Tag: b

Bound To Vengeance

  By

★★
“Bound to disappoint”

boundforvengeanceI’ve been watching horror movies for over 30 years now, and appreciate that a certain amount of idiotic behaviour is to be expected. People will go into cellars. They will stand right beside the apparently-dead body of a masked killer. They will trip over those pesky tree roots. They will split up. That goes with the territory. But this entire film is predicated on a terrible decision which the lead character makes early, then refuses to reconsider, though the results clearly indicate its wrongness and she could change her mind at any time. Eve (Ivlev) has been captured by the psychopathic Phil (Tyson), but lures him into a trap by feigning unconsciousness, bludgeoning him with a brick and chaining hum up in her place. Escaping the house, she finds herself in the middle of nowhere, but gets the keys to the truck. At this point, what absolutely any sensible person would do, is high-tail it out of there, notify the authorities and let them take over.

But then, there’d be no film. Instead, she takes at face value Phil’s claim that he has a number of other houses, also containing kidnapped women [itself, a scenario that begs the question, “Why?” Wouldn’t it make more sense to have one large house with multiple rooms?]. Worse yet, she decides to make him lead her to them, so she can free the other captives. Even after neither the first nor the second go anything like as desired, Eve plunges on, apparently for no better reason than a touching belief that, hey, third time’s the charm. Of course, if she gave up, she (and we) would never find out the connection to her boyfriend (Kjornes), crudely telegraphed by the director through frequent inserts of shaky home-video footage of the two of them, interacting before her abduction. Mind you, nor would it allow for the moral to become “All men are bastards” rather than “This man is a bastard”; as is, there is not a single redeemable male character in the entire thing.

Credit is due for focusing almost entirely on the revenge side of the equation: we know Eve has been through hell by the point we meet her, and Cravioto doesn’t feel the need to have that aspect portrayed at length. Ivlev and Tyson are both decent in their roles, with the former demonstrating a steady growth in personal badassness that is adequately gratifying, and comes to a satisfactory conclusion with one final decision which actually does make sense. It is an enormous shame that everything leading up to the moment is based on a horrendously-flawed concept, which the film doesn’t attempt to acknowledge – hell, the worst genre film is still required to have a scene of someone waving their cellphone around and muttering, “No signal…” Even if some of the other aspects are laudable, as mentioned above, the overall result is irrevocably weakened, and won’t stick in your mind for any good reasons.

Dir: J. M. Cravioto
Star: Tina Ivlev, Richard Tyson. Kristoffer Kjornes
a.k.a. Reversal

Bait

  By

★★★
“Tea and no sympathy.”

baitBex (Smurfit) and Dawn (Mitchell) are partners in a market-stall selling coffee and cake, and have dreams of opening a “proper” coffee-shop, but lack the necessary funds to do so. Traditional sources of money, such as banks, turn them down, so when Dawn’s new boyfriend, Jeremy (Slinger) turns out to be an angel investor, it seems too good an opportunity to be true. Which, of course, is exactly what it is, because Jeremy turns out to be the acceptable face of a very brutal loan-sharking operation. Even though they actually refuse his money before accepting it, he insists on them paying for his time, an amount which rapidly escalates out of control. It’s clear Jeremy will stop at nothing to extract payment, and demonstrates exactly that savagery, on both women, as well as their loved ones. Gradually backed into a corner, there’s only one way out for Bex and Dawn; be every bit as ferocious and merciless.

It probably helps that Smurfit and Mitchell have been friends since their drama school days, and their easy relationship comes over as entirely natural – though non-native British speakers may occasionally want to opt for subtitles! [Hell, I found myself straining my ears on occasion, having clearly been out of the old country for too long…] It’s very much a long, slow descent into hell, with the women on the receiving end for more than 80% of the movie before – and I trust this isn’t much of a spoiler here, given the film opens with a blood-stained Dawn slumped by a bath – finally getting to unleash their fury in a gore-drenched finale.

While certainly satisfying on a visceral level, this comes over as somewhat far-fetched, with neither woman having demonstrated any real tendencies for aggression; the “defending the family” approach only goes so far, not least because it’s the child-less Bex who goes furthest. Not that Jeremy doesn’t deserve it; Slinger comes over as a psychotic version of Simon Pegg, and it’s crucial that the film creates a villain who is both monstrous and believable. Be sure to stick around after the credits for a spectacularly splattery bit of claymation from maverick film-maker Lee Hardcastle, which is just glorious; it almost suggests a sequel where Bex and Dawn turn into a hardcore, British vigilante version of Thelma & Louise.

Must admit, I’d probably have preferred to see that, with the set-up here taking longer than necessary – for example, is there any reason we need to see quite so many scenes of Jeremy and his sidekick extracting payment? Still, the final payback is fully deserved, and gleefully shot by Brunt, leading into a coda which suggests a new, steely determination and “take no shit” attitude as a result of the hell through which the heroines have gone. It suggests an almost Nietzschean fable is being told, that what does not destroy you, in the end will make you stronger and help you achieve your goals. Seems more than slightly morally questionable, although maybe it’s just me!

Dir: Dominic Brunt
Star: Victoria Smurfit, Joanna Mitchell, Jonathan Slinger, Rula Lenska
a.k.a. The Taking

Big Driver

  By

★★★½
“Lady Vengeance”

bigdriverEasily punching above its weight for a Lifetime TVM, this is as disturbing as you’d expect from the director of the original Girl With The Dragon Tattoo, working off a Stephen King short story. Crime writer Tess Thorne (Bello) is on her way back from a speaking engagement, when her car gets a puncture; the large gentleman (Harris) who stops to help, turns out to be a savage rapist, who brutalizes Tess repeatedly, before leaving her for dead in a storm-drain, beside his previous victims. Tess survives, but is traumatized by the experience, and won’t tell anyone what happened. Her mind begins to fracture, with the leading character in her book (Dukakis) coming to life and talking to her – as well as the GPS in her car (not credited, but reportedly the voice of King). Digging in, Tess finds that her accident may not have been quite as accidental as she thought, and her quest for vengeance, is going to require a broader net than she initially thought.

It’s the performances which make this work, though the concept is solid enough, containing a number of elements readily identifiable as King staples, e.g. dead people talking. The translation to screen does have its issues; never explained, for example, is how Tess’s disabled car shows up in the parking lot of a biker bar, fully intact and with her possessions inside. Much though the resulting cameo from 80’s rocker Joan Jett is welcome,, it’s a blatant plot hole which should have been addressed. That aside, it’s much grittier than I expected, with the assault in particular pulling so few punches, I have to wonder if the version which played on Lifetime was edited for content compared to this DVD release. Bello does a good job of taking the audience inside the disintegrating mind of Thorne, to the point where we genuinely wondered how much of what we were seeing had a basis in reality, or if it was just a psychological coping mechanism. Dukakis is also excellent, providing a restrained, yet sarcastic counterpoint of commentary to the heroine’s actions, as she falls apart, yet still proceeds with her mission.

Things proceed to a thoroughly adequate conclusion, even allowing for the vast difference in size and strength between Tess and her assailant; if nothing else, guns are certainly a great equalizer! But Tess’s smarts are just as important as her aggression or lust for vengeance, helping her both uncover the truth about what happened, and then ensure that the police don’t track her down after the event. The traumatic experience certainly leaves her a changed person, and probably only right it should; not a journey I’d want anyone I know to experience themselves, but it may indeed be a case of, what does not kill you, makes you stronger.

Dir: Mikael Salomon
Star: Maria Bello, Will Harris, Olympia Dukakis, Stephen King

The Bandit of Hell’s Bend, by Edgar Rice Burroughs

  By

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

banditBorn in 1875, as a youth Burroughs actually spent time working as a cowboy on a 19th-century Western ranch owned by his brother. Though that was in Idaho, while this novel is set in Arizona, his knowledge of basic ranch life and Western conditions in the frontier era was firsthand; and the descriptions here suggest that he had some personal familiarity with the landscape of the Southwest as well. So in this novel, he was following the axiomatic advice for authors, “Write about what you know.” His main weakness in much of his work, his disdain for research, is therefore largely moot here, while his main strengths –an ability to deliver adventurous plots and stirring depictions of action, creation of strong heroes who embody what are traditionally thought of as “masculine” virtues, moral clarity, and a masterful evocation of the theme of “primitivism” that can appeal to repressed and regimented readers– are undiminished. I’m not typically a Western fan, because I think modern examples of the genre too often degenerate into cliché.’ But the early Westerns produced by the writers of Burrough’s generation (which also included Zane Grey, whose influence I recognize here) preceded the modern cliches,’ and possess a more original quality –even if some of the tropes were beaten to death by later writers.

In 1880s Arizona, the inhabitants of the Bar-Y Ranch and neighboring Hendersville have to contend with occasional lethal Apache attacks, and the stage carrying bullion from Elias Henders’ mine is being held up with disconcerting regularity. Local suspicion pegs the principal masked culprit as Bar-Y cowboy Bull –but is local suspicion correct? And the plot will soon thicken, because both ranch and mine will face a suave menace that fights with the machinery of the law rather than with guns and tomahawks. The storyline is genuinely exciting, with a strong narrative drive that kept me eagerly turning pages to see what would happen next, with an element of mystery. (I guessed the culprit’s identity before the denouement, but I didn’t foresee everything that would happen.) Burroughs also understood that romance doesn’t need to be sappy to be romantic. There’s a well-drawn theme of conflict here between the effete, over-civilized, arrogant East that fights through dishonesty and wants to take from others (and the West that Burroughs saw was in many ways an oppressed colony of the U.S.-European industrialized world, as much as the hapless peoples of Asia and Africa were) vs. the primal, strong, down-to-earth West whose people look you in the eye and fight for what’s theirs

Burroughs has created a hero and heroine that you strongly care about, and want to see come through their jeopardy. Bull is more flawed than some Burrough’s heroes, because he has to struggle with a bit of an alcohol addiction; but that doesn’t diminish him for me –he’s a human being, with some human weakness as well as strength. Diana Henders is not a weak hot-house flower who functions solely as a damsel in distress –like any of us, she may find herself in need of a rescue sometime, but not through any weakness or incompetence on her part; and she’s also ready to do some rescuing herself when it’s needed. Of any of the Burroughs heroines I’ve encountered –and that’s been several– she’s the one I like the best, and that I find to be the most sharply-drawn, and most possessed of leadership and heroic qualities. (She’s an intelligent, likeable girl who enjoys reading and playing her piano. If you’re attacked by an Apache war party bent on ending your life, you’d also find her a very capable and cool-headed ally to have at your side with her Colt.) Some of the secondary characters here also come across as more vivid and lifelike than is usual for this writer, IMO.

Like other regional writers of his day, Burroughs was careful to reproduce authentic dialect in the character’s speech, indicated by unconventional spellings that reflect the pronunciations, not only of Western cowboy patois, but of a thick Irish brogue and a Chinese accent as well. This isn’t done to ridicule anyone; indeed, some characters who exhibit each of these speech patterns prove to be very sympathetic.

There’s a bit of ethnic stereotyping, in that Wong the cook is knowledgeable about poisons, and an opium user (of course, a fair number of 19th-century Chinese were opium users –not very surprisingly, since the British promoted the opium trade, and forced it on China in two wars!) and there’s no real attempt to understand or present the Apache viewpoint. (Though even if their basic grievances are just and legitimate, when they’re attacking with the intention of killing you, fighting back IS your only short-range option.) But the only real villains here are white. And while Bull’s comment, “Thet greaser’s whiter’n some white men,” is phrased in racist terms, the insight he’s experiencing is subversive of racism. (“Greaser” is an ethnic slur some characters use for the Hispanic character, but he thinks of Anglos as “gringos” with just as little authorial censure; I think Burroughs here is only reflecting the common parlance of the day, as with his dialect speech. When Wong is referred to as an “insolent Chink,” it’s by a creep whom the reader readily recognizes as Wong’s inferior.)

My rating of four stars rather than five was for a very few logical slips in details, and for a few glossed-over points where plot developments were a tad dubious, IMO. But those are quibbles; this was a really good read, for any Western and/or action adventure fan!

Author: Edgar Rice Burroughs
Publisher: Both Ace Books and CreateSpace, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

Blood Soaked

  By

★★
“Zombie Women of the S.S.”

bloodsoakedIt’s nice to see a horror movie which has women on both sides: not just the “final girl” trope, but as the entirely deranged pair of antagonists. This is equality at work, folks! In this case, the villains are sisters Sadie (Grendle) and Katie (Derryberry), who were apparently left orphaned by the unexpected death of their father who was… Well, if I’d to guess, I’d say he was trying to continue the work of Nazi scientists, with the aim of creating an army of undead slaves through the use of a resurrection serum, who can then be used to bring about the Fourth Reich. I’m kinda assuming this, from the use of copious public-domain Nazi footage during the opening credits, and the swastikas hanging around their desert bunker. Meanwhile, peppy student Piper (Wilder) is starting at college, and before long is exploring her sexuality with fellow student, Ashley (Corona). The pair head out into the desert, but a roadside encounter with our psycho sisters kicks off the horror part of proceedings, with Piper in particular being stalked, captured and dragged into the Naziettes lair where even worse things await.

There are two main problems here: one stylistic, and the other an issue of pacing. The former is the decision to switch into high-contrast black and white, when it first becomes clear to Piper, the trouble she’s in. While it certainly adds impact to the that moment, the film-makers apparently forgot to flip the switch back on their camcorder, and any impact is lost. You give your film a title like Blood Soaked, and we expect to see… well, blood. Here, however, it might as well be chocolate sauce, as used by Alfred Hitchcock in Psycho. That’s when you can see it at all, as the high-contrast mentioned tends to wash everything into the two ends of the spectrum: all or nothing.

Equally problematic, is the film taking too long to get to a point where it is even attempting to justify the title. It barely runs an hour between opening and the end credits rolling, which should be an incentive to get cracking and have things moving on at a fast pace. We do not need to see Piper showing up to college with her mom. We do not need to see Piper and Ashley meeting and building their relationship. We do not care. I’d have been a lot more interested to see what Sadie and Katie were up to over the decade after their father died, though quite how such a pair of certifiable loony tunes were able, not just to survive but flourish, escapes me. In the end, it commits the single, unforgivable sin of both original grindhouse cinema and modern films which attempt to reproduce its philosophy: it’s mostly dull. By the time the mayhem eventually showed, I was already trying to figure out if I could do household chores, while leaving this on in the background. Never a good sign…

Dir: Peter Grendle
Star: Heather Wilder, Rachel Corona, Hayley Derryberry, Laina Grendle

Barely Lethal

  By

★★½
“Barely entertaining.”

barelylethalI could hear Chris’s eyebrows raising when the title here rolled: what kind of film was this? Fortunately, the arrival of Samuel L. Jackson reassured her ruffled eyebrows – and is that Sansa Stark as well? Alright, then: if you insist… It turns out to be a mash-up of two genres: the ‘teenage killing machine’ and the ‘high-school drama’, and is every bit as awkward as that sounds. Since being orphaned, Megan Walsh (Steinfeld) has been brought up as an assassin in a remote location, under the tutelage of the appropriately-named Hardman (Jackson), and with another trainee, Heather (Turner), a fractious rival. However, Megan begins to wonder what she’s missing in “real life”; after a mission to capture evil nemesis Victoria Knox (Jessica Alba), ends with Megan plummeting into a river, and presumed lost by her employers, she opts to start a new life. She becomes an ‘exchange student’, falls for the local hot kid (Mann), ignores the AV geek (Cameron) who falls for her – the usual sort of drama. After an incident at school goes viral, Hardman realizes his top agent is not as dead as he thought, and worse still, Knox has broken out of custody, and has revenge on her mind. Can Megan handle all that and still make it to Homecoming?

It’s an interesting idea, not least because Megan bases her knowledge and understanding of the world on the likes of Mean Girls and 10 Things I Hate About You. A satirical skewering of the difference between those and reality would be welcome, or even something darker in tone, along the lines of Heathers, with Megan’s lack of moral compass letting her clean out the dregs of the school with no qualms. However, the film seems less interested in satire, than going through the same cliches: it doesn’t help that Mann resembles a cross between Justin Beiber and Robert Pattinson. There’s nothing new or remotely interesting about this aspect, and it brings the film to a grinding halt. That’s something of a shame, as the action plot is nicely-handled, with some decent set-pieces. Jackson and Alba are old hands at this kind of thing, and I’d far rather have seen a film concentrating entirely on their struggles with each other, using the likes of Steinfeld and Turner as proxies.

It’s hard to say who the target audience is for this, or at least find one which would be satisfied by both aspects. Those who enjoy the school drama are likely to be uninterested in high-jinks out the back of a plane. Certainly, those who are looking for action – raises hand – will find themselves bored to tedium in the middle of this. At the end, Chris turned to me and said, “I didn’t think this would be your sort of film.” I think she has a point. I’m perhaps three decades or more, and a sex-change, from being able to appreciate this.

Dir: Kyle Newman
Star: Hailee Steinfeld, Thomas Mann, Dove Cameron, Sophie Turner

The Bod Squad

  By

★★★
“Several virgins short of a six-pack.”

7seasIn the 1970’s legendary Hong Kong studio Shaw Brothers sought to broaden their market with a series of co-productions. The results included the likes of Legend of the 7 Golden Vampires, from a partnership with Britain’s Hammer Studios, plus Cleopatra Jones and the Casino of Gold. But perhaps the most bizarre such product is this, which crosses martial arts with the softcore sex films from the time, the best-known of which is probably Hofbauer’s Schulmadchen Report (Schoolgirl Report). The results are… Well, I’d be hard-pushed to call them great cinema, but I would have to confess to being rather more entertained than I expected.

Contrary to one of the alternate titles, Enter the Seven Virgins, there are actually only five women here, and some of those aren’t exactly virgins. They are captured by pirates, and brought to their island lair, where buccaneer boss Chao (Hsieh) leers at them and puts them through a training course designed to get them ready to be sold into white slavery. Except, he doesn’t know that one of his minions, Ko Mei Me (Liu), is actually working, along with her brother, to take him down, and trains the captives in martial arts, as well as the ancient Chinese art of spitting olive pits at such high-velocity, they can punch a hole through a vase. After copious amounts of gratuitous nudity, the women eventually break free, get recaptured, escape again, and take on Chao and the rest of his henchmen in a battle which makes up for in duration, what it may lack in quality.

Actually, that’s a little unfair: considering the Western cast were more used to films with titles such as Campus Pussycats, they perform credibly enough. There’s not as much stunt doubling as I expected, and they’re clearly giving it all they have, occasionally impressively. Bray stands out in particular – and I mean that literally, since it seems she’s taller than most of the men in the cast. Liu, however, clearly has the most experience, and its understandable why she gets given most of the action. In some ways, this can be seen as a primitive ancestor of Category III films such as Naked Killer: while lacking quite the same lurid insanity, and featuring a degree of casual racism that’s fairly off-putting [apparently, the sight of Western flesh is enough to send most Chinese men into drooling imbeciles], it’s still fun for the undemandingly open-minded. Admittedly, a fondness for Benny Hill may help, and providing you can get past hearing Chinese people dubbed into German, as well as subtitles that may have lost their way a bit in translation. I’m still trying to figure out the meaning of, “It’s a bank holiday, it’s Mothers’ Day in Africa.”

Dir: Kuei Chih-Hung + Ernst Hofbauer
Star: Liu Hui-Ling, Wang Hsieh, Sonja Jeannine, Gillian Bray
a.k.a. Virgins of the Seven Seas
a.k.a. Enter the Seven Virgins
a.k.a. Karate, Küsse, blonde Katze [Karate, kisses, blonde cats]

Beauty Investigator

  By

★★
“Beauties and the beasts.”

beautyinvestigatorEllen (Lee) and Grace (Kim) are police officers, who are first on to arrive when the latest victim of a serial sexual predator is found in a dumpster. After a brief diversion to catch a purse snatcher – really, how dumb must you be to do that at a murder scene? – they are sent undercover as nightclub hostesses, since that’s the profession of all the victims. While fending off both lecherous customers and employers, they stumble across an arms smuggling outfit, whose leader Bill (Tsui) has pulled a fast one over his Yakuza partners, with the help of a hired hitwoman (Oshima, whose character in the end credits is named as, I kid you not, “Japanese Jap”!). Rather than letting their superiors know, they decided to investigate themselves. Probably not the wisest of moves: as they’ll discover by the end of the movie, discretion is indeed the better part of valour…

Very quickly, the bar for this one is set low, with the creators’ idea of comedy gold being to have Grace throw up over the corpse on seeing it: oh, hold my sides, for I fear they may split. If you’d be thinking the only way to go from there is up, the next hour seems to take a sadistic pleasure in proving otherwise, with Ellen and Grace doing the “mismatched cop” thing, which was already about 20 years past its sell-by date, when this came out in 1993. Then, with about 20 minutes to go, the film inexplicably takes a far darker turn (especially considering how lightly the previous carnage has been played), with the mission become one of personal revenge rather than law enforcement. In cinematic terms, it’s like putting a sprig of parsley on a cow-pat, and calling it a salad: I was left wondering if someone had sloppily spliced on the final reel of an entirely different movie.

The only redeeming aspect – and even this falls well short of making it recommendable – is the action, which is quite frequent and high in intensity. Lee and Oshima are both in fine form, and watching the pair of them go toe-to-toe with each other is a joy, as always: that’s particularly so for the end battle, in which all the previously mentioned participants are involved, along with Sophia Crawford, who plays the villain’s mistress (she also takes an entirely gratuitous shower in some versions of the film). However, the truth is, you can see Lee and Oshima in any number of other movies, without having to endure the feeble efforts at buddy comedy attempted here. And you’d be well advised to do just that.

Dir: Tso Nam Lee
Star: Moon Lee, Kim Je Kee, Tsui Zen Aie, Yukari Oshima

Blood Widow

  By

★★
“The eighties called. They want their movie back.”

blood-widow_large_800In the slasher genre of horror, the perpetrators seem almost exclusively male: Michael Myers, Jason Vorhees, Freddy Krueger, etc. Women can play an important role, and we’ve covered some of them here before – but it’s much more often as the “final girl”, than the one wielding the machete. However, it’s often forgotten that, in the original Friday the 13th movie, the killer was not Jason, but his mother, so there is some precedent for the female antagonist. See also Nurse 3D, American Horror Story: Coven or perhaps best of all, SexyKiller, whose heroine manages both to be the killer and the final girl.

It was in the hopes of getting something novel along those lines that I went into this, only to be severely disappointed by a product which is very little more than a standard slasher. A group of photogenic, but vacuous and tremendously uninteresting, teens head out to a remote house to par-tay, only to break into the spooky dwelling on the next door property, engage in petty vandalism, drug-taking and other anti-social behaviour, for which they naturally pay a heavy price. About the only difference is, the mad, masked killer dispatching them with extreme prejudice is a woman, a former resident of the boarding school next door, who was tormented into psychosis. It’s an idea not without potential: the look of the maniac-ette is very stylish (even if the mask seems a Halloween knock-off), and the actress portraying her (Henry) does a good job, particularly considering her face is rarely if ever seen, coming over as menacing in just about every one of her scenes.

But beyond that, none of the potential is utilized, In fact, the gender of the killer is entirely irrelevant to proceedings, and the final scene seems more appropriate for a male psycho – it left me wondering if perhaps that was the original plan. Really, for a first-time feature, as this is for the director, I’d have tried to push the envelope much more, instead of apparently being content to tread the same ground as we’ve seen a million times before. Maybe this would have passed muster thirty years ago? Now, not so much, with viewers far more cynically self-aware, and wanting more than an uninteresting rehash of its predecessors. Save the gender of the assailant, there’s nothing new or of note here; it isn’t enough, when it’s little more than an afterthought, and everything else we get, has been done a lot better elsewhere.

Dir: Jeremiah Buckhalt
Star: Danielle Lilley, Brandon Kyle Peters, Christopher de Padua, Gabrielle Ann Henry

Breakaway

  By

★★
“Marginally better than having your kneecaps broken. “

breakawayAfter a brisk start, this gradually falls apart, the script collapsing under the strain of too much disbelief, as everyone whizzes around in search of $300,000 in stolen mob money. This was taken by Myra (Thompson), a courier for a gangster boss, Anton (Ray Dash). She wanted out of the business, but makes the mistake of telling him so, and her “last job,” delivering money to a hitman, is actually an ambush. Myra escapes with the cash, causing Anton to send a string of other killers after her, most notably Grey (Joe Estevez). Meanwhile she tries to avoid detection, with the help of both her two-timing boyfriend Carter (DeRose), who is cheating on her with a cafe manager Gina (Harding – yes, it’s that Tonya Harding) and a college professor Dan (Noakes), whom she meets at an art gallery. Everyone schemes, double-crosses and fights each other, to try and recover the brown paper-bag containing the cash, leading to a final battle at Anton’s.

Initially, it’s quite promising, with Myra being efficient and effective in her job, more than capable of taking care of herself. [Her character’s fondness for wearing a really short skirt doesn’t do any harm either!] However, it soon becomes apparent that her survival is equally due to the howling ineptness of everyone whom she comes up against. I don’t know if the aim was to make Anton and his minions out to be lovable buffoons, but if so, it only half succeeds: they nail the “buffoon” part in the bulls-eye. Which is a lot better shooting than can be said for the henchmen, since they couldn’t hit a barn if they were inside it. This starts off amusing, until you realize their incompetence is not a joke.

It’s the kind of film where, if everyone behaved with any morsel of common sense, things would be over in 10 minutes. Instead, you have frequently to resist the urge to yell at the screen, whenever the characters instead behave with the willful stupidity necessary to the plot. As noted, some of the elements here have potential, Thompson among them. It’s unfortunate that the makers did not apparently have enough confidence in her ability to carry the film, and chose to throw all the other plot threads on top. These don’t add depth or complexity, so much as unnecessary encumbrance. Grey is the only other character with any credibility, and the film would have been much better, if it had been stripped down to he vs. she. Junk the minions, junk Carter and, especially, junk Gina, because Harding’s performance serves solely as a demonstration of the gulf between professional actors and amateur ones.

Dir: Sean Dash
Star: Teri Thompson, Tony Noakes, Chris DeRose, Tonya Harding