Category: Review

The Belle Starr Story

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★★
“A blandly over-cooked platter of spaghetti”

This is virtually unique, in being almost the only spaghetti Western with a female lead, and certainly unique in being the only one directed by a woman. Unfortunately, beyond these novelty aspects, it’s really not very good. Indeed, the overall attitude on view here is so remarkably retrograde, the gender of its director would likely be a surprise, if you didn’t know what it was going in. The film certainly keeps it quiet, disguising Wertmüller – who, seven years later, would become the first woman ever to receive a Best Director Oscar nomination, for Seven Beauties – under the pseudonym of “Nathan Wich”. Whose brother is called Sam, presumably. 

The anonymity is perhaps because she wasn’t originally intended to direct. She took over from Piero Cristofani, some sources say as a favour to leading lady Martinelli. Wertmüller then rewrote the script to reduce Woods’s role, with whom she reportedly had on-set battles. A bit like the more recent, yet similarly cursed Western, Jane Got a Gun, it’s perhaps remarkable the makers managed to come up with a finished product at all. And also similarly, the behind-the-scenes saga is likely a good deal more interesting than said finished product.

There’s no denying Martinelli looks the part, as renegade, gambler and outlaw Belle Starr. She falls for the charms of fellow poker player Larry Blackie (Eastman), and they begin a tempestuous romance, which my wife sarcastically described as “Hit me! Kiss me! Rape me! Love me!” It’s this aspect which seems especially at odds with the rest of Wertmüller’s filmography, much of which is populated by strongly feminist characters. Here, Belle seems both to crave Blackie’s attentions and loathe him with a passion. She declines an offer to bring her on board for his planned robbery of a diamond shipment, instead setting about assembling her own crew, which will beat him to the loot.

Before we get to that, there’s a long, long flashback, covering Starr’s life to that point. In its entirety. In real-time. Or perhaps it just seems that way. It certainly brings the story grinding to a halt. We see how she was brought up by an abusive foster uncle, from whom she was rescued by the outlaw Cole Harvey (Woods). He tries to rape her – yeah, you may be forgiven for detecting a bit of a theme here – and is killed for his pains, which helps set Belle off on her life of crime, poker and questionable romantic choices.

Beyond Martinelli’s look, there’s very little to recommend this, particularly for the first hour – it does pick up somewhat late, as Belle and Larry simultaneously stage their robbery attempts. Until then, even getting beyond the dubious sexual politics on view, this is poorly written, and just not very interesting. Wertmüller can’t even shoot a poker game properly; she’ll show you the cards, and half the time, you don’t know whose they are. Sad though it to say this, you can certainly understand why it was a case of “one and done,” both for spaghetti Western heroines, and Wertmüller’s genre efforts.

Dir: Lina Wertmüller
Star: Elsa Martinelli, George Eastman, Robert Woods, Francesca Righini

Asphalt Angels

  By

★★½
“More carbon-copy than asphalt.”

While the lack of resources is frequently and painfully obvious, I’m inclined to look kindly on this. My tolerance is due to the abiding love for our genre possessed by writer-director Krueger, shown in the influences, both obvious and subtle, on display here. From Faster Pussycat to Female Prisoner 701, he seems like the kind of man whose DVD collection reflects my own. Hell, despite being set in America, a character here even uses the greeting stance beloved of bad girls in pinky violence movies: knees bent, right arm outstretched, palm up. I can’t truly hate a film made by someone who knows what that is.

The heroine is Casey (Renee), leader of an all-girl gang, but who wants to keep her sister Virginia (Gomez), an up-and-coming BMX champion, out of the criminal lifestyle. Two things derail Casey’s life. Firstly, while rescuing li’l sis from the predatory clutches of another gang, she kills one of their members, and leader Dante (Epperson, shamelessly channeling a young Kevin Bacon) vows revenge. Secondly, a jewel heist goes wrong: she takes the fall so the other members can escape, and ends up in prison, where she has to survive the unwanted attentions of a sadistic lesbian guard, as well as the other inmates. Her absence is particularly bad news for Virginia, since her sibling’s absence means there’s nobody to protect her, when Dante and his crew decide she’s a suitable target for their vengeance.

This production is certainly guilty of trying to go in too many directions. Is it a heist film? A women-in-prison movie? A gang flick? Revenge film? Krueger would have been better off concentrating his efforts in one area, especially given the extremely limited raw materials available to him. The prison, for example, appears to consist of a softball park and a field. There are almost no interior scenes at all. Worst of all is Virginia’s BMX career, which includes copious shots of her waving to an entirely non-existent crowd, nowhere near any BMX track. Really, just make her an honor student at high school and it would have been far easier for everyone involved.

It’s also rather tame for a film with grindhouse aspirations, though this is somewhat “explained” by bookend sequences which make it look as if it’s a late-night movie on seventies network TV. That’s an issue, because the bottom line here is, no matter how adoring a fan letter to the genre this is, it remains that: just a fan letter. Krueger’s heart is in the right place, so it’s not like this is some kind of cash-in “mockbuster”. However, the harsh truth is, you’re simply a good deal better off watching the films that inspired this. For no matter how much Renee tries (and, bless her heart, she certainly is trying), she’s never going to be Tura Satana or Meiko Kaji. Imitation is the sincerest form of flattery, to be sure.

Dir: Christopher Krueger
Star: Justine Renee, John C. Epperson, Hillary Cook, Blanca Estella Gomez

Hell’s Rejects by M.R. Forbes

  By

Literary rating: ★★★½
Kick-butt quotient: ☆☆☆☆
“I am going to die, surrounded by the biggest idiots in the galaxy.”

The heroine in this enjoyable slice of space opera is Lieutenant Abigail Cage. She’s a “breaker” – effectively, a hacker – although one who is highly trained in combat. Her latest mission is to enter a rebel compound and recover a laptop, but the job goes awry, and she finds herself framed for treason after a cache of weapons goes mission, and sent to Hell. No, literally: that’s the name of the planet, and it’s an entirely apt one.

Once imprisoned there, two competing forces come into play. One has interest in using Cage as the guinea-pig for a program to unleash an army of superhumans. The other is Captain Olus Mann, who needs her for quite a different task. Because the rebels have stolen two cutting-edge spaceships, the Fire and the Brimstone, which could tip the balance of the ongoing conflict. Someone needs to find and retrieve them. That someone is Cage, together with a motley crew of other convicts, liberated by Capt. Mann from Hell.

The first in the “Chaos of the Covenant”  series, it strikes a decent enough balance between telling a self-contained tale and luring you in to the next volume. As the tagline at the top – not an actual quote from the book! – suggests, it falls somewhere between, and owes a big debt to, both Guardians of the Galaxy and Suicide Squad. With a side order of La Femme Nikita. There’s a big sprawling universe out there, and Cage has to try and wrangle her motley crew of species through a task which rarely seems less than an impossible assignment.

Fortunately, if a little conveniently, Mann has a very discerning eye for personnel, and put together a good team as backup, out of the pieces to hand in the prison. For instance, one is an incredible pilot, another a wiz with machinery, etc. Cage, meanwhile, can keep them all in line, both through her force of personality and with force if necessary. She’s desperate to complete the mission, win her freedom and return to her daughter – who doesn’t even know Mom is in prison, let alone has been broken out in order to chase a stolen spaceship across the galaxy.

Meanwhile, there’s also the side-effects of the experimental injection she received while in Hell. If only apparently half of what she could have received, the effects are impressive, effectively rendering her near-bulletproof. [She can still be shot, it just… doesn’t appear to have any real effect] This could have ended up being a real “Mary Sue,” in the sense of a heroine who is utterly unstoppable. Except those responsible want to track Cage down, and send Trin after the heroine. She is another woman who has gone through both halves of the process, making her a particularly tenacious adversary. This leads to the final epic battle, in a series of what must be said, are largely epic battles.

Yeah, if you’re fond of large-scale destruction, this book certainly delivers. The carnage begins with the scene where the two spaceships are stolen, that escalates into the demolition of an entire spaceport: like many sequences, it seems written with one eye on a cinematic adaptation. Refreshingly free of romantic distractions, this does an excellent job of setting up its universe and populating it with interesting characters, each of whom have their own, interlocking agendas. Indeed, it may perhaps be slightly overstuffed with ideas, species and technology. Better too much invention than too little though, and it’s a series I can see myself picking up subsequent volumes down the road.

Author: M.R. Forbes
Publisher: CreateSpace Independent Publishing, available through Amazon, both as an ebook and a paperback.

Blowtorch

  By

★★½
“A mother’s love is relentless.”

Ann Willis (Robbins) is a single mother, working as a waitress and trying to keep family together after the death of her husband from lung cancer. To help out, son David (Abrahamson) abandons his plans to attend college and gets a job in a local factory. But he falls in with some questionable company there and, lured by the prospect of easy money, starts dealing drugs for the local mobsters, run by Canarsie. Things go from bad to worse after his supposed “friend” Mike (Falahee) frames him for the disappearance of some product, and things end with David’s dead body floating in the river, having been beaten to death by his associates. The cops, and in particular, Detective Frank Hogan (Baldwin), investigate – but to be honest, aren’t particularly interested in one drug-dealer being killed.

Ann, however, is made of sterner stuff, and is determined to get to the truth; she doesn’t have the legal limitations which hamper the police either. She realizes that Mike, addicted to the drugs he sells, is the weak link in the cartel. She begins to pick away, relentlessly, at the guilt he feels for having caused the death of David. This brings her into conflict with Det. Hogan. He is not only concerned for her safety in this dangerous world – Canarsie is growing increasingly aware of Ann’s activity – but also the waves she is causing, that threaten to capsize his more measured investigation.

It’s not a terrible film, anchored by a very solid central performance from the thoroughly convincing Robbins. Her mother positively oozes steely determination, and refuses to back down, despite being faced by some authentically unpleasant bad guys. That’s part of a generally good sense of place here: Breslin is born and bred Big Apple, and comes from a family well aware of the scummy side of life. By which I should quickly explain, his father, Jimmy, was a long-time and renowned New York journalist who wrote about organized crime, and was also written to by the “Son of Sam” during the latter’s seventies crime-spree.

However, the script here contains too many missteps to be considered even somewhat successful. Not least is the relationship between Ann and Mike, with Ann acting unfortunately like some kind of revenge-driven MILF. I suspect the intent is to show her “by any means necessary” approach; yet it seems severely out of place with the character established in the first half. The final take-down of the perpetrators doesn’t ring true either, reliant upon that most obvious of saws, criminals who can’t keep their mouths shut – even when, as here, they’re talking to the mother of one of their victims. Really? The net result is a film which builds a solid foundation, and does a good job of populating its world, only to go off the rails increasingly, as it then moves through its story.

Dir: Kevin Breslin
Star: Lois Robbins, Jared Abrahamson, William Baldwin, Jack Falahee

Undead Pool

  By

★★★
“Buffy the Zombie Slayer goes for a dip.”

I strongly prefer the alternative name (as given in the credits below, though in some territories this was also known as Inglorious Zombie Hunters) – it’s one of the finest exploitation titles of all time, both describing exactly what the film is about, while simultaneously reeling in the potential viewer. Certainly beats something which sounds more like an Asylum “mockbuster” version of a certain, snarky Marvel superhero. If the product itself doesn’t quite live up to it’s own name, this mostly a case of, really, how could it?

New transfer student Aki (Handa) has the misfortune to arrive at the school on inoculation day, and ditches class to the stress of her new situation, so doesn’t get her jab. This turns out to be extremely fortunate, as the supposed “vaccine” turns out to be the plot of an evil scientist, and those injected with it – both students and teachers, the latter receiving a particularly strong version – turn into flesh-eating zombies. Despite Aki’s strong aversion to water, she finds some allies in the shape of Sayaka (Hidaka) and her colleagues on the girls’ swimming squad, because it turns out the chlorine in the pool negates the effects of the compound. It’s up to them to defend themselves from the hordes, and also resolve the murky nature of Aki’s previous history, which turns out to be not entirely disconnected from current events. Oh, yeah: there might be some lesbian canoodling as well. Just so you know.

The zombie aspects in particular are well-executed: energetically messy, with plenty of blood and a sense of self-deprecation that helps to counter-balance negates the obviously low-budget approach, most apparent in the rubbery nature of the severed limbs, flying through the air. It’s as if the film is saying, “Yeah, we know we’re cheap, come along for the ride anyway.” It helps that the zombies retain some of their pre-infection character, rather than being just mindless flesh-eaters. For example, there is the maths professor who continues to mumble about a problem involving apples, while wielding an inexplicably razor-sharp yard-stick around. Mind you, this is a school which leaves chainsaws lying around, and than there’s also Aki’s spiked swim-fins [which looks and acts like the iron fan beloved of martial arts flicks]

There is, as you’d expect, copious fan service – though the title does at least explain the swimsuits, which are likely less gratuitous here than in, say, D.O.A. This is probably the least interesting aspect, and I was reminded of Fred Olen Ray’s comment that nudity is the cheapest special effect. The finale, where Aki reveals one particularly startling special talent, likely doesn’t stand up to scrutiny either: quite how she acquired the skill is never adequately explained. While there was still enough here to keep me entertained, this mild recommendation should come with a caveat that I’m significantly more tolerant of low-budget goofiness than most people.

Dir: Kōji Kawano
Star: Sasa Handa, Yuria Hidaka, Hiromitsu Kiba, Mizuka Arai, More
a.k.a. Attack Girls’ Swim Team vs. the Undead

Even Lambs Have Teeth

  By

★★★
“Romy and Michelle’s Vicious Vacation.”

Katie (Skovbye) and Sloane (Prout) are teenage BFF’s, who head off to spend time on an organic farm – though their real goal is the weekend shopping in New York which will follow it. On the way, they are distracted by a couple of bits of prime young, rural manhood. But before you can say “roll in the hay,” they are drugged, the pair waking up to find themselves chained to duplex shipping containers, from where they are rented out as sex slaves to anyone interested. Their sudden dropping off the grid concerns Katie’s uncle Jason (Richards), who happens to be an FBI agent. He heads to the area to investigate, unaware the local sheriff is in on the plot. However, there’s only so far you can push a person, before they break. When Katie and Sloane snap, and escape, rather than heading for safety, they decide to stick around, so they can get thoroughly medieval on those responsible.

This could have gone thoroughly grindhouse, as is the usual approach in the rape-revenge genre. Credit Miles, therefore, for zigging in another direction, with the actual assaults far more implied than actually shown. This is something of a double-edged sword: there isn’t the same resulting sense of horror or outrage, but on the other hand, I’m always far more about the revenge half of the equation. As the review tagline above implies, the film also manages to be surprisingly light in tone, given the subject matter. That’s particularly the case in the second half. For instance, the ladies get the shopping spree they want – except, it’s in the local hardware store, picking up tools for their vengeance, rather than going down Fifth Avenue.

It’s also as much about the relationship between the two women, with the switch in their characters between the two sections. Initially, Sloane is the outgoing and dominant one; however, it’s Katie who instigates the switch from passive to active, and takes charge thereafter. When they were making up alternative personas for the trip, shortly before departure, let’s just say there were apparently good reasons why she chose “Ripley” as the name of her alter ego.

The main weakness is likely the overall sense of restraint, which unfortunately applies equally as much to the revenge – precisely the aspect which needs to be ramped up to 11. And, really, given the entire town is apparently in on it, including the police department, I was expecting much more of a reaction from the locals. Even when Katie and Sloane drive through town in a stolen truck, dragging the body of one victim behind them… nobody so much as notices. There’s not any sense of escalation either. Arguably the worst fate, happens to their first target, although some credit is due for imaginative use of a weed-whacker.

The results are all amiable enough entertainment – and that’s probably the first time I’ve ever used the word “amiable” in regard to a rape-revenge flick. If these lambs have teeth, this movie is more an affectionate nibble than a fully-fledged bite.

Dir: Terry Miles
Star: Kirsten Prout, Tiera Skovbye, Michael Karl Richards, Garrett Black

Goddess of Love

  By

★★★
“My super crazy ex-girlfriend.”

Right from the start, it’s established that Venus (Kendra) is not the most mentally stable of creatures, alternating between emotional fits in the bathtub, drug abuse and her day job as a stripper. That’s pretty much the trifecta of Stay Away for any man. But she ends up dating one of her strip-club customers, Brian (Naismith), a photographer who likes Venus because… she reminds him of his late wife. Which as opening lines go, I’d imagine would rank highly as Stay Away for any woman. While initially working far better than you’d expect, that only makes the eventual crash and burn of their relationship, all the more brutal.

It begins when she sees the name “Christine” (Sandy) pop up on his phone, setting off a downward spiral of insecurity and paranoia. Brian admits it’s an old flame, whom he still uses as a model, but Venus suspects there’s a lot more going on than photography. This doesn’t endear her to Brian, who stops replying to her text messages, and tries to end their relationship. Which works about as well as you’d expect – especially if you ever saw Fatal Attraction. Venus decides that the best way to Brian’s heart apparently lies through… Well, Christine’s rib-cage – though getting there requires some ramping up of their rivalry. And it turns out Christine has a vicious streak of her own, when pushed far enough. But how much of what’s unfolding has any basis in objective reality – as opposed to being merely shrapnel from Venus’s disintegrating psychological state?

It’s a tale as old as time, true as it can be: don’t stick your dick in crazy. But it’s still a topic worth revisiting, albeit likely for entertainment value, more than any educational purposes. The movie benefits by a good performance from Kendra, who also co-wrote the screenplay with director Knautz. That likely helps defuse some criticisms of exploitation – while the stripper angle does appear to exist, largely for titillation, Kendra the writer can hardly be exploiting Kendra the actress. On the other hand, it’s not exactly what anyone would call a sympathetic portrayal of mental illness. The only person who shows even some concern for Venus’s plight is colleague Chanel (Scott), and that doesn’t make it to the end of the movie intact.

Still, it’s not unpleasant as potboilerish entertainment, particularly when Christine and Venus start going at it. I also appreciated the gradual slide into a state where you can never quite be sure of the accuracy of what you’re seeing. Everything is experienced from Venus’s point of view (which is where it differs from Fatal Attraction), and the unreliability of that perspective becomes increasingly called into question as the film proceeds. Technically, it’s reasonably sound, though a few rough edges did stick out, to remind me of its low-budget nature. But it’s perhaps best taken as a modern-day version of a morality play: don’t cheat on your significant other, do drugs, or date strippers. Rules we can all strive to live by.

Dir: Jon Knautz
Star: Alexis Kendra, Woody Naismith, Elizabeth Sandy, Monda Scott

Bleeding Hearts

  By

★★
“Not bleeding awful – but close.”

Stumbled across this low-budget horror flick almost by accident when I was Googling the similarly-titled but very different, Bleeding Heart. The premise was kinda intriguing: five successful half-sisters (doctor, lawyer, engineer, etc), living in a small town, take a month off each year together and vanish off the grid. What the townfolk don’t know, is they kidnap various obnoxious menfolk under the guidance of leader Leslie (Robbins), subjecting them to unspeakable tortures and eventually killing them, before returning to everyday life. Into this town comes documentary film-maker Oliver Jaffe (Diamond), who starts to investigate the odd situation, after his car breaks down in town.

The same director previously made Scavenger Killers, which was kinda like a sleazy version of Natural Born Killers, also starring Robbins – this is similarly low-brow, apparently attempting to be as offensive as possible. If you’re not prepared to cope with a naked man in a cage on his haunches, being violated with a wire-brush, this is probably not for you. Though you’d be forgiven for wondering if there’d been some kind of mix-up with the DVD at the beginning, which starts as a social satire in which Santa (the late Charles Durning, in his last feature appearance), Jesus and Satan share a house, occasionally being harangued by God (Tony Todd). Turns out, this is a film-within-a-film, being made by one of the sisters’ targets this year.

Even as someone who IS prepared to cope with the extreme content, I found the results were actually kinda tedious: if ever a film is guilty of trying too hard, it’s probably this one. There’s no shortage of nudity from the actresses, to the extent I began to wonder if this was filmed in its entirety at an adult film convention. But it’s curiously uninteresting and ineffectual, since you’re never really given any reason to care much. The structure is weird too: there’s so little connection between the two halves of the story, right until the end, I wondered if Diamond and Robbins would ever meet (just as I strongly suspect Todd’s scenes were filmed separately from everyone else’s, since you don’t see him and anyone else in the same shot).

Instead, Diamond’s half feels almost like complete filler: there’s no real sense of “investigation” since the audience already knows the truth about what’s going on. Or, most of the truth, at least. While there’s a last reel twist or two, these are no more effective than most of the other aspects. You may be left to wonder why they bother having five sisters, when there’s no more than 2.4 personalities between them – Leslie, and perky foot-model Candy (Lorraine) being responsible for the great bulk of that. This is one of those cases where I can see how the various pieces of the jigsaw could have been fitted together into something potentially transgressive and interesting. It never gets there though, and the likes of Todd, Durning and even Robert Loggia, who plays the local sheriff, are not well-served by this at all.

Dir: Dylan Bank
Star: Rachael Robbins, Dustin Diamond, Suzi Lorraine, Melantha Blackthorne

Outsystem by M. D. Cooper

  By

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

This is certainly “hard” SF, by which I mean a story driven by (and to a large extent, more interested in) scientific advancements. In tits 42nd-century future, humanity has expanded to fill the entire solar system, and is now reaching out with colony ships to nearby stars. One such ship, the Intrepid, is being assembled at the Mars Outer Shipyards, one of the massive ring-like complexes which surround the planet. But not everyone wants the project to succeed. Major Tanis Richards, who will be one of the colonists, is first tasked with ensuring the project’s security. The scope of her job becomes apparent quickly, as immediately on arrival, she has to fend off a terrorist attack, trying to set off a nuke on the Intrepid. It’s just the first of a number of sabotage attempts.

There is a lot of tech here, to the extent that the book includes multiple appendices, devoted to explanations of it. Everyone is interfaced to networks, each other and their own AIs – Tanis’s is called Angela – and medical advances mean age is now little more than a number. I found it a bit much, as if technology had become a gigantic, all-encompassing “Mary Sue” of unstoppable power. Whatever the problem… Well, there’s an app for that. The reality, as we’ve seen, is that new technology tends to create as many new problems as it solves: you don’t get much sense of that here. The issues are more old fashioned than that: terrorism is now corporate-sponsored, rather than state-sponsored.

The storyline also tends to get bogged down at times, in an alphabet soup of organizational structure. It seems as if the Major spends as much time in meetings, as actively hunting down the bad guys: it almost turns her into the world’s first bureaucratic action heroine. There are frustratingly incomplete hints at her past, with an incident which caused her to be tagged “The Butcher of Toro“. Though it’s suggested this is an unfair sobriquet, the incident – whatever it was – appears to have played a significant role in her decision to apply to become a colonist. Such an important piece of character motivation likely should not be swathed in such mystery, though it’s possible the details are revealed in one of the later volumes in this three-book arc.

Re-reading the above, this all seems highly negative, more so than it deserves – though I note Cooper recently released an expanded version of this and its sequel, which does suggest he was perhaps not satisfied with the first version. Still, despite flaws, such as a supporting cast who could have used more fleshing out (particularly Joe, the uninteresting romantic interest), I found the pages turned at a a solid rate, and the action sequences generally hit the spot. The version I read included the first couple of chapters of part two, A Path in the Darkness, and it possesses a good enough premise to make me consider going forward. Less is likely more, and the smaller-scale setting of the Intrepid is perhaps a better fit for Cooper’s voice, which isn’t strong enough to populate the entire solar system here.

Author: M.D. Cooper
Publisher: The Wooden Pen Press, available through Amazon, in both printed and e-book versions.

Daemonium: Soldier of the Underworld

  By

★★★
“…and one big cup of WTF?”

This is going to be a difficult review to write, and, for once, it’s the synopsis section which will be the problem. Because I can’t honestly say, with any degree of confidence, I know what was going on here. Rather than a standalone, coherent entity, this felt more like being dropped into the middle of a long-running TV show – one based on a series of books I’ve never read, but adapted on the basis viewers would know it well. I’ve seen a few Chinese films which have adopted a similar approach, taking legends familiar to local audiences and creating something all but incomprehensible elsewhere. This Argentinian movie generates similar feelings of baffled amazement. I’m going to start by copy/pasting the official synopsis:

The story of Daemonium begins in an alternate universe to ours, in which Magic and Technology Coexist with Humans and Demons. In Daemonium we see Razor rise to power! (He will be the new image of a dystopic power and seeks a full out war with Hell the demons that dwell there and anyone that stands in his way!), the doubts of Rebbecca (who will question everything she knew for a fact about her life), Lisa, a common woman with an unthinkable destiny (womanly force on their way), and the wizard and con artist Fulcanelli (facing his own destiny regardless of his intentions).

I trust that has cleared everything up. No? Well, it is at least an accurately confusing representation of how I feel. Let me try again. The heroine plays at least five different roles, including fallen angel Azazel, and three different android versions of herself, Loly, Nancy and Victoria. They’re embroiled in a battle between good and evil, alongside the morally ambivalent magician Fulcanelli (Cornás), after a portal to another world is opened, allowing a demonic entity to escape. The demon makes a deal with mercenary, Razor (Casco), for the usual wealth, power, etc, although Razor’s pregnant wife, Lisa (Presedo) is kidnapped and turned into a assassin, targeting her husband. But it’s Fulcanelli and Azazel who may be key to stopping the threat.

Even if I can’t say I comprehended much of what was happening – perhaps its origins as a five-part web series were an issue – I was certainly never bored. Clinging on to any passing scraps of coherence like a drowning man clutching a piece of driftwood, certainly. But bored? Not at all. For it looks very slick, and doesn’t pull any punches at all, particularly at the end, when the heroine enters full-on (and literal) “avenging angel” mode. The director is best known for a series of horror films, Plaga Zombie, and brings much the same enthusiastic eye for mayhem and splatter to this. I’d love to see what he could do with the same universe – only operating with a script which focused on telling a cogent and compelling story, rather than galloping from one cool sequence to the next, like a hyperactive child in a toy-store.

Dir: Pablo Parés
Star: Caro Angus, Walter Cornás, Dany Casco, Rocío Rodríguez Presedo