Lou Farnt (Brayben) is stuck in her life, with a dead-end job, no apparent friends to speak of, and still living with her domineering mother (Ball). She seeks escape from one self-help guru after another, spending her money on their books, DVDs and audio-tapes, though with little or no apparent positive results. Then, she meets the unconventional Val Stone (Roe), who lives in a seaside caravan and promises to change Lou’s life forever. After some qualms, she agrees to depart with Lou, who does indeed deliver on her promise. For, as the title suggests, Val is a psychotic if smart killer, who is specifically targetting those same gurus. Either she regards them as a curse on humanity with their vapid schemes, or she simply wants to dispose of the competition.
It seems clear that writer-director Roe holds a strong, likely personal grudge against self-help tutors, in order to create a movie which is largely based on showing their flaws, and then killing them off. This isn’t a cause I particularly care about: if not my cup of tea, I’m sure some people find them helpful. So this naturally limited my buy-in to the concept here. Kill off social media “influencers,” reality TV celebrities or Los Angeles Dodgers fans, and I’d be right there with you. Motivational speakers? Meh. It is somewhat amusing how naive Lou is, in regard to Val’s extra-curricular activities, and how long it takes her to realize she is taking life advice from a psychopath.
When she does, her reaction is little more than a shrug, admitting it feels quite empowering to kill. The movie really needs to buy into this concept considerably further, rather than gently nodding its head. The likes of Killing Eve have shown even we British can engage in a gleeful embrace of the darker side of things. The script here is simply too gentle for the subject matter, not least with much of the violence happening off-screen. We never get much insight into what makes it particularly empowering, since there’s no sense of catharsis for Lou. These aren’t people who have wronged her in any way, more than the most superficial. Unless “being annoying” is a capital crime? In which case a lot of people are in trouble…
I enjoyed Roe’s performance, which does have much of the same failure to give a damn as Villanelle in Eve. But how much you get out of it may depend on two things. Firstly, how long you see the end twist coming before it’s announced. Note: not if, when. For it’s one that most viewers will see coming, especially if they are familiar with a couple of cult movies from 1999 and 2003, the latter reviewed here. The other issue is how much this bothers you. Personally, less than I’d have expected. Though that may reflect the film’s general lack of impact. It feels like the kind of horror-comedy which would rather invite you in for a nice cup of tea than horrify you.
Dir: Staten Cousins Roe Star: Katie Brayben, Poppy Roe, Ben Lloyd-Hughes, Sarah Ball
The sport of arm-wrestling has been featured in the movies before, most notably the Sylvester Stallone vehicle, Over the Top. But that wasn’t a comedy – at least, not intentionally. This entry, as well as switching to the distaff side, also has its tongue in cheek, while still sporting a strong message about female empowerment, that never becomes a lecture. If you’re looking for an inspiration I’d saw the first season of TV series GLOW is very much a touchstone. As there, we have a woman who becomes involved in a sport at a difficult time in her life, only to find herself… well, finding herself as a result of her new endeavour.
The heroine is Melanie (Holland), a mild-mannered cafe-owner whose enterprise is almost out of business. Her pal, truck driver Danny (Sodaro, sporting one of the worst haircuts in cinema history), takes part in women’s arm-wrestling, but just had her wrist broken by the infamous Brenda the Bone Crusher (Stambouliah). Seeking revenge, she eventually convinces Melanie, who has a natural talent – the “golden arm” – to enter the national championships in Oklahoma City. The goal is to win the crown, and fifteen thousand dollars that go with it, to save Melanie’s business and take down Danny’s nemesis. But the path towards that title will go through not only Brenda, but over a number of other hurdles for the rookie athlete, both physical and mental.
There’s very little new here in terms of plotting. Everything unfolds exactly as you’d expect, right down to the final which pits – surprise, surprise! – Melanie against Brenda in a best-of-three battle. Still, the joy here is in the characters and performances. There appears to be, if this film is to be believed, a significant overlap between arm-wrestling and pro wrestling, with the participants here adopting personas and cutting promos to intimidate their opponent. Melanie, for example, begins as a masked wrestler called “Freaked Out”, after the ring announcer mistakes a comment as her name. But she eventually becomes The Breadwinner, complete with a dusting of flour on her cheek.
However, the greatest pleasure is the Melanie-Danny relationship, which builds over the course of the film. They’re total opposites – “Please don’t say ‘twat'”, begs Melanie repeatedly – but there’s still such chemistry, you can see how they’d be fast friends. It’s so good, in fact, that the romantic angle between Melanie and referee Greg (Cordero) seems entirely superfluous. It actually drags down the rest of the movie, and provides nothing of substance except for an explicit reference to The Natural. That’s another apparent inspiration, in its story of a sports star rising above injury at the moment they need to most.
This is thoroughly foul-mouthed, albeit for comic purposes, and I will say, it doesn’t all quite work. For example, there’s an extended discussion over the female equivalent of “going balls out,” that’s frankly a bit cringe. However, the sheer heart on view throughout is undeniable: that powers this through the flaws, and will likely leave you with a big, goofy grin on your face.
You are probably not going to see a more relentless parade of cliched storyline elements than here. Anna (Akerman) is seeing her life fall apart. Her coffee-shop business is failing, her car just got repossessed and her love life is entirely non-existent. Best friend Charleen (Sloan) takes her to an underground fight club for women, who need to deal with their issues in a less feminine form than society allows, i.e. by beating the crap out of each other. There, she incurs the wrath of club bad girl, the undefeated Olivia (Thorne), who challenges Anna to a bout in two months. Luckily, she’s introduced to a boxing coach, Murphy (Baldwin), who used to train Sugar Ray. There’s romance too, in the shape of club doctor, Roy (Connolly), though Olivia has also set her sights on him. Can Anna overcome her inner doubts, and triumph over adversity, after a welter of training montages?
It hardly would count as a spoiler to reveal the result, with almost everything here being horribly underwritten. Anna is given a dead mother necessary to the plot, and a father who has just come out of the closet, which most certainly isn’t. I also question the entire underlying principal of the entire concept. In what universe does it make sense, when you are out of work, broke and on the edge of being homeless, to spend all your time training for an amateur MMA bout? DEAL WITH YOUR EVERYDAY PROBLEMS, PEOPLE. Naturally, all of those get conveniently hand-waved away, in another of the plot’s convenient contrivances. See also: the manner in the which the final fight unfolds, which is seriously foreshadowed in the most unsubtle of manners; the thoroughly unlikely way in which it proves to be a bonding experience between Anna and Olivia; or the disposal of the legal charges against the heroine.
Yet, there are a couple of elements which meant it did manage to hold my attention – though it was touch-and-go at some points. Akerman does a good job of selling her character, giving her an airy, if likable, persona that does leave you wanting to see her prevail over her misfortunes – even if they are, largely, of her own making [struggling business owners shouldn’t have a Prius]. But the most pleasant surprise was the action. I was expecting little or nothing on that front, yet mad props are due to fight choreographer Shauna Galligan, who delivers brawls that wouldn’t be out of place in a Scott Adkins or Jason Statham film. That begins early, with Anna’s first fight lasting only about five seconds – and if you can make the chick from Twilight look like a serious bad-ass in the cage, you’re clearly doing something right. It’s never going to be enough to salvage a script that’s intent only in ploughing along paths that are painfully well-travelled. Yet it did provide some unexpected pleasures, and I was left feeling my time had not been entirely wasted.
Dir: Paul Leyden Star: Malin Akerman, Kevin Connolly, Bella Thorne, Dulcé Sloan
I have so many questions. Not the least of which would be, how the hell is this ranked a 7.3 on the IMDb? I do note a sharp division among the sexes: male voters gave it a 3.3, while women an 8,3. What can I say? I now know the meaning of the phrase, “Bitches be crazy.” It did, however, cause me to consider my opinion on one topic. There is a school of thought which says that films that intentionally try to be bad, cannot succeed. In the past, I’ve tended to disagree: the Sharknado franchise, for example, certainly has its moments. However, this is a good counter-argument; it’s not just trying to be bad, it strains towards its goal like a constipated elephant – and with much the same end result.
The problem here is, the makers seem to think that to make a parody, you simply have to be worse that what you’re parodying, and that’s where their invention stops. “Look at how shitty we are! Isn’t that funny?” No. No, it’s not. The target here appears mostly to be sixties spy-films, with three heroines (Pasch, Bianchini and Nourney) trying to stop – or at least, delay – World War III, through methods that are almost entirely unclear. Yet I’m really not sure tismakers have ever seen an example of what they’re supposed to be parodying. They possibly just suck at film-making, though I’m sure they and their pals had a fine time globe-trotting to make this.
I’m not sure which are the worst elements. A smugly self-indulgent script which is simply too damn meta for its own good. Line delivery from the three leads that could be improved by replacing them with a text-to-speech program. Or the cringeworthy musical numbers which seems to have escaped from open mic night at your local college coffee house. The makers appear to have a group called Bright Blue Gorilla, whose songs are about as terrible as you would imagine a group with that name to be. Actually, my mistake. It’s the kung-fu. Definitely the kung-fu: feeble wet-noodle limb-waving, which makes Honey West look like like Michelle Yeoh’s greatest hits. And they don’t even have an ocelot here.
My brain shut down after 20 minutes and I had to physically step away. When I resumed, the rest was little improvement though I will say, the use of one actor to play triplets was surprisingly well-done. If only the rest of the film had remotely approached that standard. I gave serious consideration to simply bailing, and pretending the whole thing did not exist. But if the existence of this review manages to save one person from making the same mistake as I did, then my sacrifice will be worthwhile. So, I persisted, right through the eight-minute credit crawl, including what seems like a picture of every single person involved in the production. Further proof, as if any were needed, confirming the largely vanity nature of this project.
Dir: Michael Glover Star: Christa Pasch, Roberta Bianchini, Nadine Nourney. Dominic Anglim
Yang Yang (Yang) is an impetuous young policewoman, whose career is on thin ice after shooting the target of what was supposed to be a surveillance operation. Her superior officer – who also happens to be her uncle – is forced to re-assign her, and sends Yang to operate undercover as a student in a high school from which girls have been going missing. The leading suspect is an arrogant pupil who has recently been accused of sexually assaulting a classmate. Teacher Wu Xie (Zhou) is a witness in the case, so Yang is also tasked with making sure he isn’t pressured into changing his statement. Fitting in is going to be part of the problem for Yang – despite the help of Molly (Li), who takes the “new girl” under her wing.
The idea of cops being sent undercover to school is hardly a new one, best known in the West through 21 Jump Street. Originally a TV series starring Johnny Depp, this was recently revived as a movie franchise, with a lighter tone. However, in much of the East, the touchstone is 1991’s Fight Back to School, with Stephen Chow as the policeman. It became Hong Kong’s all-time top-grossing film to that point, and foreshadows the comedic approach of the Hollywood movie. Those are some enormous boots to fill, and it’s hardly any kind of surprise that Yang is no Stephen Chow in terms of comedic persona or timing.
That said, it isn’t too bad. The lead actress actually looks like she could still be at school, which is an immediate leg-up over the thirty-something Channing Tatum, who was the least convincing high-school student since Olivia Newton-John. Even her “bad policewoman” attitude isn’t entirely inappropriate, though the film does have an unevenness of tone which is quite frequently awkward. The juxtaposition of a jokey approach with the sexual assault charges has not travelled well to the West [and while I’m at it, why is this apparently Chinese film set in Singapore?]
The action is a bit up and down, too. The best bit is a lighting-fast fight between Yang and someone out to ensure Wu doesn’t make it to court. This contains a sequence where they’re repeatedly throwing the same knife back and forth, snatching it out of the air before returning it in the opposite direction. It’s like a pointy version of badminton, up until the moment where Yang, apparently bored with the whole thing, catches the blade in her teeth. The rest isn’t on the same level, and proceeds in almost exactly the way you would expect. For example, Yang gradually falls for Wu, creating a scandal at the school, and which brings her into conflict with another student who has a pre-existing crush. However, after a run of really bad movies on Amazon Prime, I was delighted to latch onto something capable of reaching the dizzy heights of artistic competence. Sometimes, you just have to take what you can get.
Dir: Kai Jiang Star: Yang Zou, Zhuo Wen, Mengmeng Li, Naisen Hou
a.k.a. Bad Cop
This is the kind of film which I’d say was enjoyable, rather than being good. Indeed, if you want an illustration of the difference between the two, this movie is a good example. Sona Mukherjee (Fernandez) is the wife of respected doctor, Mrityunjoy Mukherjee (Bajpayee). But their life is upended when the bodies of six, formerly pregnant, unmarried women are found on their property. Sona believes her husband was framed – possibly by police inspector and former boyfriend Imran Shahid, (Raina). She takes the advice of a dubious lawyer, who suggests that if the serial killer was shown to be still active, that would prove her husband’s innocence. So Sona kidnaps another expectant young woman, Anushka Tiwari (Khan) to provide a seventh victim. Only… well, Sona is a bit crap as a serial killer, and Anushka is a feisty little thing with a black-belt in taekwondo, pregnancy be damned.
I’m tagging this as horror and comedy, on the basis that it shouldn’t be taken seriously in the slightest. I’m fairly sure this approach is quite intentional, though with Bollywood, it’s rarely possible to be entirely certain. But there are just so many ludicrous elements, not least the central premise, that it definitely works best as a parody of lurid potboilers. For example, Indian police have apparently never heard of DNA testing, and feel that one body is pretty much as good as another. It’s also possible to trigger an immediate, devastating asthma attack, by crushing up flowers in your hands, and then blowing them in your target’s face. I thought that kind of thing only ever worked in a professional wrestling ring.
That all said, I still enjoyed it, not least for the way everyone takes it Very Seriously. It’s at its best when Sona and Anushka are facing off, the “killer” initially trying to convince her victim she has been captured by a man – an aspect as poorly considered as the rest of her plan. The contrast between the two make for amusing confrontations, such as Anushka spitting back, mockingly, “Trying to scare me with your psycho stare? I can do better. Here!” I was disappointed that they ended up taking a back-seat during the final act [for if her husband was not responsible for the six corpses… who was?] It’s still no less lurid, combining operatic music and disco lighting, in a basement festooned with a plethora of IV drips, for no reason beyond it looking cool.
It all ends in a final twist which makes about as much sense as the rest of it i.e. not very much. I won’t spoil it, but will tell you, it does not provide what I actually wanted to see, which was Sona and Anushka teaming up to go all Natural Born Killers on the real perpetrators. That would have been too much to hope for. Yet I can’t deny I was still amused enough, and wished Lifetime TVM were more like their South Asian counterparts.
Spun off from the popular Lucky Stars series, this takes Madam Wu (Hu), who had first appeared in Twinkle, Twinkle Lucky Stars, and branches out into its own saga. After an unfortunate incident involving a sheik’s wife, the local police decide to set up a special group of women officers, who can handle similarly sensitive missions. Wu is given the task of licking the candidates into shape, with the help of Interpol’s Madam Law (Rothrock), and despite the disdain of Inspector Kan (Fung), who is training a similar group of men. Needless to say, the male and female squad members compete, both for success and each other’s attentions, but both are called in to provide security for a showcase featuring priceless jewels. Will the ladies finally be able to prove they are worthy of serving alongside their gentleman colleagues?
If you want an example of the “kitchen sink” school of Hong Kong cinema, look no further, because Chin hurls everything he can think of at the camera. As well as the action – largely concentrated around whenever Madame Law is present – there’s drama (the inevitable cocky bitch among the women learns it’s a team job, misanthropy (two of the recruits discover they share the same boyfriend, and give him a brutal beating) and even a musical number. Oh, yes: and large slabs of broad comedy, particularly in the middle, with a lengthy sequence resulting after the two teams go on a mutual outing to a roller-skating rink. This isn’t subtle, but I’ll admit, I did laugh out loud on at least one occasion. The shifting between these approaches is rarely less than jerky, leaving the viewer with the vague impression they’re channel surfing HK television.
Still, the action, whenever it shows up, is as good as you’d expect from a film produced by Jackie Chan, and on which his world-famous Stunt Team was involved. Rothrock and Hu do much of the heavy lifting, but the rest of the cast don’t seem to get off lightly, Hui in particular. Bizarrely memorable, is the training sequence where Law encourages the recruits to run faster by having them chased by blazing trails of gasoline. [The Chan-esque out-takes at the end show you they clearly needed a couple of takes to get that right…] The final battle, against Western jewel thief Jeffrey Falcon is particularly impressive, and is embedded at the end of this review for your viewing pleasure. If only there’d been rather more of this – rather than, say, quite as much roller-skating – this could have been a classic. Instead, it’s excellent in short bursts, and merely acceptable for long spells.
Dir: Wellson Chin Star: Sibelle Hu, Kara Hui, Shui-Fan Fung, Cynthia Rothrock
a.k.a. Top Squad
★★
The Inspector Wears Skirts II
For the first hour, this is among the most miserable of action heroine sequels ever to come out of Hong Kong. It’s right down there with Naked Killer II: Raped by an Angel, in terms of the gulf in quality and entertainment value separating it from the original. While Hu and Fung return, as leaders of the male and female squads respectively, outside of a minor battle in the lunch-room, there is almost no significant action to speak of, until the final 20 minutes. It’s almost as if the makers forgot entirely about this side of things until the last week of shooting, and were forced to make up for lost time. It’s certainly brisk and not badly put-together. However, if you’re anything like me, you’ll be ramming your head into the wall and praying for unconsciousness, long before all that shows up.
The main thing you’ll take away is an appreciation for the delicate balance between action and comedy managed in the first film. Where that juggled those two balls with some adroitness, the balance here is tilted heavily towards the latter, and I’m strongly inclined to put comedy in quotes. For the laughs are largely the product of things like new recruit Amy Yip’s large breasts – she cuts holes in her bullet-proof vest, because she doesn’t want it flattening her figure. There’s even a scene which makes heavy use of flaming excrement for comedic effect. Oh, hold my aching sides for I fear they may split. As in the original, there’s a lengthy “date night” sequence, set at a birthday party for Madame Wu, rather than a roller-skating rink, but still complete with a musical number. It manages to be even worse-staged than the original.
Things do improve somewhat in the second half. There’s a contest on an obstacle course, which emphasizes teamwork over individual success, then another rehash from part one, a “best out of three” martial arts match between the Banshee and Tiger squads. These could have been the most badly choreographed fights in the history of kung fu, and they would still have come as a blessed relief from comedic Peeping Tom-foolery and people smearing tofu on their own face. Have to say, the poster above (Vietnamese?) probably had rather more effort put into its creation, than most of the scenes in the actual movie. There’s an almost overpowering feeling this was little more than a hurriedly concocted cash-in on the success of its predecessor.
Dir: Wellson Chin Star: Sibelle Hu, Sandra Ng, Shui-Fan Fung, Billy Lau
★★
The Inspector Wears Skirts III
Just about any effort at meaningful action is abandoned here, in favour of comedy which spoofs other movies, including Friday the 13th, A Nightmare on Elm Street, the Chinese Ghost Story series and, in the second half, Hong Kong classic, God of Gamblers. Actually, as a fan (to varying degrees) of all those, I didn’t mind too much: it’s a damn sight more successful than the dire attempts at humour which sank part II before it had left the harbour. Those boat metaphors are also appropriate, given this carries the sub- or alternative title, Raid On Royal Casino Marine. The main mission here sees the Banshee Squad going undercover on a boat, where Amy (Ng) has to take over as a syndicate’s top gambler, after the real person is unceremoniously dumped overboard. However, robbers have designs on the $200 million pot, and hijack the ship, so it’s up to Madam Wu (Hu) to parachute in to the rescue of Inspector Kan (Fung).
Takes a while to get to that point, as it starts with We and Kan now married, and Wu apparently largely happy to be a home-maker. Kan is tasked with reviving the Banshee Squad, though his training methods are… somewhat different, shall we say. Yay for electrocuting tied-up women! They gain revenge by donning the hockey mask and knife gloves of Jason and Freddy Krueger, to terrorize him, then restaging an entire Chinese Ghost Story sequence. It’s all such a product of its time (1990) – but since that was when I was heavily into both schlock horror and Hong Kong fantasy, I can’t complain too much, and just wallowed in shameless nostalgia for a bit. However, whatever it may have gained on the comedy side, is entirely handed back in a lack of competent or interesting action. Jackie Chan and his team had clearly severed all connections with the series for this entry, and the results are entirely pedestrian, with hardly a single moment, let alone sequence, of note.
While it likely made more sense at the time, I can safely say it certainly hasn’t stood the test of time very well. I think it’s probably best to say no more and move on to the final entry. Otherwise, I’ll probably have spent longer writing this review, than they spent on creating the entire movie…
Dir: Wellson Chin
Star: Shui-Fan Fung, Sandra Ng, Billy Lau, Sibelle Hu
a.k.a. Raid On Royal Casino Marine
★★★
The Inspector Wears Skirts IV
While still packed with crappy humour, this was at least crappy humour that occasionally made me laugh, rather than roll my eyes. The fourth and final installment went out on a relative high. It demonstrates that it helps when making an action-comedy, to have actors who know their way round the action part. Here, that’s Lee and Khan, both of whom were veterans in the Hong Kong GWG field, and the martial arts here are pretty close to the quality we saw in the first installment.
Madam Lee (Lee) is struggling with the latest bunch of female recruits in the Banshee Squad, to the point where her boss Supt. Hu (Fung Woo), might have to close down the group entirely. For another officer, Madam Yang (Khan), has founded a “gilt-edged” women’s task force, which has been getting glowing reports. To try and recover, Lee and her assistant, Ann (Tse) go in search of some of the former members, now in civilian life, to see if they will come back and help restore the Banshee Squad to its former glories. Which is how we get the return of Amy (Ng) and May (Kara Hui), who have become a single mother and nuttier than a fruitcake respectively.
It’s certainly not elevating the wit: mental illness and date-rape jokes, toilet humour and crotch whacks are very much the order of the day here, right up to the final shot, the film freeze-framing on an excrement gag (perhaps literally!). But there are occasions where it works, such as the misfiring of a pair of jet-propelled shoes, which feels like it could have come out of a Wile E. Coyote cartoon. Someone even gets fired from a cannon. There are also things parodying the bus chase from Police Story [remember, Jackie Chan was a producer on the first Skirts film], Once Upon a Time in China, and probably a whole bunch of other stuff which has gone under the bridge of memory over the past 28 years.
Eventually, we get to the action-oriented main course, which sees the bad guys taking the commissioner’s son hostage in his school. Naturally, Madams Lee and Yang have to team up with each other, as part of the anti-terrorist forces. Even though the fights seem more than a little sped-up, they’re entertaining and well-staged, especially the final battle against a superkicker, whom I’ve seen identified as Chui Jing Yat, which goes on for what seems like ever, in and around the school. It likely makes me view this slightly more kindly than it deserves, and this is not going to be a film in either Khan or Lee filmographies that will be ranked near the top. But if you’re going to go out, go out on a high note, I say.
Dir: Wellson Chin
Star:Moon Lee, Wan-Yee Tse, Cynthia Khan, Sandra Ng
Diedre (Tacosa) and Frida (Riley) are the fractious stars of low-rent superhero show, Battle Babe and Combat Queen. When the series is canceled, they go on a bit of a binge, ended only by the appearance of two tiny aliens from Metaluna (Nguyen), who give the pair of very drunk Earth women devices that will turn them into Team Giantess Attack. These are intended to be used to rid the planet of evil. Needless to say, things don’t quite work out that way. The military, under Gen. Smedley Pittsburgh (Rowen), want to get their hands on this alien technology. But D+F won’t give it up and, instead, use it to go on the rampage and take revenge on those who previously wronged them.
When a film goes out of its way to be deliberately crap, this largely makes it flame-proof, since a legitimate defense against any highlighting of its shortcomings becomes. “Well, it’s supposed to be bad.” There’s no doubt this is a parody of.. well, everything from Japanese sentai shows through B movies such as Attack of the 50-Ft Woman and on to TV series like The Bionic Man. As such, there are chunks which work remarkably well: Nguyen’s dual performance as both Metalunans (a name itself taken from This Island Earth) is delightful, especially if you’re familiar with the Mothra movies which inspired the twins. It just needed a little song-and-dance number to make it perfect.
However, there’s a weird inconsistency of tone, and as the above should suggest, a lot of potential left on the table. At times it seems almost like this is aimed at kids, Then you get a lengthy sequence about Team Giantess Attack sticking the General into various orifices, which seems to have strayed in from some creepy fetish movie (I’m not Googling it, but… Rule 34). There’s also a funny spoof commercial for cereal… and just the one. That they failed to go full Amazon Women on theMoon there, peppering the film with fake adverts, trailers, etc. seems like a lost opportunity. The whole thing runs only 61 minutes, so it’s hardly as if they were strapped for time. And there’s still padding: we’re 22 minutes in before the Metalunans show up.
Yet all told, it remains a good-humoured and generally entertaining piece of work. The effects are all over the place, throwing stock footage, model work and green screens together in a thoroughly low-budget mess – which is, of course, the point, just as much as the women’s clothes conveniently expanding to keep them covered. If you don’t smile at the thought of two bikini-clad behemoths wrecking Hollywood landmarks like the Capitol Records building, then it’s probably safe to say this isn’t the movie for you. However, I have seen more than my fair share of the content which this is lampooning. So I must admit, I probably have more anticipation than I expected, for the impending sequel, Giantess Attack vs Mecha-Fembot, whose trailer is below.
This is exactly the kind of “mismatched cop” film in which you’d expect to see Melissa McCarthy, if it was ever remade by Hollywood. Though since two decades later, McCarthy would star in The Heat, they probably don’t need to bother. Here, the trope of tough, world-weary cop Jacky, is played by Ng – inexplicably, the subtitles repeatedly call her Joan, which confused the heck out of me for a bit. She gets an unwelcome new partner in the shape of idealistic and by-the-book Mary (Chan). Of course, there’s the inevitable friction before the pair come to respect each other.
After being accidentally involved in a jewellery heist, they get to investigate the case. The robbery was actually staged by the gems’ owner, Hanks Lee (Kong) for insurance purposes, which is why the robbers start turning up dead. Jacky and Mary have to locate the last survivor, with the unwilling help of his girlfriend (Hung), before the loose end he represents can be tidied up. Complicating matters is the growing relationship between Jacky and Hanks, to the concern of her partner. While in her own sub-plot, Mary has issues with her widowed mother’s new boyfriend, because he’s a supposedly reformed gangster.
It’s so incredibly generic, it’s hard to think of a time when this would have seemed the slightest bit original – even back in 1992, when this was made. There are no surprises at all to be found in the plot or characters, save perhaps the caricatured male colleagues who get their come-uppance at the end… by being assigned to the Gay Crimes department. Laughter all round! Every aspect of that angle is incredibly nineties, and so impossible to imagine in a modern film, it becomes kinda refreshingly incorrect. On the other hand, safe to say it’s probably not the element which the makers most wanted to stick in the viewer’s memory. The two leads do have a nice chemistry though, and that keeps things chugging along pleasantly enough, covering over the paper-thin nature of the story.
Still, it’s one of eighteen films listed in the IMDb for Ng this year, and you certainly get the sense this was something put together and churned out with no great regard for quality. There isn’t even that much action, save for the jewel robbery. Things do perk up at the end, after they locate the last robber in a closed amusement park – only for Jacky unwittingly to spill the beans on his location to Hanks, leading to him sending his posse there. Fortunately, Mary’s impending father-in-law is there, to draw on his old, very particular set of skills. It’s quite energetic and well-staged, though falls some way short of doing enough to move the needle far. There’s no doubt that just about everyone involved has been part of significantly better films. Though if you are in the mood for something entirely undemanding and light, this would probably pass muster.
Dir: Andy Chin Star: Sandra Ng, Charine Chan, Kong Wa, Catherine Hung
Fashion model Tiffany Jones (Hempel) finds herself dropped into the middle of international intrigue, after President Boris Jabal (Pohlmann), leader of the Eastern European state of Zirdana, takes a shine to her during a state visit to Britain. It’s supposed to be a trade negotiation, but is really to allow Jabal to broken an arms deal with some shady Americans. Her meeting the President brings her to the attention of two factions of Zirdanian rebels.
The nice is led by Prince Salvator (Thomas), the ruler in exile. The not-so-nice are a more aggressive faction, operating out of a restaurant kitchen. Both wonder what Tiffany is doing with Jabal, and are keen to use her to achieve their ends. Which is fine by her, since she has no love for the authoritarian regime which controls Zirdana. So Tiffany agrees to a plan where Jabal will be distracted, preventing from seeing the arms dealers, and a substitute will take the meeting in his place.
Walker is better know for his S&M horror films, with titles such as House of Whipcord, and it’s safe to say saucy comedy like this is not his strong suit. There’s no shortage of sauce, to be sure. It’s reported that Hempel (now known as Lady Weinberg, through marriage) bought up the rights to the film, as well as her work with Russ Meyer, Black Snake, for showing rather too much of her. And that’s before we get to the garden party she throws for Jabal, populated by a flock of 1970’s dolly-birds, who shed their clothes enthusiastically at the drop of a cocktail napkin. The whole thing – a plot to get sexually compromising material on a visiting foreign leader – does still have contemporary resonance…
It’s the comedy angles which are a horrible failure, with virtually every attempted joke falling flatter than Hempel’s chest [quite how she ended up in a Meyer film escapes me, given his fondness for the more-endowed end of the feminine spectrum. Then again, he said later of Hempel, “We had a stand-in for the tits and wouldn’t let her speak.”] It’s not just the passage of time, for the Carry On films of the same era have endured very well: I suspect this was simply not very funny to begin with, and appears to have tanked at the box-office. Like Modesty Blaise, it was based on a British newspaper comic-strip, which ran from 1964-77. Unusually for the era, it was created by two women, Pat Tourret and Jenny Butterworth, though I suspect the newspaper version was likely less salacious.
The main redeeming aspect here is Hempel, who has a lovely, breezy charm which manages to sail above the leaden material, almost redeeming it. She portrays Jones with an endearing mix of savviness and innocence, as she dodges the (literal) grasp of President Jabal, and the more fanatical of his opponents, while working to help the Prince regain his throne. Probably wisely, the morality of replacing an absolute, unelected leader with another absolute unelected leader, simply because the latter is younger and cuter, is never addressed. Hempel is not quite enough to rescue this, and it’s perfectly understandable why this vanished into obscurity, with or without the lead actress’s help.
Dir: Pete Walker Star: Anouska Hempel, Eric Pohlmann, Damien Thomas, Susan Sheers