Category: Review

Killers 2

  By

★★★★
“Heather is sick and twisted…”

Director Latt and star (and wife) Little came to our attention through a highly-amusing comedy about TV, Jane White is Sick and Twisted. This is radically different, but still effective, thanks to Little’s performance as Heather. The sole survivor of a warehouse massacre, she is taken, catatonic, to a mental hospital. The bad news is, associates of the gangsters she killed want her dead – try convincing a doctor his staff have been bribed to off you. [They skip the potential ambivalence as to whether Heather actually is imagining everything.] The good news is, she has developed ‘hunter craze’, and is capable of enormous strength and savagery when threatened; hence her nickname, ‘The Beast’.

The detailing is poor: Heather’s hair changes length at random; crop-tops & make-up are apparently easily available; she dislocates her shoulder to escape a straitjacket, but five seconds later, she’s 100% well. Yet there is a lot to admire, especially a final battle where the gangsters give up trying to make Heather’s death ‘accidental’, and storm the hospital – it’s an excellent sequence, albeit underlit, like much of the film. We also liked co-incarceree Emma (Martin), in for clinical depression, and not the best hostage for the villains, since she wants to die. There’s something of Angelina Jolie in Girl, Interrupted about her. We haven’t seen Killers, yet happily recommend the sequel, though it ain’t One Flew Over the Cuckoo’s Nest. Refreshingly free of romantic interest, this is a straightforward story, vigorously told and largely avoiding low-budget pitfalls.

Dir: David Michael Latt
Star: Kim Little, D.C.Douglas, Mellisa Martin, Nick Stellate

Fatal Conflict

  By

★★★
“Die Hard in space – no ifs or ands, though plenty of butts…”

Wuhrer plays Sasha, a space pilot coerced into attempting to stop a rocket, hijacked by evil emerald dealer Conrad Nash (Rossi) and his creepily incestuous sister Carla (Rubin), from ploughing into LA. The proper pilot (O’Keefe) provides assistance, with much running around corridors and plunging into a glycerine tank. Yes, glycerine: a feeble excuse to give our heroine the wettest T-shirt of all time. Between this and the “ass panning” (as Chris described Simandl’s fondness for shooting at waist level), it seems disturbingly fetishistic, though a large chunk is due to footage spliced in from another movie – see Jolly Roper’s review for full details. Hack out all that stuff, and you’ve got a serviceable little movie in the Die Hard vein, with the cast doing surprisingly well. Wuhrer, Rossi and Rubin are all interesting to watch, and are entirely responsible for this being half-decent.

Well, I thought it wasn’t bad – Chris, in her regular role as voice of sanity, pointed out several gaping plot holes. Not least, when Sasha gets the drop on the villain, she doesn’t simply kill him, but embarks on a convoluted plot to con him into believing she’s an escaped prisoner. This was perhaps to justify earlier jail footage, large chunks of which also look suspiciously like they came from somewhere else. If I’d watched these other movies, I’d probably feel significantly more cheated – as is, it gets the benefit of first sight and so proves an acceptable time passer. If all else fails, start the drinking game where you take a swig for every gratuitous buttock shot. Unconsciousness will soon be upon you.

Dir: Lloyd Simandl
Star: Kari Wuhrer, Leo Rossi, Miles O’Keefe, Jennifer Rubin

Outside the Law

  By

★½
“A reminder of the inalienable rule of Rothrock films: the US ones suck.”

This is the first Cyn-flick seen in a while: rumour has it, she made a brief diversion (after implants) into erotic thrillers, but the good news is, she’s back in the martial arts arena. The bad news is, er, the film. It starts with her DEA colleague, about to bust a Colombian drug-lord, promising Julie (Rothrock), “Four kids, a dog, and a house with a white picket fence.” You know he’s dead, though given his willful lack of a bullet-proof vest, he also has a death-wish.

Before dying, he hands her evidence on the sale of US-government supplied equipment to the cartel, making Julie a target. Returning to Florida (how, exactly?), she goes on the run, with a dog, a truck and a sense of justice. Eating in a restaurant, she breaks up a fight, and gets fully involved when the woman running the joint is murdered by a guy connected to (tah-rah!) Colombian drug-dealers.

All of which might not be so bad; you watch this kind of film for action, not plot. But the director has no idea how to shoot fights, and the results are so poor as to make it look as if Rothrock has been replaced by a stunt double in a bad wig – oh, sorry, that’s her hair. The results are a pale imitation of her work in Hong Kong, and are even less interesting than the likes of China O’Brien. If she is, as the sleeve claims, “the queen of martial arts”, a popular coup must surely be imminent.

Dir: Jorge Montesi
Star: Cynthia Rothrock, Jeff Wincott, Seamus Dever, Dan Lauria

Supreme Sanction

  By

★★½
“Alias kicks back with a martini and some valium.”

Director Terlesky starred in one of my favourite guilty pleasures, Deathstalker II, but this shows he still has much to learn about directing and, particularly, scripting. There just isn’t enough going on here to sustain attention, with too many scenes taking twice as long as necessary. Swanson plays Jenna, assassin for a government counter-terrorist agency which is now creating incidents in order to get increased funding. She switches sides and protects TV journalist Jordan McNamara (Dukes), whom she has been ordered to kill – her handler Dalton (Madsen) must now take her out.

Subsequent events have given this 1999 film a creepily prescient air, and I’m always up for a good conspiracy. But neither Swanson nor Madsen ever provide the necessary energy, which we know the latter at least can deliver (though he gets the best moment, shooting the journalist, then offering him a BandAid). Faison makes a mark as Marcus, Jenna’s gadget man who avoids the usual stereotypes, but Dukes is so irritatingly whiny, it’s hard to see why Jenna chose to save him.

There are moments proving the ideas have potential, such as Jenna and Marcus disguising themselves to penetrate the enemies’ base. More of this invention would have helped enliven what is instead just marginally acceptable entertainment. The climax also relies on chief villain Ron Perlman willingly confessing all to his “helpless” captive. Guess he must never have seen any Bond films.

Dir: John Terlesky
Star: Kristy Swanson, Michael Madsen, David Dukes, Donald Adeosun Faison

Retroactive

  By

★★★★
“Trippy time-travel done with almost enough energy to cover the plot holes.”

It’s not often I criticise a film for too much explanation, but Retroactive might have been better off with more hand-waving. I’ll explain later; first, the plot. Travis plays Karen, a police negotiator who just screwed up badly; driving down South she ends up hitching a ride with Frank (Belushi) and his abused wife Rayanne (Whirry). Frank is a psycho, and Karen ends up sheltering in a secret lab where time-travel experiments are going on – she ends up with another chance to deal with Frank, only to discover this second attempt may not be an improvement…

This is a nifty little sleeper that seemed to get buried when Orion Pictures went belly-up. It deserved a better fate, with everyone turning in sterling performances, even if Karen’s reaction to being shot back in time is too calm and understated! Belushi makes a fine, creepy redneck, a sense of tension springing from your feeling he is capable of anything at any time. The deviations with each attempt are marked and cleverly written, and the ending is satisfactorily imperfect.

Our qualms were largely because, unlike Run Lola Run or Groundhog Day, which made no attempt to explain what was happening, here there’s just enough logic to be unsatisfying. The “rules” are clearly important – for example, do time-travellers keep their memories? – yet are inadequately laid out. We spent the last 15 minutes with furrowed brows, trying to see if it made sense. It may, or may not, but either way was an unwelcome diversion in an otherwise pleasant surprise.

Dir: Louis Morneau
Star: Kylie Travis, Jim Belushi, Shannon Whirry, Frank Whaley

Anita Blake, Vampire Hunter, by Laurell K. Hamilton

  By

★★★½
“Buffy’s all grown-up and raising the dead…and having an ever-increasing amount of sex.”

This long-running series, with the 11th entry due in 2003, takes place in an alternative reality where vampires have equal rights as citizens. Heroine Anita Blake is a state-appointed executioner (“when good bloodsuckers…go bad…“) in St. Louis, who takes out the undead trash and also has a day job – actually, more of a night job – raising zombies. Oh, did I forget to mention them? There’s also were-creatures, ghouls, and pretty much the whole range of supernatural monsters.

It’s a grand, richly-detailed universe in which to play, and the first few novels are highly recommended, fast-paced action romps. Blake is a great character, who takes no bull from anyone, yet has vulnerabilities which are endearing (such as her stuffed penguin collection) and add depth. The first one alone will probably leave you wondering why in the hell any studio ever bothered with Anne Rice.

Unfortunately, beyond about the fourth or fifth, Hamilton loses the plot – literally. A truly bizarre love-triangle is set up between Anita, Richard the werewolf, and Jean-Claude, the walking cliche (all French accent and sensuous gaze) who is the local master vampire. By about the third volume of this, I was rolling my eyes and urging her to fuck one and kill the other, just to get it over with. If I wanted supernatural porn, I’d read it – instead, I’ll just quietly pine for the action-centred heroine of the earlier entries, and wait for Hollywood to catch up. Salma Hayek for Anita Blake?

By: Laurell K. Hamilton
Publisher: Penguin-Puttnam (US), Orbit (UK)

The Terrorist

  By

★★★½
“Not your average Bollywood film – some fabulous moments, and some really tedious ones.”

Loosely based on the assassination of Rajiv Ghandi, this focuses on Malli (Dharker), a 19-year old guerilla chosen as a suicide bomber. With flashbacks to earlier events, it covers the journey to the killing zone, where she awaits her target and her destiny.

Right from the start, where she shoots a traitor in the throat, we realise Malli is not your average teenager; she has lost all her family, and has nothing left but the cause. She isn’t the only one – perhaps the most chilling sequence is an ‘interview’ for the position of “thinking bomb”, where the candidates beg for the honour of dying. However, when she leaves the moral certainty of camp, she begins to have doubts. Perhaps there’s more to life than death; it’s hard to destroy yourself when you feel someone would miss you. In particular, the farmer with whom she stays (a charming, voluble performance from Parmeshwaran) embraces this taciturn stranger without qualm and leaves Malli with a dilemma.

A lot of the weight of the film has to be carried by Dharker, who is in almost every frame. She has a definite presence; however, staring at the camera is hardly a stretch. Throughout this, there are frequent moments which make you gasp, but Malli’s silence leaves a huge gap in the film, and there are just too many scenes which are beautifully photographed but otherwise appear pointless. The ending, too, is distinctly unsatisfying on all but a basic level. It does give an understanding of fanatical psychology: post 9/11, that’s an area deserving of coverage.

Freeze Me

  By

★★★½
“A chilly tale of rape, revenge and household appliances.”

Five years after a vicious gang-rape, Chihiro has somewhat recovered, with a new apartment, job and boyfriend. But one of the attackers turns up on her doorstep, with a video of the assault, and threatens to destroy her new life. He moves in. Worse yet, his colleagues are on their way. What’s a girl to do? If you answered “kill the bastard, stuff him in her freezer, then wait for the other two rapists”… you’ve clearly seen this before.

This film is often difficult to watch, on several levels. On the down side, Chihiro is such a passive victim, it’s hard to feel much initial sympathy for her – letting the guy who raped you stay in your flat with barely a whimper of protest, is so damn… wussy as possibly to turn you off her character. It might have made more plot sense to have her kill the first one, then she’d have good reason not to seek help when the second moved in. Though when you see the attack, it’s so brutal, nasty and vicious (exactly how rape should be depicted), that her post-traumatic shock is more explicable.

The change that comes over her as a result makes for intriguing viewing – the title is entirely apt, since she gradually transforms into something every bit as cold as her enemies, and is finally so blase as to order another fridge while the intended occupant is playing video-games in the same room. By the end, it’s hard to say who is more dangerous to know; at least the rapists know they’re doing wrong. Credit to Inoue – better known as a model in Japan – for a creepy performance, and to Ishii for pulling no punches, an approach which rescues the film after a wobbly start.

Dir: Takashi Ishii
Star: Harumi Inoue, Shingo Tsurumi, Shunsuke Matsuoka, Kazuki Kitamura

The Black Angel

  By

★★½
“Promising start to gangster revenge, but goes off rails badly.”

The first half of this is quite excellent. A young girl, Ikko, daughter of a Yakuza boss, sees her parents murdered on the orders of her step-sister but is rescued by the Black Angel (Takashima), a female assassin, and escapes to America. 14 years later, she returns (Hazuki), calling herself the Black Angel and starts wreaking revenge on those responsible – who retaliate by calling in the real Black Angel. The potential here is huge, not least because the original is now an alcoholic junkie, at one harrowing point reduced to licking drugs from broken glass.

Then it all goes horribly wrong for the viewer. The dividing line is the eight-minute, one-take shot of Ikko wandering around a building trying to escape while being taunted by thugs. It is incredibly pointless, overlong, and sucks the energy out of the movie like a vampire. After that, it just collapses in on itself like a balloon, and has very little more of interest to offer – both Chris and I dozed off at various points. There’s much pointing of guns at each other, and one final twist, but it was nothing you won’t see coming, and of absolutely no significance by that stage, since we had long ceased to care. A spectacular crash.

Dir: Takashi Ishii
Star: Riona Hazuki, Reiko Takashima, Kippei Shiina, Yoshinori Yamaguchi

Bandidas

  By

★★★★
“How the West was Wo(ma)n…”

Let us make no mistake about this, this is a frothy confection of a film, which is not intended to be taken seriously; to do so, would be a serious mistake. The closest parallel here is probably to think of it as a distaff version of Shanghai Noon, with an odd couple teaming up for fun ‘n’ frolics in the Old West. Robber baron Tyler Jackson (Yoakam) comes to Mexico to take away land from the locals so a railroad can be built. In the process, he kills the fathers of both farm-girl Maria (Cruz) and rich-girl Sara (Salma), so he can take their property and bank respectively. To get revenge, each lady independently decides to rob the same bank at the same time, and are forced to team-up; their widely-disparate characters initially cause friction, but they eventally come to respect each other, after being trained by retired robber Bill Buck (Sam Shephard).

When they start their campaign, Jackson brings in a specialist in the new ‘scientific method’ of criminal investigation, Quentin (Zahn), to help track down the bandidas. However, after discovering Sara’s father was poisoned, heis convinced by the pair that he is actually working for the wrong side, and comes across to join them. The latest security measures are defeated – with the aid of a pair of ice-skates! – and as a result a train is loaded with the Mexican government’s gold reserve, to ship it to safety in Mexico. The bandidas resolve to take the cargo, but Jackson and his gang are waiting for them…as is Quentin’s fiancée…

This was co-written by Luc Besson: he is the engine-room of European cinema, listed as a producer of no less than 60 titles over the past five years on the IMDB. He likely deserves a place in the Girls With Guns hall of fame, having directed Nikita and The Messenger, given Milla Jovovich and Natalie Portman their action-debuts in The Fifth Element and Leon respectively, worked as an uncredited co-producer on Haute Tension, and now delivers this. It came up in response to a request from the two leads, who’ve wanted to work together for a long time, and he handed the script to two Norwegians, making their feature debut [but with a lot of commercial experience].

However, there’s no doubt that it’s the leading ladies who make this one click, right from the first scene together, where Sara confronts Maria, who has snuck in to the house to argue with Sara’s father about the ongoing land-grab. The bickering between the two, which continues, in an increasingly friendly way, through the entire film. Maria snipes at Sara because the latter can’t fire a gun to save her life – in a beautiful touch, she gets terrible hiccups when she tries; Sara taunts Maria for her lack of education.

The two also argue over who is the best kisser, notably in a scene where they are dressed as Paris showgirls, and are trying to extract information from Quentin, who is tied to the bed. And Steve Zaun was actually paid to take part? ;-) That’s about as far as the film goes, sexually speaking; much cleavage, but no actual nudity. A fondness for the heroines splashing around in water, especially early on, and the above-mentioned comedic seduction scene, is about as close as we get to exploitation. That news may disappoint some readers, but it really wouldn’t be in keeping with the overall tone of the movie, which is light-hearted and firmly PG-13 rated, despite lesbian scuttlebutt which circulated afte a press conference where Penelope (gasp!) touched Salma’s butt.

What did disappoint me was the action. I expected more from Besson, who helped give us such gems as The Transporter and District B-13, as well as the titles mentioned above, though a couple of moments stand out. There’s a bravura slow-motion scene in the final battle – bullets, knives, bodies and debris fly in a single shot, the camera panning back and forth to capture the carnage. But, the most amazing part is seeing a horse, with a rider on its back, climb a ladder. This was apparently a combination of training (the horse, with a stunt rider, walked up a specially-made set of stairs) and CGI work by Parisian FX house Macguff, to replace the stairs with a ladder, add dust and bounce, etc. It’s a throwaway moment, in a throwaway film, but is worthy of note, and applause.

That may be perhaps down to the leads’ lack of experience: Cruz’s only real brush with the action genre was Sahara, Hayek has more background (working with Robert Rodriguez helps there), but neither of them would appear to be looking to make a name for themselves with their work here. A sequel is hinted at by the ending; however, that this $30m production went all but straight to video in the US and notched only $18m overseas would seem to rule this out. One wonders why, for a film set in Mexico and with two Hispanic leads, why they didn’t speak Spanish; one assumes Besson, with his eye on the international market, went for the more commercial English, even though Cruz seems slightly ill-at-ease thee.

These qualms are relatively minor, and if not the all-out action fest I was hoping for, it’s certainly among the best Westernettes of recent years. This is not a genre which has been kind to action heroines in the past, including such bombs – justifiable or not – as Bad Girls and The Quick and the Dead, as well as less high-profile turkeys as Gang of Roses. Bandidas is nowhere in the same league, and if survives almost entirely on the charisma and energy of Cruz and Hayek, that’s by itself is something which most movies would like to have. If you can certainly argue that to some extent this is a vanity project, here, I’d be very hard pushed to call vanity a sin.

Dir: Joachim Rønning and Espen Sandberg
Stars: Penelope Cruz, Salma Hayek, Steve Zahn, Dwight Yoakam

"If you can certainly argue that to some extent this is a vanity project, here, I’d be very hard pushed to call vanity a sin."