say this for it. You will not have seen anything like Killing Machine before, and I will remember the movie, when most other films reviewed for this site have long been forgotten. However, neither of these points are necessarily a good thing. The joke’s on the viewer here.

Dir: Gee-woong Nam
Star: So-yun Lee, Dae-tong Kim, Soo-baek Bae, Ho-kyum Kim