Tag: 1987

Run Coyote Run

  By

★
“Coyote ugly.”

runcoyoteI must have masochistic tendencies. For having seen Bryan’s Lady Streetfighter, which I described as “Legitimately terrible, among the worst films I’ve ever seen,” I inexplicably decided to watch this half-sequel, half-remake, from the same director. It was Sunday and I was bored. What can I say? This isn’t quite as awful. Emphasis on the “quite,” however, for it’s still very, very bad.

That lack of quality begins right from the thoroughly confusing concept, which has the same actress as in Streetfighter (Harmon), portraying psychic Interpol agent Anne Wellington, who is the sister of the character she played previously, Linda Wellington. Anne is looking into the mysterious death of Linda, and discovers that her sister was close to acquiring a highly-incriminating cassette, in which an organized crime source spills the beans, naming names. Needless to say, the local mob are keen for this tape not to fall into the hands of the authorities, and send a hitman biker priest (Neuhaus) after Anne.

The whole “psychic” angle appears largely an excuse to re-use scenes of Linda taken from Streetfighter, which Anne sees in her dreams. This is perhaps credibly economical, and fits in with the plot. But those more familiar with the director’s work than I ever want to be, report that Coyote also includes footage out of other, entirely unconnected Bryan films. Perhaps he’s relying on the idea that nobody would notice – which makes sense, since it would require someone to watch more than one of his movies. Guess he under-estimated the hardiness of true bad-movie fans.

For, make no mistake, this is every bit as bad, as you would almost inevitably expect a film to be which consists of scenes taken from multiple different features, spliced together with entirely new footage. [I added the word “almost”, having remembered the incredible Final Cut: Ladies & Gentlemen, which puts together clips from 450 movies into a story that’s not just coherent, but also emotionally engaging] It peaks early, with an opening gun-battle and resulting car-chase that borders on the competent, for Bryan’s strength seems to be when he is not having to handle dialogue.

Or plot. Or acting. For it then plunges downhill thereafter, to a finale where the bad guys get blown up because they spend their time banging on a closed door, rather than – oh, I dunno – snuffing out the fuse on the dynamite which is sitting on the table beside them. Harmon’s thick, middle-European accent returns, and at least they made the effort this time to give her an overseas back-story, Shame they didn’t also make her a cyborg psychic Interpol agent, which would have helped explain her monotone delivery. If this does anything positive, it’s re-calibrating my genre scale: it’s comforting to realize that, 14 years into this site, I can still identify the garbage which borders on unwatchable.

Dir: James Bryan
Star: Renee Harmon, Frank Neuhaus, Timothy De Haas, William A. Luce

Guangdong Heroine

  By

★★★
“A heroine has no name.”

This is something of an obscurity. It’s available on YouTube, which is where I saw it, but I was unable to find an IMDb entry for it, or any other information beyond what is present at the source. It’s hard even to tell when it was made, because it’s a period piece, set (I’m going to presume) during the Japanese occupation of Manchuria in the 1930’s. We first meet the heroine (Yu) – who is never referred to as anything except “Guangdong Heroine” – as a schoolgirl, when her and a friend are attacked and raped by foreign soldiers. Unable to cope with the shame, her friend throws herself off the cliff, just before Ms. Heroine is rescued by the timely arrival of a group of rebels. She joins them, and rises up through the ranks, eventually taking over when their leader passes away, naming her as successor.

She becomes a leader of the resistance, famed throughout the province to the extent that various copycats take her name, while carrying out attacks on the occupying forces. But she has issues of her own, worrying that she is not feminine enough to attract the co-rebel for whom she has affection, the equally clunkily-named Tiger Four (Wei). The two eventually begin a relationship, but juggling romance and duty proves problematic. Things come to a head when a group of her soldiers rape a Japanese woman they took captive: Heroine has a zero-tolerance policy for such things and the perpetrators are sentenced to death. Which is awkward, since it eventually turns out that Tiger endorsed their actions. Justice therefore demands that he, too, suffer the same penalty. Will romance trump fairness?

It’s a solidly-made item, though rather confusing. Heroine may have a sister who moonlights as a prostitute. She may also have another sister who is the daughter of a Japanese commanding officer. Or the film’s subtitles may simply be using “sister” in its meaning of Communist camaraderie, it’s hard to tell. The movie needs to be much clearer: it is certainly capable of this, such as when Heroine has her future told by a street fortune-teller. None of the vague “You will go on a journey and meet interesting people” nonsense here. He tells her: “The gap between your eyebrows shows death… In no more than half a month, you will be executed,” adding in a not very reassuring way, “Please don’t take offense. This is predetermined.” Chinese street fortune tellers clearly do not mess about.

Overall though, this is not bad, with some surprisingly epic battle scenes (I’m not sure the American Humane Society would agree, because some of the horse-falls look a little tough; there’s another scene early on which is also not going to impress PETA), and Yu has a steely determination about her that’s appealing. On the other hand, I would likely have been more interested in how she rises from violated schoolgirl, to become the heir apparent of a rebel clan, rather than what she does after she gets there.

Dir: Bai De-Zhang and Xu Xun-Xing
Star: Yu Lan, Lau Wei, Bai De-Zhang, Lisa Lu
[Update: I found the IMDb entry!] a.k.a. Guan dong da xia

Sweet Revenge

  By

★★
“More sour than sweet.”

sweet-revengeAh, the eighties. A time of big guns and even bigger hair, going by this underwhelming entry, which sees Allen as feisty and well-lacquered reporter Jillian Grey, who gets too close to the white slaving operation run by Mr. Cicero (Landau). [Even though he operates out of the Philippines, he’s still kidnapping girls out of bars in Los Angeles, which seems logistically inefficient, shall we say] She is abducted and offered for sale, only to break out of the auction with a couple of other American girls – the non-Caucasians are, it appears, left to their own survival – pausing only to rescue international perfume smuggler, Boone (Shackelford). Believing Cicero has also kidnapped her daughter, Jillian convinces Boone to join her and the girls in an attack on the white slaver’s compound – but to get the necessary weapons for that, they’ll first have to help out his outlaw friend, Buddha.

Shudderingly uneven in tone, this would have worked much better if the makers had figured out whether they were going for Romancing the Stone style hi-jinks or New World Pictures exploitation, because what we get here doesn’t work as either. The problem with the former is Boone, who demonstrates the thin line between endearing and irritating, falling firmly on the latter side, as the result of Shackleford’s painful lack of charisma and acting talent. The latter, meanwhile, is defused by the almost complete lack of nudity; save one bit of skinny-dipping, the rest of the film would likely merit a PG these days. There’s lots of running around with automatic weapons, of course, and an energetic amount of things being blown up, plus you get Gershon in what may well be her first feature role, apparently knowing martial arts and making far more of an impression than Shackleford. You can certainly see why, almost 20 years later, she’s still working and he isn’t.

Indeed, the film as a whole would be significantly improved if Boone was removed entirely, and the film concentrated solely on Grey and her sidekicks, even if the whole subplot about the heroine’s daughter is half-baked at best. Just have that happy-go-lucky trio going up against Cicero and his gang of (fortunately, incapable of aiming) goons, and you could have something looking like a better-financed version of an Andy Sidaris film. Though admittedly, you would need some more gratuitous hot-tub action as well, before it would reach that level. Instead, you have something trying to be too many things and appealing to too many audiences, instead ending up as a film which is no better than “somewhat satisfactory” for just about anyone.

Dir: Mark Sobel
Star: Nancy Allen, Ted Shackelford, Gina Gershon, Martin Landau

Mankillers

  By

★★
“Big guns, and even bigger hair.”

mankillers - vhs1I remember bumping into this one back in the 90’s, on VHS [kids, ask your parents!]. Stumbling across it again recently, I wondered why I had ever bothered – but then I discovered the cornucopia of lurid video sleeves used to lure unwary buyers into purchasing or renting it, and it all made much more sense. I can’t remember exactly which one was on the British video releaase, but I think it was a slight variant of #2 (below, left), over a gratuitous background of exploding fireballs. There are times when I miss those days of prowling the local video store, or market stalls, picking up cinematic “gems” based entirely on their covers. And then, I watch something like this, and remember how few of those purchases ever came anywhere close to living up to their promotional material.

Much as in Naked Avenger, this focuses on an international white-slavery ring, inexplicably appearing to be operated out of a run-down junkyard in some backwoods community. The chief perp in this case is John Mickland (Zipp), a former government agent whose inside knowledge means he can easily counter all “official” efforts to bring him down. So, the government turns to Rachael McKenna (Aldon), who visits a local prison to recruit a “grubby half-dozen” of ne’er-do-wells whom she can lick into shape, in order to form a squad that can head into Mickland’s lair and take down his operation. Quite why they have to be women, is never explained: if there’d been some element of subterfuge, such as infiltration by pretending to be merchandise, that’d have made some sense. Instead, it’s not much more than a traipse through a forest, and a gunfight which follows: since there’s no apparent interest in capturing anyone, would have been more logical just to call in an air-strike. But then, I suppose, we wouldn’t have got the lengthy training montage. And, let’s face it, that’s basically just an excuse for hot-pants and crop-tops, as well as some of the eightiest hair I’ve ever seen. Seriously, the film needs a widescreen release, so we can appreciate the full majesty of the coiffeurs on view.

Not least, because there is precious little else to appreciate. This is such a painfully poverty-stricken production – though it looks like Avatar in comparison to Naked Avenger, that when the action comes, it looks more like little kids playing soldiers. When it comes down to McKenna going one-on-one with Mickland, it becomes somewhat more interesting, largely because the latter is as hard to kill as Jason Vorhees, and is capable of taking multiple bullets, yet can still drive away. Lucky that our heroine came prepared, even for this eventuality. However, getting to that final point will tax the patience of most viewers – as well as their hairdressers.

Dir: David A. Prior
Star: Lynda Aldon, William Zipp, Edy Williams, Gail Fisher
a.k.a. Death Squad

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