Tag: crime

Deep Gold

  By

★★½
“Sea minus.”

deep goldI love reading IMDb reviews where half are “totally brilliant film-making!” [obviously by people related to the production, who have generally reviewed nothing else] and half are “worst movie ever!” More than half the votes here are either 10’s or 1’s: of course, the truth lies in the middle. This is proficient, with occasional aspirations to competence, along with some nice production values and scenery, yet founders mostly on a bad script, partly on a misguided belief that filming underwater is interesting, in and by itself. That probably hasn’t been true since Jacques-Yves Cousteau hung up his Undersea World snorkel at the start of the eighties. Maybe these sequences worked better in 3D, as originally shot?

It’s the story of two sisters, Amy (Pham) and Jess (Ong): the former is a free-diving champion, but the latter refuses to go into the sea [there are reasons for this, explained in flashback; they are, however, irrelevant. Of course, her hydrophobia is an obvious foreshadow of the movie’s climax]. Amy’s boyfriend is in the Air Force, but vanishes along with his plane, transporting a cargo of gold back to Manilla. The Air Force suspect he and Amy may have staged the disappearance to solve their financial problems, and so the sisters head for where reports indicate the aircraft went down. Which isn’t anywhere near where the search is taking place. Hmm. There, they team up with a local businesswoman (Prudent), and also travel journalist, Benny Simpson (director Gleissner pulling double-duty), only to find they are not the only people interested in recovering the golden treasure.

I’m not the only person to have reviewed this and been reminded of the work of Andy Sidaris, with which it shares a tropical location and actresses cast more for their looks than their variable thespian abilities. This does have a glossier sheen; on the other hand, if you’re hoping for any nudity, look elsewhere. I think the main problem is the old “acting in your second language” issue, which appears to be the case for most of the cast. Pham has to do most of the heavy lifting, and nails only about one line in three, with others sounding more as if they are delivered through phonetic translation. When things are in motion and SCUBA-free, the film fares rather better. The action scenes are decently staged, the pick likely being Amy getting chased around a library by a slew of thugs, though the final ship-board encounter is nicely done as well. However, embarrassing sloppiness counters this, such an abduction scene where it looks like the same henchman climbs into the car twice, once in the back and once in the front, while Amy’s hands mysteriously get bound, albeit with the sort of constraint she can literally shake off.

It works mostly as a very nice promotional piece for the local tourist board, and if you’re looking for something pleasant looking and possessing absolutely no depth, you could do a lot worse. However, the more you look at this in detail, the more you will likely find yourself going, “Hang on…”, and that’s even before a final credits sequence where the actual local mayor reveals some kinda important storyline information. It’s just another part of a plot which strains even my credulity, and leaves the movie, if not sunk, certainly holed below the waterline.

Dir: Michael Gleissner
Star: Bebe Pham, Jaymee Ong, Michael Gleissner, Laury Prudent

Rica 2: Lonely Wanderer

  By

★★★
“Black and white and red all over…”

rica2Our mixed-blood heroine is back, albeit with a slightly-different spelling of her name, a C replacing a K. But she’s still wading through criminal shenanigans from the get-go, as she escapes from reform school and gets informed that her similarly cross-bred friend, Hanako, is in trouble. The bearer of the bad news is shot dead before she can provide details, and when Rica heads to northern Japan, her train journey leaves a trail of dead bodies, of those apparently intent in making sure she doesn’t find out the truth. Turns out Hanako was providing entertainment on a ship, which was sunk by criminals, and one of the gangs responsible, under their female boss Yukie Shimamura (Tonoyama), is obliged to tidy up the loose ends – Hanako is now confined to a mental hospital. The local police, certain members of whom have ties to the gang, are not exactly enthusiastic about investigating any of this, but there’s clearly someone (Minegishi) on Rika’s side, as she finds herself receiving assistance and protection, from a source whose motivations are initially opaque. However, as the corpses continue to pile up, how long will it be before Rica becomes another one of them?

I’m not sure if the makers are taking this one seriously or not. Some aspects, such as Rica’s train ride, have an avant-garde and almost surreal approach, told without dialogue and instead utilizing a series of deliberately jarring cuts, between Rica and close-ups of the sun-glass wearing men who are following her. It’s unusual, effective and memorable. But then, there are other moments which are so ludicrous as to be completely laughable. For example, one fist-fight between Rica and a man trailing her, ends with him pulling out a short sword and committing seppuku. Why didn’t he – and this is just a casual suggestion – stab her with the freakin’ knife. There are also several too many song and dance numbers, mostly courtesy of Rica’s transvestite sidekick, though she herself also gets to strut her stuff on the stage at one point. and there’s more than the usual amount of casual xenophobia.

Against this, there’s no doubt that she seems to kick ass with copious frequency, though the fight scenes here fall more into a category I’d label, “enthusiastically amateurish.” It’s also nice that she’s going up against a female adversary. Shimamura herself makes for an intriguing character, since she’s following in her father’s footsteps, despite severe misgivings about having to keep the promises he made. The story does build fairly nicely, wobbly through its shakier moments to a final confrontation that ties up the loose ends, yet still leaves things open for a sequel. And, what’s this sitting in my viewing pile? Part 3? Despite some undeniable misgivings about the story here, don’t mind if I do…

Dir: Kô Nakahira
Star: Rika Aoki, Ryunosuke Minegishi, Taiji Tonoyama, Mizuho Suzuki

Everly

  By

★★★½
“In which Salma Hayek suffers from an apartment complex.”

everly6Not sure how this managed to escape attention in our 2015 preview, because it’s hard to think of a film more directly positioned in our wheel-house. This unfolds entirely in a single building, close to real time, the vast majority of it (as with 2LDK) in one apartment, where Everly (Hayek) has just been outed as betraying her boss, a ferociously vicious Japanese mobster called Taiko (Watanabe). Desperately, she calls her mother (Cepeda), begging her to take Everly’s daughter out of town, but when that route is closed, they’re forced to hide out with Everly in the apartment. It’s not much safer, for Taiko has offered a bounty to anyone in the building willing to take down his turncoat – and also some increasingly-deranged professionals. Meanwhile, we also find out more about Everly’s history, which includes four years trapped in the apartment building as a sex slave for Taiko and his cronies.

Lynch has described this as Die Hard in a room, with Hayek instead of Bruce Willis. Despite sharing a similarly “ironic” Christmas setting, it isn’t: Lynch may wish it were, but the pacing is nowhere near perfect, the script isn’t as engaging, and whatever Watanabe’s qualities are, he’s no Alan Rickman. Not to say that it’s a bad film at all, especially considering this wasn’t originally supposed to star Hayek. Back in February 2012, Kate Hudson was announced as headlining the cast, before being replaced 15 months later by Salma Hayek. One can only wonder what difference that might have made, because her replacement certainly takes the role and owns it. [Side note: she’s only a couple of months younger than me. Damn…] It’s also gleefully and gloriously R-rated, not skimping on the bad language or hyperviolence, resulting in a comic-book feel which works nicely.

However, this leads to problems with the script, right from the opening sequence in which an apparently untrained Everly takes out, with unerring accuracy, an entire room of gangsters. Given her supposed prisoner-like status, it also proves remarkably easy for her mother and daughter to join her, basically swanning into the building on the pretext of visiting someone on another floor. And, to be honest, some of those who lay siege to our heroine aren’t as amusing as Lynch and scripter Yale Hannon seem to think, with the Sadist (Igawa) in particular overstaying his welcome. On the other hand, the lack of any romantic interest is refreshing: the only vaguely sympathetic male character is a Japanese man, and he spends his entire screen-time bleeding out on the sofa. It probably needs to be more unrelenting and with a better sense of escalation: as is, the film peaks in its opening 10 minutes, when it seems killers are popping out from everywhere. However, it’s been a while since we’ve seen Hayek in an action role: between this and Bandidas, she has done a good enough job, it’s something I wish we got to enjoy more often.

Dir: Joe Lynch
Star: Salma Hayek, Hiroyuki Watanabe, Laura Cepeda, Togo Igawa

The Mini-skirt Mob

  By

★★★
“Hell hath no fury like a blonde scorned.”

miniskirtIt’s not much of a stretch to imagine this coming out of Japan, as an early ancestor of the pinky violence genre. Though that would probably require the additional of significantly more nudity, since it proves surprisingly coy on that front, without a nipple to be found. The central character is Jeff (Hagen), a rodeo star who has just married Connie (Jackson). This does not sit well with his old flame, Shayne (McBain), who heads an all-girl gang, The Mini-skirts. Together with a group of male bikers (who include cult legend, Harry Dean Stanton), they harass the newlyweds, on and off the road, until a tragic accident leads to the death of one of the bikers. Then, the gloves come off, with Jeff and Connie besieged in their caravan by Shayne and her crew. However, they find an unlikely ally in Shayne’s sister, Edie (McCormack, who had previously been nominated for an Oscar as the tiny psychopath in The Bad Seed). While she stepped aside from Jeff when Shayne decided she was interested, Shayne is now sniffing around Edie’s current man, Lon (Jeremy Slate) and Edie has no interest in stepping aside again.

It’s an interesting set of power dynamics here: Shayne is the one who runs things here, manipulating others – Lon in particular – to do her bidding without the slightest qualm. For instance, after Lon has brawled with Jeff to the point where the latter has pulled a rifle on the gang, as far as Lon is concerned, that’s the end of the matter. But Shayne casts aspersions on his manhood, basically goading him into further action. She has also the whip-hand in her relationship with Edie, who is initially happy to follow along, clinging to her big sis’s coat-tails, until the scales fall from her eyes and she realizes how far Shayne is prepared to go in her quest for vengeance against the man who has – oh, the horror! – found love in the arms of another woman, Or, as Shayne puts it, “You need a real woman, Jeff – not a mouse.” Rodents are something of a running theme, it appears: she also tells a touching story of a visit to a zoo with Jeff, where she watched a snake hunt and swallow alive a mouse. Who said romance was dead?

It’s Jackson, using so much hair-spray she doesn’t need a motorcycle helmet, who keeps this watchable – even when the biking scenes, juvenile delinquent hi-jinks and Budweiser product placement begin to wear thin, and that doesn’t take very long. However, the siege of the caravan racks up the tension, and brings an unexpected and quite nasty death, albeit one clearly accomplished through thoroughly unconvincing stunt-doubling. That, and a finale where Connie shows an equally unexpected streak of malice, left me suitably entertained, though it would certainly be a stretch to call this anything more than throw-away drive-in fodder.

Dir: Maury Dexter
Star: Diane McBain, Ross Hagen, Sherry Jackson, Patty McCormack

Real Dangerous Girl, by K. W. Jeter

  By

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

kimoh“I didn’t start out killing people,” the petite, under-21 Korean-American narrator of this first book in the author’s Kim Oh series observes matter-of-factly in the opening sentence. “I had to get to that point. Kind of a work ethic thing. But once I decided to do it –it worked out. I mean –not for them. The people who got killed. I mean for me.” This isn’t the voice of an egoistic sociopath, though. Kim has a conscience and sound moral instincts; she doesn’t pick up the gun readily, and when she does, the danger she poses isn’t to the innocent. (But the guilty had better watch out!)

When I read a glowing review of this novel by one of my Goodreads friends (who went on to glowingly review the subsequent books), it put the series on my radar; so when I saw that the first book was available for free on Kindle, as a hook for the series (it now costs 99 cents), I seized the opportunity to preview it in that format. Jeter is a very successful author with substantial Big Publishing credentials (he chose to go the self-publishing route with this series, and according to his website is excited enough about it that he’s no longer working on anything else). This was my first experience with his work, but I found his craftsmanship and professionalism very evident. It says something about the compulsive readability of this tale that I read the entire novel in two days, which I think is something of a record for me.

Kim’s world is, as a blurb puts it, “dark and gritty.” Orphaned young, she and Donnie, her wheelchair-bound and ailing younger brother, were shunted around through foster care most of their lives. Not yet 21, she’s put herself through junior college early by taking advanced placement classes, and taken advantage of bookkeeping skills picked up from a foster mom to get the only kind of job that offered, in order to be able to make a home for Donnie with her. But what offered was a low-paying job as accountant for what she’s come to realize is a really “dodgy” enterprise, run by a mobster who uses her, among other things, to write checks to pay a guy she suspects is his contract hit man. Pragmatic and a survivor, she’s able to tolerate that, though she doesn’t like it. She clings to the promise her boss made that when he takes the company legit (or at least gives it a more convincing “legit” facade), she’ll be CFO, with better pay and a better life for her little family unit. Instead, she’s shafted and thrown out in the alley like garbage, while a Harvard grad gets the big job. Hit man Cole is similarly downsized, except that his severance leaves him permanently crippled.

These two don’t immediately join forces, and when they do, she’s not motivated solely by wanting revenge (although Cole is). Jeter’s plotting is a lot more nuanced and developed than that. (Firing her didn’t exhaust Mr. McIntyre’s malice; if he survives, she and Donnie might not.) Kim’s a fascinating, three-dimensional character who develops in front of our eyes here, as she moves from what she calls her “Little Nerd Accountant Girl” persona to something else. We can see that she’s attracted to the feeling of empowerment that can come from learning to stand up for herself, and from handling a gun. Some of the same appeal of “primitivism” that readers find in Burroughs and Robert E. Howard is present here, with a protagonist who’s challenged to make her way in a world where the outward conventions of civilization no longer apply. And she gives voice to the anomie of vast numbers of contemporary Americans in her generation, growing up bereft of community and moral/spiritual guidance. (Not identifying with her Korean heritage, at one point she calls herself Feral-American, like the rest of the population. “Nobody tells us what we should do, what we should even freakin’ be…. I gotta try and figure out everything on my own, just like everybody else has to.”) But her instincts are sound, and she remains an essentially decent and likeable person.

The narration here is in first-person present tense, with creative modification where necessary. Jeter’s free-flowing prose never detracts from the story. He delivers violent but never gratuitous action here. with a high body count, but no stress on gore and no “pornography of violence.” (Most of the bodies aren’t dropped by Kim, given her relatively low kick-butt quotient above; but she’s just getting her start in action heroine-hood here. That quotient is apt to rise in the succeeding books.) His emphasis, though (and what makes the book as good as it is) is character development. Kim herself, of course, takes center stage, but all of the supporting characters are vividly drawn, too (though except for Donnie they’re unlikeable; and we can see that Cole’s a much darker personality than Kim is –and that he’s manipulating her for purposes of his own.)

The plot is finely crafted, building perfectly to a powerful denouement and conclusion (which makes it clear that the saga is just beginning). We aren’t told the location, except that it’s a city that has cold weather in winter; sense of place isn’t strong, but that adds to the milieu of rootlessness and atomization. In its way, this is a kind of coming-of-age story. Darkness abounds, but it’s not without light, and a sense of hope even when things are darkest. There’s no explicit sex and very little reference to sex at all, and no obscene speech –indeed, very little bad language at all, and what there is isn’t very rough for the most part. (Jeter uses it sparingly, for realism, but he demonstrates restraint and taste in how he does it.) One plot element, IMO, doesn’t stand examination too well; and real-life child welfare agencies wouldn’t, as here, put kids in foster care in different states (because they’re state-specific). But those were relatively minor quibbles. This is a great start to what promises to be an outstanding series!

Author: K. W. Jeter
Publisher: Self-published, available through Amazon, at this time only as an e-book.

A version of this review previously appeared on Goodreads

Miss Conspirator

  By

★★
“A tale – and heroine – of two halves.”

miss conspiratorChun Soo-ro (Go) is a painfully shy, introverted young woman, who is a little more than a bundle of neuroses. At the airport to see off her sister, she encounters a nun, who asks Soo-ro to deliver a package to her boyfriend – a concept which, personally, would set my alarm bells ringing! However, on her arrival, Soo-ro finds the intended recipient dead, and ends up fleeing the scene, in possession of both a large quantity of drugs, and the cash that was intended to pay for them. For obvious reasons, both the White Tiger and Sa gangs, the participants in the deal gone very, very wrong, are rather upset, and go on the hunt for her. For they believe Soo-ro to be the nun, who is unable to disagree, having been killed in a traffic accident. Fortunately, a cop working undercover takes pity and agrees to protect Soo-ro, although his resulting actions lead to exposure – and, meanwhile, the prospect of getting his hands on so much cash leads his boss to stray from the path of true justice. Fortunately, some unexpected hydro-shock therapy leads to a startling transformation in our heroine’s character, and she arranges a meeting between all the interested parties.

Maybe it’s a cultural thing, but this left me almost entirely cold. Or maybe not, since this wasn’t particularly well-received in its native Korea either, I’m not averse to the “fish out of water” idea – one of my favorite book growing up was Robert Scheckley’s Game of X, about a complete novice who finds himself embroiled in espionage, and I was hoping for something similar here. Unfortunately, this is certainly not funny, only sporadically exciting, ridiculously implausible, and the transition from shrinking violet to ice-cool superwoman is so abrupt as to be entirely disconcerting, almost as if someone switched out movies on you at the 80 minute mark.

From what I’ve read, it seems to have been intended as a showcase for Go, making her feature debut after becoming one of Korea’s best-known TV actresses – mostly for playing roles closer to her later character here. She isn’t bad in the role, and considering how irritating the performance here could have been, the fact that it isn’t deserves some credit. However, “not being irritating” is hardly what you’d call a ringing endorsement for any movie. Things do perk up a little after Soo-ro blossoms into her femme fatale version, and you can’t help thinking this would have been a much better version had the change happened about an hour earlier. Or better still, if it had taken place immediately after the animated opening credit sequence which is one of the movie’s few memorable sequences.

Dir: Park Chul-kwan
Star: Go Hyun-jung, Yoo Hae-jin. Sung Dong-il. Lee Moon-sik

Miss Meadows

  By

★★★
“There are bad people in the world and they shouldn’t be around the good people, especially the little ones,”

miss meadowsA young woman is walking down the street. A truck pulls up alongside her, and the driver starts talking to her, at first nicely, but gradually more crudely. When she spurns his advances, he pulls a gun. However, the woman pulls her own weapon from her handbag and shoots him dead. Welcome to the world of Miss Meadows (Holmes), where bad behaviour is countered with lethal force. It’s an offshoot of the “urban vigilante” film, where someone goes off the rails in response to rudeness and the perceived failures of modern culture, rather than a direct threat. Falling Down was perhaps the first example, also seen in Bobcat Goldthwait’s God Bless America. Both those were rather more acerbic than this, gynocentric entry, which perhaps has more in common with John Waters’ Serial Mom. At one point, a cop calls Miss Meadows a “Pulp Fiction Mary Poppins,” and that’s a fairly accurate high-concept here.

She’s a somewhat nomadic first-grade substitute teacher, with a past which clearly contained a defining trauma, who has long phone calls with her mother (Smart), and seeks to protect her local community from an influx of criminal elements. But when she meets and falls for a cop (Dale), who gradually realizes the woman he’s seeing may also be the killer his colleagues are hunting. And he’s not the only person who discovers the secret behind her facade. Meadows is an wonderful and engaging concoction, a throwback to an earlier era of politeness and courtesy, and its that contrast to her ruthless approach, tap-dancing her way to mass murder, that drives the film. It’s not entirely successful; the storyline, overall, relies too much on good fortune and convenience [every fast-food restaurant I’ve been in has surveillance cameras; the one here, not so much], and also tends to the obvious – a priest who molests children, there’s a shocker. It would make for a far ‘edgier’ film, if there was more grey involved in her targets, even at the risk of losing some of the audience. Killing paedophiles and murderers is an easy option, weakening the moral dilemma posed here.

But I thoroughly enjoyed Holmes’s performance; I hadn’t seen her in anything since Thank You for Smoking, back in 2005, before she became most famous for being Mrs. Tom Cruise. She takes a character that possesses two distinct, largely-opposing aspects, and nails it: Miss Meadows is, at once, charming and, clearly, barking mad, with a grip on reality that, we discover, may be a great deal looser than it initially appears. Concentrating more on these psychological aspects – perhaps instead of the rather implausible romantic angle – might have boosted this film out of the “quirkily forgettable” niche into which it is instead dropped.

Dir: Karen Leigh Hopkins
Star: Katie Holmes, James Badge Dale, Callan Mulvey, Jean Smart

Wonder Women

  By

★★★½
“On Her Insurance Company’s Secret Service”

wonderwomenRoger Corman’s New World Pictures weren’t the only ones using the Philippines as a factory to churn out B-movies in the seventies, as this 1973 entry, from Arthur Marks’ General Film Corproration shows. Dr. Tsu (Kwan) and her posse of henchwomen are kidnapping athletes, the not-so-good doctor having perfected the ability to do brain transplants. She’s now selling this as a service to rich, old people, who can become young again. However, after kidnapping a jai-alai star, the insurance company on the hook for the half million dollar policy hires Mike Harber (Hagen) to investigate. As he starts nosing around and making waves, first the local gangster boss, then Dr. Tsu, send their minions out to stop him. Needless to say, this is of limited success, and he is soon on his way to the remote island where Tsu operates, to take down her operation.

If this feels like a low-budget Bond ripoff, you’re just about right on the money, down to the “let me tell you all my plans before I kill you” scene – at one point, I expected Tsu to yell, “No, Mr. Harber – I expect you to die!” But it is highly refreshing to have a female mastermind, especially one that excels in the areas of medicine and technology, traditionally a male evil overlord preserve: I’m hard pushed to think of any equals of Dr. Tsu, particularly from the era. Maybe the closest parallel would be Rosalba Neri, in Lady Frankenstein from two years earlier? Back that up with her multinational, all-female associates and she’s definitely decades ahead of her time, socially as well as technologically. In comparison, Harber comes over as a bit of a Neanderthal, whose solution for pretty much everything involves shooting at it, hitting it over the head – or occasionally hitting it over the head with his gun.

In the supporting cast, de Aragorn gets the best role, as lead henchperson Linda, who gets to brawl with Harber, destroying a hotel room, before leading him in a car chase through the streets of Manilla – again, something you didn’t see women doing very often at all in the 1970’s. And it’s a heck of a chase, with any number of moments that suggest the makers pretty much blew off niceties like closing streets or obtaining official sanction for the sequence, and just shot around whatever happened to be going on. Mention also due to cult veteran Sid Haig, who shows up as what appears to be Dr. Tsu’s accountant, and decides at the end to get out while the going is good, after another quirky character performance. Accompanied by Carson Whitsett’s funky score, the net result is something that’s not actually much, if at all, less fun than the same year’s Live and Let Die, and treads a nice line between self-parody and self-aware.

Dir: Robert O’Neill
Star: Ross Hagen, Nancy Kwan, Maria de Aragorn, Roberta Collins
a.k.a. The Deadly and the Beautiful

Lady Dynamite

  By

★★
“La donna è mobile”

la padrinaThe tenth wedding anniversary of Donna Costanza (Alfonsi) in New Jersey is rudely interrupted when her husband is gunned down during the party. For he was a Mafia boss who, it appears, had crossed the wrong person. Before dying, he whispers to his wife, “Giarratana from Palermo,” apparently fingering the man behind the hit. Seeking revenge, Madam Costanza flies to Sicily, and meets up with a loyal family employee, soliciting his help to plan the death of the local boss fingered by her husband’s last words. But things are considerably more murky than they seem, as Costanza has wandered into the middle of some shenanigans involving a corrupt local official, a police investigation and an arms deal, which are all leaving a trail of corpses in their wake. And someone wants Donna to join the dead bodies, first trying to blow up her plane, then sabotaging the brakes on her car. When a supposedly blind man guns down her contact in the street, it’s getting too warm for comfort.

I can see where this is aiming, coming out the year after The Godfather, and aiming to add an extra layer of Italian authenticity – while, of course, keeping a canny eye on the American market. However, by trying to cram everything into little more than 90 minutes, the net result is more confusing mess than epic drama, and particularly in the middle third, poor Donna is left little more than a minor supporting actress in her own movie. Things are not helped by a soundtrack and costumes which appear not so much stuck in the seventies, as repeatedly nail-gunned to the floor of the decade. Things get a bit more interesting when Donna finally meets the man responsible – he actually pays her a visit, doesn’t deny his role in proceedings, calmly explains he was basically doing what was best for business, and then invites her to join him, as the only way to keep the Costanza name at the top of the food chain. It’s a neat twist, further muddying the lines between organized crime and (semi-)legitimate business which have been blurred by the movie, almost since she arrived in Sicily.

So, will Donna take a pragmatic approach and bury the hatchet for the sake of her family’s future? Or will she follow through with vengeance on behalf of her husband? It’s somewhat diverting, while the ending is both decisive, and offers a nice commentary on life in 70’s Sicily, where Death apparently was an everyday occurrence. But getting there involves sitting through an awful lot of mobsters sitting around doing mob things, and Vari is definitely not Coppola.

Dir: Giuseppe Vari.
Star: Lidia Alfonsi, Venantino Venantini, Mario Danieli, Orchidea de Santis
a.k.a. La Padrina

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