Tag: comedy

Miss Nobody

  By

★★★
“Climbing the corporate ladder can be murder.”

missnobodySarah Jane (Bibb) has been working for years as a unassuming secretary in a pharmaceutical company, and egged on by colleague and best friend Charmaine (Pyle), eventually gets up the courage to apply for an executive position. With some embellishment of her resume, she gets the post, only to have it yanked from under her when a new hotshot arrives. The hotshot makes a pass at her, leading to his accidental death; Sarah Jane has her position restored as a result of this untimely demise, and discovers her late rival had the plans for a wonder-drug with the potential to reverse Alzheimer’s. However, she soon realizes that further deaths will be necessary, both to keep her secret, and also continue her rise up the chain of command. Complicating matters, she starts dating one of the policemen (Goldberg) involved in the investigation of the slew of suspicious corporate deaths, by train, photocopier, gas explosion, etc.  Worse yet, someone clearly knows what Sarah Jane has been up to, and starts trying to blackmail her.

The film could have gone a number of different ways in terms of its approach, such as black comedy – Heathers would be the best example of that approach. However, Cox strenuously avoids the darker tone, opting to keep things frothy and light: there’s little or no doubt, for example, that Sarah Jane’s victims deserve some kind of retribution [although you can certainly argue whether their crimes reach a level where the death penalty is merited]. It does, of course, rely heavily on the stupidity of just about everyone beyond the heroine, the rest of the characters behaving in ways that would only happen in this kind of film. However, the cast are good enough to pull this off, with Bibb endearingly perky in the lead, and getting good support from Pyle (Cleaners), as well as Vivica A. Fox (Kill Bill) as another corporate rival, plus Barry Bostwick as the local Catholic priest, who has some difficulty coming to terms with the heinous crimes to which Sarah Jane confesses.

I was, however, unconvinced by the ease with which she slides from mouse-like secretary into serial-killing predator. Especially given – or, depending on your view of religious zealotry – even allowing for, her devout faith [she prays nightly before a shrine to St. George, a statue of whom played a formative role in her youth], it’s a slippery slope down which Sarah Jane less slides, than cheerfully sprints. The bubbly approach also seems awkwardly at odds with the subject matter, though the performances help deflect attention from this while the film is in motion. I’d likely have preferred a sharper edge to the corporate satire; there’s no shortage of potential targets there, yet this has about as much edge as a letter-opener, and that limits the impact, turning this into little more than a competently fluffy time-passer.

Dir: T. Abram Cox
Star: Leslie Bibb, Adam Goldberg, Missi Pyle, Kathy Baker

13 Frightened Girls!

  By

★★★
“Candy is dandy.”

3_13-frightened-girls-three-sheet-1963Though he produced Rosemary’s Baby, the legendary William Castle is best known for his gimmicky horror flicks such as The Tingler or House on Haunted Hill, which sought to enhance the cinematic experience with things like “Emergo” [a plastic skeleton on wires that flew out into the audience]. They’re awesome. This title sounds like another one – not least because it evokes his own 13 Ghosts from three years previously – and the poster (right) does little to dismiss that belief, but it is actually closer to Spy Kids. Not that Castle abandoned his eye for publicity, generating it here by an “international contest” to find the titular baker’s dozen, who could play the daughters of diplomats from 13 different countries. However, the film itself is played straight, and while undeniably dated, is so in an generally adorable matter. Who knew the Cold War – for this came out less than a year after the Cuban Missile Crisis – could be such fun?

The heroine is Candy Hull (Dunn), 16-year-old daughter of an American diplomat stationed in London, who attends an exclusive private school with the other diplo-daughters. They all hang out quite happily, entirely unfazed by the political shenanigans of the adults, more concerned with typical teenage girl things, such as boys and being popular. Candy, however, has her heart set on the embassy’s chief spy, Wally Sanders (Hamilton, whom you may recognize as the mayor in Jaws!). Through her friendship with Chinese girl Mai-Ling (Moon), she stumbles into, and defuses a plot to frame her father (Marlow) for the murder of a Russian liberal, leaving the evidence for Wally under the nom-de-guerre of “Kitten”. Wally is amazed, and Candy discovers that being a teenage girl with “diplomatic immunity” is a great cover to hear gossip and not have anyone pay you attention. However, her success eventually brings her notoriety, and the Chinese call on “The Spider” to find and kill the spy who has been leaking all their secrets.

It’s a weird mix, cutesy with some fairly grim moments, such as Candy having to yank a blade out of a corpse, and a non-zero body count: I’m not sure who the target audience was for this. Some aspects do seem strange to contemporary eyes. Candy is perhaps too “grown-up”, and her crush on him now seems wholly inappropriate, their relationship causing Chris to mutter “pedophile!” under her breath on multiple times – not least when Wally threatens to spank her! But given the tenseness of the times, it’s far less polemic than it could be, not painting all Reds as bad, and it’s clear that whatever may have changed over the past 50 years, teenage girls clearly haven’t. Dunn makes for a plucky heroine, and there’s genuine tension here on occasion.

Dir: William Castle
Star: Kathy Dunn, Murray Hamilton, Hugh Marlowe, Lynne Sue Moon
a.k.a. The Candy Web

 

The Godmother

  By

★★★
“Romain in place”

godmotherDefinitely not to be confused with the upcoming film starring Catherine Zeta-Jones as Colombian drug-queen, Griselda Blanco, this is likely a much gentler piece of work. Jennifer (Anderson) in an English teacher, happily married to a Romanian accountant, Radu (Bucur) and with a young son, David (Iamcu). But her life is turned upside-down when her husband is arrested, for it turns out his main job was keeping the books for the area’s top mobster, Spanu (Alex). To prevent him from testifying, Spanu sends his goons after his accountant’s family, and Jennifer has to rely on her wits to survive. Eventually, she decides the best form of defense is attack, and sets up her own criminal organization, with some unlikely help in the shape of the local cops, some of husband’s book-keepers, and a former mobster turned monk.

It is, of course, all entirely implausible: in reality, a scenario like this would end in only one way, and would be neither gentle nor amusing. Fortunately, Spanu is largely incompetent, to the extent that it’s inconceivable how he could ever have made it to the top of the criminal underworld, and his minions are little better. Still, given that conceit, I spent most of the movie with a goofy smile on my face, watching “fish out of water” Jennifer coming to terms with her situation, and the oddball characters who surround her – the gangster monk, who spends most of the time drinking heavily and/or floating in the pool, was probably the most amusing. Though I do feel this missed a trick, not having a heroine whose character was located somewhere between Mary Poppins and Nanny McPhee, with a steely determination and implacable sense of propriety, e.g. scolding the villain for his poor table-manners. Still, Anderson brings a peppy likeability to the role. though the wrap-around section, concerning two street kids apparently finding her diary, doesn’t fit well with anything else.

It’s filmed in a mix of Romanian and English, which is a bit flaky at times, since some of the characters are clearly not acting in their native tongues. However, the script holds the threads together nicely, and even manages to find a way for the heroine to triumph – such an obvious conclusion, it doesn’t even count as a spoiler – that is not entirely contrived or impossible. Without giving too much away, it involves “turning” an operative sent into her camp, with the help of a strange medical student who sells body-parts on the side. While I’d like to have seen more action, that isn’t the real focus; however, it does show occasionally surprising invention, that allowed this to skate around its weaknesses.

Dir: Jesús del Cerro, Virgil Nicolaescu
Star: Whitney Anderson, Velea Alex, Stefan Iancu, Dragos Bucur

Robo-CHIC

  By

★
“Overdrawn at the comedy bank”

robochicDr. Von Colon (King) has completed his life-work, a female robot called Robo-CHIC (Shower and/or Jennifer Daly – we’ll get into the logic of this later), the second half of her name standing for Computerized Humanoid Intelligent Clone. At the same time, nerd terrorist Harry Truman Hodgkins (Ward) has planted a dozen nuclear bombs around the United States, times to go off at regular intervals. While he’s easily arrested, he is busted out during transit to the federal pen, falling under the control of evil overlord Quentin Thalian, who decides that if he holds Hodgkins hostage, he’ll then hold the nation hostage. And his demands won’t stop at getting girls to like him: he’ll also demand the police stand down so he can do whatever he wants. An unguarded remark by the Doctor – more or less along the lines of “somebody needs to do something!” – sets Robo-CHIC in pursuit of Hodgkins, along with TV reporter John Kent (Baker), and they have to resolve all this mess before any more stock footage of nuclear explosions occurs. And I haven’t even mentioned the biker gang, Satan’s Onions. They should be Satan’s Minions, but there was a screw up with their jackets. This does, however, provide a good indication of the extremely low-hanging comedic fruit at which this film aims.

Even given this, it misses more of than it hits, in particular with Dr. Von Colon, who comes over as some bizarre cross between Albert Brooks and Lloyd Kaufman – and not the good aspects of each, either. The only two people who have the right approach are Ward, and Rita Gonstodine as stunningly stupid newscaster and colleague of Kent’s, Bambi Doe. Those offer about the only times you laugh with the film, rather than cringing at it. Then, you have the fact that two entirely different actresses play the heroine during the film. It appears Shower, despite receiving a production credit, bailed on the production midway through shooting, but it was decided to replace her and keep shooting, on the basis the audience either wouldn’t notice or wouldn’t care. The blonde, curly wig worn by both helps, and it’s not as blatant as, say, Bela Lugosi in Plan 9, yet they also decided this was a story which needed to be told at a length of more than 100 minutes. Even if this was now a sunk cost, the correct decision when the lead actress left, would have been to shoot the bare minimum necessary with the replacement to qualify as a feature. Trust me, future generations of viewers would have thanked you.

This is so lacklustre, it barely qualifies as an action film. However, this is also so unfunny, it barely qualifies as a comedy, and long before this reaches its climax, your attention will be sorely taxed, because it feels perilously close to an idea rejected by Troma. And given the films Troma did make the same year this came out (1990) included Sgt. Kabukiman N.Y.P.D. and A Nymphoid Barbarian in Dinosaur Hell, that would set the bar so low, a limbo-dancing midget would encounter problems. Avoid, at all costs.

Dir: Ed Hansen + Jeffrey Mandel
Star: Kathy Shower, Ranson Baker, Kip King, Burt Ward

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”]

Ambitious Kung Fu Girl

  By

★★½
“More ambitious than kung fu”

Tian Si Si (Yim) is a spoiled rich girl, whose doting daddy pays kung fu fighters to give the illusion that she can beat them up. Despite his desire to wed her off in an arranged marriage to Yang Fan (Tak), Si Si runs off to meet her idol, Qing Ge (Chen), a true master of the martial arts, whom she knows only through the fictional tales of derring-do, told by her maid. Susequently, Si Si becomes the target first of con-men, then is sold to a brother, and when they realize who she is, becomes the centre of a scheme to force her into marriage, so her husband can inherit her father’s fortune. Throughout it all, Yang is about the only loyal friend, though when she meets her idol, she discovers that, while if he isn’t as depicted, he still has a courageous streak of his own.

This is clearly intended as a light and frothy confection, not to be taken seriously – witness the gambling contest between Qing Ge and his rival, which has much more in common with a modern game-show than anything from the period. However, the plot is actually smartly written, with enough angles and schemes to keep your head spinning, as you try to figure out who actually wants to help our heroine, and who is against her. I’m not normally a fan of this era of martial arts, often finding the action too obviously-staged. However, this is quite well put together, and I do appreciate camerawork which lets you appreciate the performers’ skills.

Indeed, as a film in general, this would probably rate a star or so higher, and is a fun 90 minutes: my main disappointment is that the heroine is really not the kung fu girl of the title. Apart from the initial encounter with the paid opponents, her “Sloppy Blind Man’s Sword” technique is hardly used. Though there are some other strong female characters – most notably brothel owner Madame Mei (Wong Mei-Mei), who clearly has physical skills beyond what you’d expect from her job – they are largely secondary and/or subservient to the male ones, with the possible exception of courtesan Zhang Hao Er (Choh Seung-Wan), who is certainly her own woman. But overall, entertaining fluff though this is, it only barely qualifies for inclusion here, rather than in the Hall of Misleading Advertising.

Blubberella

  By

★★
“Not quite the wholesale disaster this might seem…”

This will only make sense, or be in any way entertaining, if you’ve seen Bloodrayne 3: The Third Reich: because it’s basically the same film, with a really fat chick (Hollister) replacing Natassia Malthe. And when I say, “the same film,” I mean the same storyline, same actors playing the same roles, and same scenes in the same locations. Really, I suspect this must have been made at the same time, with Boll simply swapping out Hollister for Malthe every other take. As there, the heroine is a half-human, half-vampire, who finds herself involved in a Nazi plan to take the powers of vampirism and turn them to their own ends. Except here, it is, of course, a spoof – and one so extremely broad, the makers of those Epic Movie flicks would have been cringing on occasion. Fat jokes, gay jokes, Nazi jokes… No easy target is left unstoned, paved with deliberate anachronisms like Segways and Internet dating.

And yet, even if it took us two sessions to get through this, I can’t bring myself to hate it, not least because of Hollister, who goes at things with gusto. It’s clear this is an actress who does not get to play the lead often, least of all in an action flick (though for obvious reasons, the action can kindly be described as “limited”). Even if this is a parody of one, both her and Boll deserve credit for breaking down one of the taboos seen everywhere in body conscious Hollywood. There are moments here which are just surreal, such as a dream sequence where Blubberella plays a game of Risk with Hitler (played by the director!) and Fletcher in blackface. WTF? No, really: WTF? There’s also a lengthy scene parodying Precious, which is unsurprising, considering it’s about the only other film I can think of where a morbidly obese woman is the heroine.

I probably have a higher opinion of Boll than most people: when he avoids making video-game films, the results can be really good [Darfur and Rampage both kick ass]. However, comedy really isn’t his forte, and too much of this ends up missing its mark, most often through being over-played in one way or another. Rather than a shot-for-shot remake of a film that wasn’t exactly a huge success, Boll and co. might have been better off with a broader spoof of superhero films, which would have given them a bigger palette for their unsubtle satire. That said, I will admit that I did laugh, and laugh out loud, more often than I expected, and it’s a hell of a lot better than Boll’s last attempt at “offense humour,” Postal.

Dir: Uwe Boll
Star: Lindsay Hollister, Brendan Fletcher, Michael Pare, William Belli

El Palo (The Hold-Up)

  By

★★★★
“Women on the Verge of an Armed Robbery.”

Four unlikely women team up, for their own but unselfish reasons, in order to rob the bank where one (Ozores) works as a cleaning lady. There’s also a rich bankrupt, out to fund her daughter’s wedding; a slutty hairdresser who’s just found out she’s pregnant; and an antisocial punk orphan, who wants to be reunited with her father in Argentina. What makes this Spanish film work, is less the action, and more the characters – or at least, the women, since the men never become more than two-dimensional. The script is brisk and efficient, moving things along with swift abandon, and sucks the viewer in to a connection with the ladies, their problems, and the solution.

Of course, this being a heist film, spanners get thrown in the works at random, derailing their non-violent way to liberate the cash. Add in to the mix, that the cleaner ex-husband is a cop, and their young son has picked up on Mommie’s plan, and the potential for disaster is clear. Interestingly, however, the film may not quite end up where you think, and director Lesmes deserves credit for avoiding the most obvious cliches or, at least, presenting them with enough spin as to keep them entertaining. The four lead actresses are all excellent – if you’ve seen many Almodovar films, you’ll recognise Maura as the rich lady. Just on top is Alterio, playing punk Pecholata (which translates as ‘Thimbletits’!), who combines strength and vulnerability in a way that’s a good summary of the whole movie.

Dir: Eva Lesmes
Star: Adriana Ozores, Carmen Maura, Maribel Verdú, Malena Alteiro

Kim Possible: The Secret Files

  By

★★★½
“A semi-random grab-bag of bits and pieces. Coherent – no. Amusing – most definitely.”

This compilation puts together four episodes – three from the first season, plus another at the time exclusive to the DVD. It’s hard to see who this is aimed at: if you’ve not seen the series, novices may find elements, such as Ron’s naked mole rat, kinda bizarre (trivia note: the rat’s squeaks are by Nancy Cartwright, who also does some loser called Bart Simpson). On the other hand, fans will have seen almost all the material, and would likely far rather have seen a complete Box Set rather than semi-random episodes. They’re not even particularly highly-regarded ones: the TVTome viewers’ poll ranks only one in the Top 20. However, it’s still the smartest thing on the Disney Channel, and easily kept the GWG viewing panel (ages from 19 to forty-coughhackwheeze) entertained.

The first episode, Attack of the Killer Bebes, is the best, I’d say. Ron wants to be a cheerleader, while Kim’s dad is kidnapped by the evil Dr. Drakken, who has built three fem-bots in order to…er, do something. It illustrates the central idea of KP – Kim’s Sisyphean struggle to balance home, school and fighting evil – with beautifully surreal moments, such as Drakken’s quest for a phone-book to prove that Possible is a common surname. Downhill, the second ep, works less well; it’s too group-huggy, teetering on the edge of sickly. But the concept of D.N.Amy, a toy collector and crazed bio-geneticist intent in making live version of her plush pals, is enough to keep things interesting.

Third is Partners, where Kim is paired with the class genius for a science project, while Drakken and D.N. Amy team up, with the following immortal exchange:
D.N.Amy: ”But I’m all about cute and cuddly!”
Dr. D: “Have you ever tried vicious and bloodthirsty?”
D.N.Amy: “Do you think I’d like it?”
Finally, tucked away in the special features, there’s Crush: how it all began, though with surprisingly little insight into Kim’s origins as a superheroic teenager. She springs, fully formed, taking on Drakken’s giant robot and asking her crush, voiced by Breckin Meyer, to the dance. Overall, it’s a cute package, but you’d probably be better off starting with A Sitch in Time, and waiting (hopefully…) for that Season One box set.

Star: Christy Carlson Romano, Will Friedle, John DiMaggio, Melissa McCarthy

Buffy the Vampire Slayer (film)

  By

★★★
“If at first you don’t succeed…”

Buffy may be the only successful TV series based upon a failed film. A critical and commercial flop, creator Joss Whedon just wouldn’t let it lie, and finally got the mix of drama, horror, comedy and action he wanted in the show. The movie is a different matter, and has not aged well. The SoCal culture now seems incredibly dated, and Swanson takes too long to become the sympathetic heroine essential to the film. It also has no idea what to be: for a comedy, large chunks are not funny (despite classic lines involving coat-racks and clapping); if it’s a horror movie, it’s a lame one, with vampires largely as threatening as harvest-mice; and if you want social satire, you’re far better off with Clueless or Heathers.

The supporting cast help rescue the uneven material, with Sutherland as the guru whose near-impossible task is to convince Buffy of her mystical calling. Hauer plays a Euro-vampiric nemesis impeccably, but top plaudits go to Paul Reubens. About as far from Pee-Wee Herman as imaginable, he gets one of the finest death scenes in cinematic history. The cast also includes future Oscar winner Hilary Swank, Natasha Gregson Wagner, David Arquette and uncredited roles for Ben Affleck and Ricki Lake. Ironically, the part played by Seth Green, werewolf Oz in the TV show, ended up on the cutting-room floor.

Perhaps the most interesting aspect is comparing this incarnation to v2.0 from five years later. No Scooby Gang (bad), no Angel (good), no cool dustings when the vampires are staked (bad). On the whole, it’s about what you’d expect after an interesting concept from a rookie film writer has been chewed up and spat out by a corporate studio. Hard to say which is more miraculous: that Whedon got another chance, or that a corporate network didn’t do worse still.

Dir: Fran Rubel Kuzui
Star: Kirsty Swanson, Luke Perry, Rutger Hauer, Donald Sutherland