Tag: b

Bloodbath at Pinky High, Part 2

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★★★★
“Pinky violence = serious business”

bloodbath2Following on more or less directly from the events of the first part, this sees Maki the Lone Wolf seeking revenge for the death of Midori as she fought against the principal and his reign of terror. Now in charge is Ranko and her gang, who stepped in to occupy the power vacuum, to “keep peace and good order” in the school – along with hunting down the remnants of Midori’s faction. Ranko captures Maki, but our heroine escapes with the unwitting help of Chiaki, one of Ranko’s Demons, and joins Momonga and Third, the last girls standing of Midori’s gang. Chiaki also allies herself with them, knowing Ranko will blame her for Maki’s escape. But can she really be trusted? And can Maki defeat, not only Ranko, but the hardcore delinquents she has recruited to join her, the very worst drawn from schools across Japan: Rakish O-Gin, Kiriko the Praying Mantis and Rinka the Parasol.

This is definitely better than the predecessor, mostly because it focuses on Maki. As noted in my previous review, she did a better job of capturing the pinky violence attitude than Midori, and we see that again here – the spirit of Midori shows up to guide Maki at various points, and the difference in their performances is obvious. There’s also more going on in terms of storyline and characters. Chiaki has a subplot about an ailing sister who yearns to see Chiaki become successful, and Ranko’s henchwomen are memorable villains in themselves. In particular, Rinka is a pitch-perfect Gothic Lolita, all frilly dresses and dark eyeliner, but carrying an umbrella which is also an automatic weapon. As the onlookers say while she’s fighting Maki:
    A machine-gun parasol? Is she really just a schoolgirl?
    She is majoring in technical subjects...
It’s also impressively gynocentric, with little or no male roles whatsoever, and the ones present are little more than drooling, sex-mad imbeciles, easily exploited for the benefit of the female characters.

I think it’s perhaps less obviously a parody, and that works in its favour. Not that it’s any less subtle; for example, early on, Maki’s method of attack is entirely focused on ripping open the tops of her adversaries. But rather than driving the joke into the ground, the makers let it go, and her fights against the higher-level minions are much closer to what you saw in the seventies. You don’t need to have seen part 1 to follow the story here, and the movie even works on its own, rather than requiring significant previous knowledge of the genre. It may be forty years late, but it’s one of the most-entertaining pinky violence films I’ve seen.

Dir: Toshiya Kominami
Star: Akari Asahina, Yoko Fujimura, Saya Kobayashi, Aoi Hozumi

Bloodbath at Pinky High, Part 1

  By

★★★
“Oh, look: their tops have come off…”

bloodbathIt’s important to realize that you need to be familiar with the pinky violence genre that this lovingly replicated and parodies, in order to get the most from it. If not, this will seem over-wrought, incredibly over-acted and more than slightly ridiculous, not least in the way that bras are apparently an unknown item in Japan. But, if you’ve seen enough of the movies that inspired it, you will appreciate from where it’s coming.

“I make my formal greeting. I was born and raised in Chicken Valley. My father was a poultry farmer. From age seven, I slaughtered chickens, 444 in total. By name I am Red Malice, Yumi the Cockscomb.”

Yeah, it’s like that. The heroine, Midori – a.k.a. Invincible Midori, the Wild Chrysanthemum – used to be a big shot, but now just wants the quiet life for her and her friends at her school, even though she could run it if she wanted. “It’s a mess, what’s the point? This way, I can do what I want,” Midori says. But, as you can imagine, she isn’t left in piece. For instance, there’s Maki, who has been trying to defeat Midori since they were both children. But worse still is Ranko and her Demon Gang, who operate as the strong arm of the principal and pimp unwilling members of this fine educational establishment out to his lecherous friends. There’s an uneasy truce between Ranko and Midori, but that is shattered after Harue seeks protection from the former, and her plight reminds Midori of exactly why she dropped out of the gang business.

From there, things escalate in the way they usually do, with Midori honey-potting a politician and the principal, then using the photographs to foment rebellion among the other students.  However, the principal retaliates by turning to his brother, head of the Inagaki Gang, who retake the school while Midori is busy dealing with Maki, setting up the final, explosive battle. In other words, it’s basically a pastiche, gluing together the tropes familiar from just about any example in the field, and turning the dial on them all, just a little bit higher. Most obviously, it’s almost de rigeur in the originals for the heroine’s top to be ripped open when she fights. Here, with refreshing honesty, that’s virtually the opening move. The main weakness is probably the lead (Hoshimi, I think – though since this doesn’t appear to have an IMDb entry, I’m kinda guessing), who is kinda bland and colourless, especially beside the actresses playing Maki and Ranko. This is the kind of thing where the performers need to throw all inhibition out the window: when that happens, you can certainly see where they’re going. However, it only happens intermittently, rather than with the consistency necessary to be truly successful.

Dir: Toshiya Kominami
Star: Rika Hoshimi, Asuka Misugi, Saya Kobayashi, Yoko Fujimura

Blonde in Black Leather

  By

★★★½
“Girls on a Motorcycle”

“What if we free everyone? Everyone who wants to come with us, not just children.  We could make a gang that even Butch would be proud of.  Stop by all the laundrettes, tell them all to come with us. And if they don’t want to come, it’s their loss.”

blondeinblackleatherClaudia (Cardinale) has a humdrum life working in a laundrette, with a sleazy husband and no hope of anything more exciting in her future. Into the laundrette storms the titular woman, Miele (Vitti), whose devil-may-care attitude enthralls Claudia, and gives her the courage to throw away her staid existence and follow the blonde on the road. Miele is initially resistant to the idea of a travelling companion, but rides to the rescue, driving her bike through the railway station where Claudia is being harassed. Miele must make a mysterious appointment in Northern Italy with her lover, but that’s okay, as Claudia has a cousin, on the way, in Naples. However, as the two make their way, it gradually becomes clear that Miele could give Baron Munchausen a run for his money, when it comes to spinning tall tales, and both her mouth and impetuous actions, are as likely to get the pair into trouble as out if it.

It plays kinda like a pre-make (since it came out in 1975) of Thelma and Louise, directed by Stephen Chow, because it has the same mo lei tau (or “makes no sense”) approach. For instance, at one point, while Miele is re-enacting one of her alleged escapades. the bike careers off the road, with Miele left dangling from a tree. Several minutes later, after Claudia helps her down, in the background, you see the motor-cycle, still going, driving itself into the sea. Or later on, after they mistake a policeman for a criminal, they’re chased out the back of a train, and the film switches into b&w slapstick mode, with deliberately bad rear-projection, etc. No-one bats an eyelid at any of this. While the plot is flimsy, to say the least, it relies heavily on the charm of its leading ladies, and that aspect is a roaring success, right from the moment Vitti strides into the laundrette. Co-writers Barbara Alberti & Amedeo Pagani, who penned the script along with Di Palma, had just come off the similarly fetishistic The Night Porter, and Di Palma shoots proceedings with the eye of someone who was a cinematographer first (he was a frequent DP for Woody Allen in the eighties and nineties).

It’s a generally frothy confection, light in aim and intent, though has occasionally surprising moments of poignancy, and the reason behind Miele’s fantasies is impeccable. There is also a surprisingly impressive brawl (below), after the pair clean out a casino, in which Cardinale kicks ass thanks to some rather good staging. Considering Italy in the seventies was hardly a bastion of feminism, this is particularly impressive, and providing you aren’t looking for anything particularly meaningful – or even logical – has survived the forty years which have passed, much better than many of its era.

Dir: Carlo Di Palma
Star: Monica Vitti, Claudia Cardinale
a.k.a. Qui Comincia l’Avventura [“Here Begins the Adventure”]

Bayonetta: Bloody Fate

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★★
“Maybe it makes more sense if you’ve played the video-game?”

Bayonetta-Bloody-Fate-1I might have enjoyed this more, if I hadn’t recently sat through 25 episodes of basically the same plot, in Blood+. Generic anime storyline, #7: supernatural entity, trying to bring about the end of the world because… That’s what they do? In this case, there are sages and witches, who balance good and evil. 500 years ago, however, one from each side united, and the offspring was Bayonetta (Tanaka). She is now taking out angels, but there’s also a religious cult preparing for the rebirth of their saviour, a journalist who blames Bayonetta for the death of his father, and a mysterious, very whiny little girl, who keeps calling her “Mommy”. Who that turns out to be will surprise no one.

I had to piece together the above, and it’s kinda vague in some areas, I suspect largely because there’s an unspoken assumption that, if you’re watching this feature, you’ve played the video-game on which it is based. Now, that’s probably not an unfair assessment for the majority of viewers. However, any casual spectator (and I certainly fall into that category) is likely to be somewhere between confused and bored by the approach, which seems to gloss over stuff that warrants more exposition, and explains in details things that shouldn’t need it. For instance, at one point, Bayonetta is on a train, and is attacked by another woman, leading to a spectacular battle in, on and around the carriages. The attacker then vanishes from the movie for a long period, without explanation. Game players, I suspect, will know the who and why, far better than I did; to me, it just felt disjointed and badly constructed.

Which is a shame. I used the word “spectacular” in the previous paragraph, and there’s no questioning that aspect of proceedings. The look here is very stylized and elegant, especially during the numerous fight sequences, both imaginative and well-animated. in a way that reminded me, in some aspects, of the early Aeon Flux animated shorts. It’s just a pity this obvious effort wasn’t expended on a feature which provides little more than fan service, both in the storyline and a rather leering approach to its lead character, that is significantly less mature than the subject matter deserves. While I understand and accept Bayonetta herself is, to a certain extent, intended to be a parody of this kind of OTT character, the movie is probably only recommended if you’re looking for an animated superheroine who resembles Tina Fey impersonating Sarah Palin. I get the feeling that is likely to be just a little bit too much of a niche market.

Dir: Fuminori Kizaki
Star (voice): Atsuko Tanaka, Norio Wakamoto, Tesshō Genda, Mie Sonozaki

Breathless

  By

★★½
“Don’t mess with Texans…”

breathlessThere’s something almost theatrical about this, because virtually the entire film takes place in a single location, the downscale home of Lorna (Gershon), who has just knocked her husband Dale (Kilmer) out with a frying-pan, after discovering he was apparently involved in a bank robbery which netted $100,000. She has now called over her best friend, local barmaid Tiny (Giddish), to try and decide what to do next, with the first step being to find the loot, which Lorna is convinced Dale has hidden somewhere in their home. However, the local sheriff (Liotta) is also sniffing around, being fully aware of Dale’s fondness for armed robbery in his younger days. It’s not long before the dead bodies are piling up, requiring alternative uses to be found for the turkey carver and industrial-strength blender. And that’s just the start of the unpleasantness.

This felt like a chattier version of 2LDK, both in the restricted setting, and its focus on the friendship between two women, which disintegrates over the course of proceedings. There’s also more than a whiff of the Coen Brothers to be found here, in particular Raising Arizona with its dimwitted criminal staggering from one calamity into another. And the opening sequence is shamelessly cribbed from Dexter, cutting together breakfast preparation, in a way that foreshadows the carnage to come. It’s kinda hard to say what Baget is bringing of himself to proceedings. However, Gershon is her usual, impressive self, infusing her character with unspoken backstory, It’s clear the ill-gotten gains represent her last chance to escape the rural hellhole down which her life has spun, and she’ll go to any lengths to make sure she gets her hands on them. Discovering what that means, is the engine that keeps the film going, driven by her performance far more than a script which seems content to shuffle over-familiar elements around, and hope we won’t notice.

With the self-imposed limitations, the movie paints itself into a corner with regard to where it can go. And the result is, when the inevitable twists come along – and, inevitable they are, in the kind of film this sets out to be – they generate not much more than a shrug of indifference. Probably remains worth watching for Gershon’s performance, and some other powerhouses of 90’s cinema trying to recapture their glory days, but only if you can handle a tired and worn-out plot.

Dir: Jesse Baget
Star: Gina Gershon, Kelli Giddish, Val Kilmer, Ray Liotta

Bruce Kung Fu Girls

  By

★★½
“Bruce rolls over from beyond the grave.”

brucekungfugirlsFour years after Bruce Lee’s death, and film-makers were still trying to fool moviegoers into believing their product had some connection to kung-fu’s first global star. Not sure where the deception occurred, as the print here simply overlays the new title over the (still-legible) Hong Kong one, Five Pretty Young Ladies. You really need to combine the two for any genuine accuracy: Five Pretty Kung Fu Girls, would be about right. The five are visiting Hong Kong, where their “uncle” (it’s not clear if this is a genuine relation, or just an honorific title) is a police superintendent. While at a swimming pool, they bump into a guy being pursued by a gang, and take care of the pursuers. Turns out they wanted to get their hands on a formula he had developed. Might there be some connection between this and the invisible thief who is wreaking havoc in the colony? And could the unseen one be planning to steal a moon rock, newly arrived as the centerpiece of an exhibition?

Oh, who am I trying to kid. The answer is, of course, yes to both, and the film doesn’t have any surprises to speak of. What it does have – and this is close to falling into the “only saving grace” category – is Polly Kwan as the head of the group. She’s easily the most talented in terms of fighting, and the makers know it, giving her the bulk of the action. This she handles with grace and flexibility, kicking her way out of trouble, regardless of the number of opponents. Beyond these scenes, there’s a lot of other stuff which drag proceedings to a grinding halt, such as the camping trip, climaxing with what’s probably the worst fake guitar-playing in cinema history. However, there is some entertainment value to be had from things like the matching black hot-pant uniforms worn by the girls on moon-rock guard duty, and the film’s ending teaches us a valuable lesson: when you have strapped a belt of dynamite around your waist, it’s probably best if you try not to fall over.

It is all, clearly, nonsense, with little or no effort made to differentiate the four pretty young ladies that aren’t Polly – one of them has pigtails and pouts a bit, that’s about the extent of it. But I’ve seen less entertaining nonsense, and when Kwan goes into action, becomes worth watching to a high enough degree, as to justify its existence. Unfortunately, all available prints are horribly cropped, which certainly affects the experience: truly a case where seeing more of the lead actress would be a help.

Dir: Shut Dik
Star: Polly Shang Kwan, Lui Ming, Wong Lan, Yeung San-San
a.k.a. Five Pretty Young Ladies

Burlesque Assassins

  By

★★½
“A strip off the old block.”

It’s the mid-1950’s, and Bourbon Sue (D’Lite) is recruited to join the titular group (hehehe… He said, “titular”…), under leader Johnny Valentine (Shanks), and immediately thrown into the heart of a vital mission. There are three codes needed to operate a Nazi death ray, which has been dormant since the end of WW2 a decade previously. But the son of Mussolini, a clone of Hitler and the not-as-dead-as-reported Stalin are convening with the codes in a burlesque club, and it’s up to Sue and the other girls to ensure the weapon is not activated. “Seduce and destroy,” as their slogan goes, and the fate of civilization hangs in the balance – though there’s clearly no rush to save the world, with plenty of time to take in a number of performances at the club.burlesque

I’m kinda ambivalent about burlesque. The basic concept – attractive women undressing – is one I can get behind (hehehe… “behind”…), but having attended a number of shows, while entertained, I found maybe 5% of the acts at all erotic. It feels more to me like a modern dance recital, with limited clothing. And this one’s appeal is probably directly connected to your interest in burlesque; I think my wife probably enjoyed this more than I did. It’s not obviously low-budget, but its limitations are obvious: virtually the entire last two-thirds of the film takes place in the club, alternating between the stage and the dressing room, as Sue and her colleagues try to pry the codes from the axis of evil. It’s pretty limited and quite repetitive in terms of story, despite the makers’ efforts to jazz things up with flashbacks and other cut scenes. I’m not sure burlesque with a plot is something the world really needed, to begin with.

But that said, the actors are clearly having a lot of fun, not least Shanks, who spends much of the film in a wig and dress, though the beard and cigar are a bit of a giveaway – naturally, he’s the one for whom the Hitler clone falls. You get the sense a lot of the other cast members don’t have much cinematic experience, but they get by, largely through putting over their larger-than-life character with stage presence. The action here is definitely played for laughs more than anything; indeed, the whole escapade is tongue in cheek, which renders it somewhat criticism-proof. However, this also caps the impact at a fairly low level, since there can be little or no emotional connection with such a trifle. This can truly be recommended, only if you’re a devotee of old-school ecdysiast arts.

Dir: Jonathan Joffe
Star: Roxi D’Lite, Armitage Shanks, Carrie Schiffler, Dusan Rokvic

Blood +: Episodes 1-25

  By

★★
“Bloody mediocre”

bloodThis is the third version of the same concept I’ve seen, following some years after the first animated version (released in 2000), but a couple of years before the live-action movie from 2009. What they both had over this was commendable brevity. If I’d realized the degree to which this was true, when I started the series on Netflix, I probably wouldn’t have bothered. The main problem, for anyone who has seen the other two takes, is that you know what’s going on. You’re well aware that the heroine Saya is a human-vampire crossbreed, who has now sided with humanity and dedicated her life to taking out the monsters. This was taken care of, quickly and efficiently, in the alternate versions, and we could move on to the kicking of vampiric ass. Here, however…. Not so much.

After 25 episodes – eight hours of story, even discounting credits – I still haven’t seen Saya in full-on attack mode. Indeed, I really don’t know a great deal more than I did after the first two parts, because the story unfolds at a glacial pace. A military group is trying to weaponize the “Chiropterans,” alongside a shady industrial conglomerate, Cinq Flèches. Opposing them is the Red Shield, dedicated to wiping out the Chiropterans, who can only be killed with a sword dipped in Saya’s blood. And then there is Saya’s own history: she may be a teenage girl in modern Okinawa, but she gradually remembers that she goes back through the Vietnam War, all the way to pre-Revolution Russia. Of course, telling this in chronological order would be too simple: not when she can have dramatically convenient amnesia, and recall things at whatever leisurely pace is needed by the plot.

Instead, we get a lot of chat about her not being fully “awakened” and, even more irritatingly, all the characters seem to know what’s going on, they just refuse to enlighten the audience. For instance, there’s a diary, started by the founder of Red Shield, Joel, which contains all his research; successive generations have kept it, to share with those who commit their lives to Red Shield. Do we get to know what’s in it? No, not even after Saya’s brother Kai is given the diary to read. It’s something which can be sustained for a short time, but as the episodes roll on, and information continues to be dribbled out, the approach becomes increasingly irritating. It’s a shame, since the core idea is imaginative, with scope for plenty of development, and the animation is solid, and better than I expected. There’s one wonderful episode in the middle, where an attack on a research facility unleashes children which turn into… things. I was all ready for this to be Saya’s blossoming, and the next dozen episodes to hurtle towards a thrilling conclusion. Didn’t happen.

Instead, we got more in the show’s ongoing series of inconclusive battles, with the villains muttering something dark and meaningful, before flying off into the night, and Saya recalls another incident from her past. By the time episode #25 rolled around, with the heroine finally getting to face off against the uber-mysterious Diva, I was wondering how it would all be wrapped up, but hardly unhappy to have finally reached the en… What? There’s another 25 episode chunk hidden elsewhere on Netflix? You have got to be kidding me. And, from the reviews I’ve read, these make the first batch look like masterpieces of storytelling. Don’t expect a review any time soon. Life’s just too damn short.

Dir: Junichi Fujisaku
Star (voice): Eri Kitamura, Akiko Yajima, Hiroyuki Yoshino, Junichi Suwabe

Bounty Killer

  By

★★★
“A taste of anti-paradise”

bountykillerSomehow, I get the feeling I should have liked this more than I did. The elements are all these – high-energy, hyper-violence and no shortage of style – but, somehow, the whole felt rather less than the sum of its parts. It’s a post-apocalyptic scenario, after the corporate wars have pretty much trashed the planet, and the Council of Nine hand out rewards for the deaths of white-collar criminals. These are collected by the titular hunters, the best being Drifter (Marsden) and Mary Death (Pitre) – the latter is a star, followed by fans and paparazzi, much to the chagrin of the former. However, the Council suddenly issue a kill notice for Drifter; he heads to confront them and sort out the “mistake”, with Mary in hot pursuit, intent on collecting the bounty. Of course, and after quite a bit of the old ultra-violence, Drifter and Mary team up, to take down the real bad guys.

An adaptation of a graphic novel, it does, at least, a better job of capturing the grindhouse philosophy than the limp Machete Kills. The inspiration – actually, it’s more shameless plagiarism – is more Mad Max 2, particularly in its stubbly hero and an extended chase sequence across the desert, in which he’s chased by a pack of nomads with painted faces. That’s perhaps the problem, because Drifter was a great deal less interesting than Mary Death to me; Marsden delivers a bland performance, over so much screen-time that this almost didn’t meet the necessary minimum standards for GWG qualification. I could also have done without the embarrassingly blunt attempts at “satire”, which feel like they came from an earnest late-night session at a liberal arts college. It’s not clever and it’s not funny.

But the bits that work, work quite nicely. There’s a great scene where Drifter is being yelled at in a soundproof office by the lead villainess (Loken), who is oblivious to the mayhem being wreaked by Mary on the other side of the glass. Indeed, virtually every time Ms. Death is on screen, the interest level increases significantly, and not merely for the obvious reasons. Pitre struts, stomps and raised the sardonic eyebrow to such impressive effect, that you wonder why you’ve never heard of her before. If Drifter is reheated leftovers of every post-apocalypse hero from the past 20 years, Death gives us something new. Hopefully, if there’s any sequel, Marsden will be “unavailable”, and the makers can concentrate much more on the heroine.

Dir: Henry Saine
Star: Matthew Marsden, Christian Pitre, Barak Hardle, Kristanna Loken

Bring me the Head of the Machine Gun Woman

  By

★★★½
“Sam Peckinpah would likely approve – as long as he has a console in the afterlife.”

machineWhen not spinning platters as the DJ at a tango club in Chile, Santiago Fernández (Oviedo) likes nothing better than to kill, rob and steal – at least, from the comfort of his couch, as he plays a game just dissimilar enough to Grand Theft Auto to avoid a lawsuit. There is, of course, a huge difference between video-game malfeasance and the real thing, as he discovers after being unfortunate enough to overhear a conversation of local crime boss Che Longana (Alis), in which he makes the titular request, said skull belonging to his ex-girlfriend (Urrejola), who is also an assassin of no mean talent. Caught eavesdropping, Santiago’s escapes execution by promising to deliver her to Longana – a task for which he is woefully unprepared, despite the countless hours of console practice for a life of crime.

While containing nods to the grindhouse era, the style is very much more GTA, with villains being introduced by a still, on which is overlaid their value, and Santiago’s car, as he drives around town, being filmed from behind and slightly above, the standard angle for the genre. Progress is even broken down into a number of missions, whose success or failure is documented by a large on-screen graphic. Yes, it’s undeniably gimmicky; however, at a brisk 73 minutes, including credits, it’s a gimmick which just about manages to avoid overstaying its welcome. My main problem is instead a strong preference for the Machine Gun Woman – she’s never named anything else – over Santiago, because she is exactly the sort of creation, in attitude as much as dress-sense, who would be perfectly at home in a video-game. Brutal and manipulative, she’s simply more interesting than the snivelling hero, who sole redeeming feature appears to be that he loves his Mom.

By the end of the film, he’s the one charging in, with all guns blazing to rescue her – albeit, after he has forgotten to mention a tiny detail on their initial assault against the Boss Level. Still, considering the film’s events unfold in barely a day, it’s a remarkable transformation, even by video-game standards; not least in his ability to hit the broad side of a barn, something notable by its absence early on. That said, it’s still an entertaining and briskly-told tale: Espinoza is very much aware that the “cut scenes” are likely to be of lesser interest to his audience, and whizzes through them to get to the next spurt of action. The results are clearly not intended to be taken too seriously, and shouldn’t tax the attention span of even the most ardent gamer.

Dir: Ernesto Díaz Espinoza
Star: Matías Oviedo, Fernanda Urrejola, Jorge Alis, Francisca Castillo