Category: Review

Girl Boss Guerilla

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★★★½
“Faster pussycats who kill, kill.”

After my disappointing first foray, this is more like it, right from the moment Sachiko (Sugimoto) rips open her top, revealing a heavily-tattooed breast, before she and her Red Helmet Gang of biker chicks kick the asses of another, male gang who are hassling them. It’s clear that Sachiko deserves the title far more that the ‘Delinquent Girl Boss’. She and her crew from Tokyo head off to Kyoto, where they face off against, and end up taking control of, the local girl gang – some of whom are none to happy by this invasion [Kyoto being the former capital, its residents seems to hold a grudge against those from Tokyo]. Sachiko ends up on the wrong side of the local Yakuza, one of whom has a sister, Nami (Ike), who is an independent free-agent girl gangster, affiliated with none, but kinda over-seeing all. Sachiko meets and falls for a boxer, Ichiro (Mizushimi), after he helps her girls out of a tough spot with the Yakuza, and follows him to a seaside resort where he is training. Needless to say, love does not quite conquer all.

I really like the two heroines here, who are just about everything I expected from the genre, combining toughness and beauty, savagery and tenderness. Both actresses are excellent, fleshing out (pun not intended…) what could easily have been no more than shallow stereotypes. What doesn’t sit so well is the strange lurches in tone. Oh, look: here’s a (supposedly) hilarious sequence where one of the girls catches VD from a priest, then deliberately passes it on to the Yakuza! Oh, hold my aching sides… Then, there’s a bit of unintentional hilarity where a Japanese hippie sings a mournful lament to a dead friend, accompanied by his guitar – but the soundtrack is very clearly a piano. Barely have you finished rolling around the floor laughing hysterically at that, then there’s a genuinely nasty torture sequence involving rather a lot of topless whipping, which appears to have strayed in from a very different movie entirely.

This inconsistency of approach makes for a rather jarring experience, as it switches gears like a badly-maintained Model T, and seems at odds with the female empowerment present in much of the film. However, this still remains a pleasing slab of exploitation for the not-easily offended. Below, you’ll find what Youtube calls a ‘trailer’ but is really more a random selection of clippage; however, it’ll still give you an idea of what to expect.

Dir: Norifumi Suzuki
Star: Miki Sugimoto, Reiko Ike, Michitaro Mizushimi

Delinquent Girl Boss: Worthless to Confess

  By

★★½
“Not very violent, and certainly not pink.”

When Rika (Oshida) gets out of reform school, she goes to visit her friend Midori (Katayama), and gets a job working in the garage belonging to Midori’s father Muraki (Ban), even though Midori is estranged from him – except when she needs money to pay off her boyfriend’s gambling debts to the local Yakuza under Boss Ohya (Nobuo Kaneko). Another friend of Rika’s is working in an “art studio”, doing nude modelling to support her sick husband, and still others are hostesses at the Ginza Girls cabaret, a dance-hall which Ohya’s gang are also extorting for protection money. After Muraki has to take a loan using the garage as collateral to pay Ohya, Rika tries to offer herself as an alternative to the boss. This goes about as well as you’d expect, though there’s a genuinely cool twist in which we find someone isn’t quite who we seem. There’s a tragic fatality, which sets the scene for all the girls to get together and take on Ohya’s gang.

As you can tell, there’s no shortage of plot going on here. However, the overall result is more like an overwrought Japanese soap-opera, with a lack of much delinquence, or indeed, real action of any kind from the girls, up until the last ten minutes. Indeed, there’s very little exploitation present at all, with a surprising lack of nudity as well, though personally, this is less a concern. Reading various reviews elsewhere, there is a broad spectrum of opinion as to whether this makes it the best or the worst in the series. I tend to be somewhere in the middle: while I can appreciate the dramatic elements, and the two lead actresses are good in their roles, it’s not what I expected at all, being too worthy, and completely lacking any sense of excess of transgression.

I’m definitely uncertain where the poster image comes from, although that may be because I had to look at it twice, since the first time I thought she was holding a yo-yo. Must have been some kind of residue from Sukeban Deka, I guess.

Dir: Kazuhiko Yamaguchi
Star: Reiko Oshida, Yumiko Katayama, Junzaburo Ban

Bloodrayne 3: The Third Reich

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★★½
“Probably just about the best of the series to date. Take that as you will.”

After the abomination that was Part 2, I’d filed the third entry under ‘watch whenever I have time’, until a spirited debate on its merits (or otherwise) broke out on over oun our GWG forums. That got this one fast-tracked, and I am here to pronounce the official word is… it’s alright, I s’pose. Malthe has improved markedly since she took over the role from Kristanna Loken. In #2, she was little more than a clothes-horse, but now possesses some genuine charisma, though in terms of fighting skills, still leaves a good chunk to be desired. The makers, apparently realizing this, offer distraction in the way of ample cleavage shots, and some gratuitous nudity – which, if your luck is like mine, is exactly when your wife will walk in. Admittedly, telling her I was going to be watching Schindler’s List was probably a mistake, in hindsight…

As you can likely surmise from the title, this takes place in World War II – if you’re playing along at home, that’s three different centuries for the movies now, so I guess the next one will have to be ‘Bloodrayne in Space’ [Uwe, send payment for this idea to the PO Box, please]. During an attack on a train taking ‘undesirables’ to the death camps, Rayne sinks her fangs into the local Kommandant (Pare). However, she doesn’t kill him, and with the help of the local resistance, has to clean up the resulting mess, before Der Kommandant and his mad doctor (Howard) can get to Berlin and turn Hitler into Der VampireFuehrer.

The main problem is that runs only about 70 minutes before the very slow end-credit crawl, and feels like a good hour is missing somehow, as the storyline leaps about, and rushes through a finale that seems completely unsatisfying and badly under-written. The result is a movie where the individual scenes are decent enough, yet you reach the end and find yourself thinking, “Is that it?” and wondering if you had dozed off someehere in the middle. The sense of unfulfilled expectations are likely down to this. If the movie is certainly a clear upgrade on its immediate predecessor, it’s hard to see how it could be otherwise. Still, I’d like to see what Malthe can do in a less apparently-hurried production.

Dir: Uwe Boll
Star: Natassia Malthe, Michael Pare, Brendan Fletcher, Clint Howard

Death Row Girls

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★★
“Despite the poster, more WiP than GwG.”

Misaki (Hoshino) is in prison for stabbing a policeman to death, but is taken from her jail to a remote island. There, she joins the rest of the hand-picked prisoners, who are there to be trained by a mysterious government organization, and moulded into operatives who can be used to protect national security. Most of the inmates just want to make things easy, sleeping with the guards in exchange for privileges, but Misaki is made of tougher stuff, and won’t buckle down to the authorities. While she begins plotting how to escape the island, she needs to overcome a number of problems, not least having no idea about where it is, and whether the small boat they stumble across will be capable of getting them to any other land.

There’s definitely elements of Nikita here, not least the sequence where Misaki tries to take the facility head hostage. Except that, where that breezed through the training inside 25 minutes, it is, more or less, the entire focus of proceedings here. Hoshino snarls nicely as an independent and feisty bad girl, yet neither she nor any of the other residents are in the slightest bit convincing. I’d normally avoid using a phrase like “runs like a girl” as unnecessarily demeaning… except here, where it’s entirely accurate. I can see absolutely no chance – zero, zip, nada – that any credible group would select her, or the rest of the inmates, as potential trainees.

The film does deliver the expected helpings of gratuitous nudity and moderate violence, as things bumble along towards the climax, where Misaki has to battle her jail friend, to the death. Winner gets to leave, loser…well, will be dead, so shouldn’t worry themselves about it. It’s not exactly the best knife-fight you’ve ever seen, and the ending leaves a good deal to be desired in terms of tying up the loose ends as well. The 84 minutes passed reasonably enough though, and it’s reasonably competent, albeit by the genre’s fairly-low standards.

Dir: Sadaaki Haginiwa
Star: Aki Hoshino, Emi Kitagawa, Ren Suzuki, Ami Natsui
a.k.a. Female Prisoner 1316

Gothic & Lolita Psycho

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★★★½
“First martial arts movie where the heroine dresses like a refugee from a Sisters of Mercy concert. Er, kids, ask your parents.”

First of all, “Gothic Lolita” is a Japanese style term; Lolita fashion is based on clothing from the Victorian era, and the Gothic sub-genre is…well, suitable for a Victorian funeral, basically. Quite why heroine Yuki (Akiyama) decides to dress like this, after her mother is murdered by a group of five thugs, is never satisfactorily explained. Actually, it’s never even mentioned, putting it alongside the issue of why her father (Yanagi) is apparently a Christian priest, now confined to a wheelchair as a result of the attack. Or where Yuki is now a skilled fighter, armed with a bulletproof, lethal umbrella that can kill you in a variety of ways. Where does she get those wonderful toys, to borrow a phrase.

What matters here are her battles against the five killers, starting with a gambling den house-mother, through a lecherous and psychic teacher, up to the “big bad” (Aoyagi), the man who co-ordinated and led the attack on her parents. They’re a decidedly mixed bag. The lower tier make it clear that Akiyama was likely not cast for her fighting talents, but more to do with her being named “Best Butt in Japan” for 2007, though the film is pleasingly free of nudity. The best is probably her fight against Lady Elle (Momose), a marvellous character who comes off like a highly-caffeinated version of Elle Driver crossed with Hit Girl, complete with sparkly eyepatch and a gun that flips open into a pink mobile phone. I could have watched those two for the entire movie, bickering and brawling.

Yeah, if you hadn’t noticed, it’s more than a little like Kill Bill, though mercifully without anyone droning on about comics. The final battle isn’t quite up to the same level, and there’s a twist in the ending which is probably not necessary: it adds a level of fantasy to proceedings that goes nowhere. But despite the flaws, it remains a unique item, and if you appreciate the recent wave of Japanese hypersplatter, this is another entry you’ll enjoy in the genre, with everyone possessing appropriately-high blood pressure.

Dir: Go Ohara
Star: Rina Akiyama, Yurei Yanagi, Ruito Aoyagi, Misaki Momose

The Breakout

  By

★★★½
“Really, DVD company? “Ultimate chick fighting”? Sheesh.”

S’funny what you stumble across on Netflix, at the end of a long chain of “See also…” recommendations came this, which according to the Amazon listing, this was “the first ever all women’s Mixed Martial Arts fight card.” Which it isn’t. I can state this for a fact, because we already reviewed Hook ‘n’ Shoot: Revolution, from almost five years prior to this night in Minnesota. This has similar strengths and weaknesses: there are clearly a number of talented women fighters, but it’s hard to put together a card without mismatches.

The most obvious one here is a main event which pitted Megumi Fujii against local fighter Cody Welchlin. Fujii was a perfect 10-0, while Welchlin had exactly one fight on her record. I read online Welchlin was a late replacement, and if so credit is due for taking on one of the top fighters in the world at two weeks notice. However, the result was exactly as you’d expect, and over inside three minutes [Fujii has subsequently become only the second MMA fighter of either sex to start her career going 22-0 – and the consensus is, the sole defeat on her record was a highly-dubious loss]. The penultimate fight between another local, Kelly Kobold and Adrienna Jenkins, was more even, with both fighters having double-digits victories. But Kobold charged in from the get-go, and never let up, even raining up punches when Jenkins was above her, and those blows resulted in a verbal submission at 3:26 in the first round.

Three minutes was about the average length of the bouts; Ginele Marquez got a rear naked choke on her opponent Liz Posener at the 3:16 mark in her bout. Marquez had Gina Carano in her corner: Carano is not just one of the top fighters in women’s MMA, she’s also the star of the upcoming Stephen Soderbergh flick Haywire. Was quite surprised the production didn’t mention her presence at all, as they did speak to some of the male MMA artists present, such as Jens Pulver [who was Jenkins’ fiancé]. Erin Toughill, another noted name, was also involved, doing colour work round the cage, and the production came over as generally slick and professional.

The shortest match of the night – lasting exactly one minute – was a bit unfortunate, as Shayna Baszler actually broke the arm of her opponent, Samantha Anderson. She was applying a submission hold on the arm, but it seemed that Baszler fell forward, resulting in the pressure being made much worse, and resulting in a clean break of her humerus. Ouch. The opening contest [on the DVD – there was an amateur fight not included for some reason] was the only one that lasted longer than one five minute round, with Marissa Inhofer beating Kirsty Bushnell. As well as being the brother of another MMA figher [Nick Inhofer was on The Ultimate Fighter 3] Inhofer was a roller-derby girl, and seemed to have brought a large contingent of her team-mates with her.

I can’t claim to be an expert in MMA, but as noted, the ‘Ultimate Chick Fighting!’ tag on the DVD sleeve does the women involved a disservice. As one of the commentators pointed out, “Pain doesn’t discriminate,” and it was also noted that it’s harder for women, since they typically have to hold down a full-time job, as well as fit in the rigourous training required. Respect is definitely in order. However, at the point of this event (March 2007), there still seems to be a lack of depth in the talent pool, which leaves a card like this short of truly successful.

Star: Megumi Fujii, Kelly Kobald, Adrienna Jenkins, Cody Welchlin

Nexus: The Drug Conspiracy

  By

★★
“You’ll probably need some drugs to get through this one.”

If you’re going to use a cover like this, you’d better live up to it, even if we can forgive the heels as artistic license. And while not a complete lie, this takes far too long to deliver, and comes up short of expectations. Holly (Kosaka) is a nightclub singer, separated from her husband, who got custody of their daughter due to a DUI Holly got, with the daughter in the car. On arrival at his house to pick up their child for a scheduled visit, she finds him missing – and a gun in the basement, along with a case of drugs. She calls the police, but ends up getting arrested after the police find her husband’s body, and her fingers on the murder weapon, which has mysteriously moved from the basement to the scene of the crime. The drugs have also vanished; while held in jail over the weekend, Holly gets a visit from their owner, who busts her out and insists she return with him and his thugs to the house to show her where they are. Can she escape their grasp, rescue her daughter and find out who the real murderer was?

Among the things we learn from the movie is that trees give off a shower of sparks when hit by bullets, there are only three cops per American town, and getting shot in the knee doesn’t slow you down. Yeah. I can forgive many things in low-budget films, but stupidity isn’t one of them, and too often, we were left rolling our eyes as the story developed. Kosaka isn’t bad in the lead role, and shows a commendable willingness to do stunt, not least being swept down some fairly nasty-looking rapids, as she tries to escape from her pursuers. It’s only then that the film develops any real energy, Holly developing in to a (somewhat) unstoppable force, prepared to go to any lengths to save her offspring.

If they’d adopted this approach from the beginning – hell hath no fury like a separated mother – this might have been salvageable, even on the low budget. They could even have lobben in her using the new drug mentioned here, Nexus – a mix between cocaine and ecstacy – to sustain her rampage. Just a thought. Instead, the script spends way too much time hanging around and chatting about things, instead of doing them, and the results are as pedestrian as you would expect.

Dir: Neil Coombs
Star: Grace Kosaka, Andrew Kraulis, Jefferson Mappin, Nick Alachiotis

6 Guns

  By

★★★½
“Hannie Caulder with less cleavage. And no Christopher Lee.”

The Asylum studio are infamous for producing ‘mockbusters’ – straight to DVD look-alikes of big-budget movies, designed to benefit from their publicity budgets. These have included their own versions of Sherlock Holmes and War of the Worlds, but they do make their own original works, including cheesy delights such as Mega Python vs. Gatoroid, starring 80’s popsters Tiffany and Debbie Gibson. They come in for a lot of flak as a result – some justified, some not, for this is neither mockbuster nor cheesy, and is surprisingly solid, if you want a straightforward Western tale of revenge. Selina Stevens (Mears) has to watch as her husband and two young sons are killed by Lee Horn (Mead) and his gang; she is brutally raped and left for dead, beginning a decline into alcoholic despair. Having reached bottom, she meets bounty-hunter Frank Allison (Van Dyke), and asks him to teach her how to shoot – conveniently, just as Horn’s crew start to make their way back to town. The townsfolk’s repeated affirmations that they feel safer with Frank around, might have been a bit premature.

Ok, ‘original’ might be a bit of a stretch, as the storyline is more than a bit reminiscent of Hannie Caulder [which I must get round to reviewing at some point], though sensibly reins back the glamour Raquel Welch provided there. On its own merits, however, this is based on a solid trio of central performances, with Mead particularly memorable as the black-hearted thug – in an interesting twist, it’s revenge which also triggers his initial assault on Stevens’ family. Selina’s transition to a gunslinger is nicely handled; she doesn’t exactly become a sharpshooter – but when opportunity presents itself, can shoot a fairly stationary target at shortish range, which is credible. Against this its low-budget nature is highly-obvious, with the “town” inhabited by about 12 people, and the action in general could have been spliced in from any randomly-selected 1950’s oater.

This remains a decent tale, satisfactorily told, with interesting characters, good performances and more than a local resonance, given its placedropping of Arizona names. And in case you’re wondering, no, there are not six guns in the movie, despite the title [depending on the count, there might be five or seven…] Still, you’d be hard-pressed to argue that this doesn’t fall in the upper echelon of the studio’s movies: this kind of thing should escape from The Asylum more often.

Dir: Shane Van Dyke
Star: Sage Mears, Barry Van Dyke, Geoff Meed, Greg Evigan

Colombiana

  By

★★★
“The revenge and hit-woman genres could cross-pollinate each other. Just not here.”

There are moments where this seems to have the potential to break out beyond its story, but once you get past the strong central core, the script has very little to offer. Cataleya (Saldana) narrowly escapes death when her parents are killed on the orders of their gangster employer, Don Luis. She flees from Colombia to Chicago and is raised by a family friend, but never forgets where she came from, and has revenge on her mind. Grown-up, she becomes a hit-woman, but has a side-project of payback. She has an occasional boyfriend (Vartan) who knows little about her, and a dogged FBI agent (James), intent on tracking down the mysterious, elusive killer. Y’know: all the usual baggage that goes along with being an assassin.

The action, however, is what rescues this, and when the heroine is in motion, it’s generally fluid and effective. There are two sequences in particular that stand out: Cataleya’s hit of a gangster in prison, and the final showdown where she goes to Don Luis’s headquarters, and takes on… Well, to borrow a famous line from another Besson script, “Everyone!” They are well-staged, with Saldana showing flexibility and athleticism of an impressive degree (Besson’s fondness for parkour also shows up). However, between these two, there isn’t much to speak of; a third sequence, involving a swimming-pool filled with sharks(!) fails, mostly because you’re wondering why the hell Cataleya opted to swim across said pool rather than – oh, I dunno – walking around it?

The background stuff doesn’t work either, particularly the efforts to give her a normal life, which seem both perfunctory and contrived, and Vartan’s role is entirely pointless in emotional terms. I suspect, going by past history, Besson would have been better off directing this himself, not giving it to the man who handled the eminently forgettable Red Siren and Transporter 3. This might be as close to a Leon sequel as we’ll ever get. However, a while back, probably nearly 15 years ago now, I came up with an idea for a film about a woman who witnessed her family being killed, and a decade later, came back for her revenge. I even got as far as starting on a script. While I’m probably biased, I’m pretty sure it was better than Colombiana.

Dir: Olivier Megaton
Star: Zoe Saldana, Lennie James, Michael Vartan, Jordi Molla

Sweet Karma

  By

★★★½
“Hang on: I thought revenge was sweet, not karma? Oh, well: never mind.”

After she gets word, back in their native Russia, that her sister has been killed in Toronto, Karma (Bechard) vows revenge on those responsible. This pulls her in to a seedy, dangerous world of sex trafficking, with women being lured from Eastern Europe to the West, with the promise of legitimate jobs, only to forced on arrival into working as strippers or worse, by the criminal elements who organize and run the business, with a fist of iron. As Karma stabs, shoots and bludgeons her way up the chain of command, those at the top grow increasingly restless. Initially, they think a rival gang is responsible, but the evidence eventually convinces them Karma is, indeed, a bitch,

This was better than I expected, with the obviously low budget working more for the film than against it, enhancing the ‘grindhouse’ feel that you have here – Karma is mute, which adds a definite resonance of Ms. 45 or Thriller: A Cruel Picture, though little more than that. It’s certainly not short on nudity and violence, but rarely topples over the edge into gratuitous, being largely necessary to bring out exactly how callous those are, treating the women as nothing more than slabs of meat, as in the scene where the girls “learn” pole-dancing.

After the initial death – an assault using office supplies, whose aftermath has Karma puking her guts out into a waste-paper basket – it does take a little while to get back to the nitty-gritty. There’s also a mis-step towards the end, where attention is diverted from the heroine, to an undercover cop (Tokatlidis) who is none too pleased to have his case threatened by an avenging angel. And some of the dialogue is a little too Tarantino-esque, e.g. burbling on about hockey. Well, it is Canadian, I guess.

However, the pluses generally outnumber the minutes, with some imaginative deaths, not least the pimp lured into a bathroom and offered “cocaine” by Karma. Bechard, despite her lack of dialogue, does a good job of putting across the determination she feels in pursuing her goal, and I liked the throbbing techno soundtrack which underscores proceedings. I’m also pleased to see it avoid the faux trappings of some recent genre entries, such as Machete. I was expecting something a good deal shinier, shallower and, well, shittier; instead, it’s a grubby and fairly serious look into a world which we probably would rather ignore.

Dir: Andrew Thomas Hunt
Star: Shera Bechard, John Tokatlidis, Frank J. Zupancic, Christian Bako