Tag: crime

The Angelmakers

  By

★★★
“When the Blue Danube turned red…”

You wouldn’t know it to look at the sleepy Hungarian village of Nagyrév [population: 872], but there was a time between the world wars when this was the murder capital of the world. Between 1914 and 1929, an estimated three hundred people were poisoned to death, using arsenic obtained by boiling down flypaper. The great majority of the murders were committed by local women, who wanted rid of their husbands; the local midwife, Julia Fazekas, was the source of the lethal materials. This was in an era when divorce was all but impossible, and many marriages were arranged; Julia offered a quick and painless (for the wife!) escape from a life of abuse and a loveless relationship. Since she was the closest the village had to a doctor, and her cousin was in charge of filing the death certificates, she and her accomplices got away with their crimes.

All good things must come to an end, however. It’s unclear what triggered police action, but Fazekas knew the game was up, and by the time the police knocked on her door, she’d used her own poison to commit suicide. 26 of her associates, however, were taken to court; eight were sentenced to death, seven to life imprisonment and the remainder to various terms in jail. Eight decades later, Bussink returned to the village, and found some inhabitants still alive, who were around at the time, such as the 93-year old Rosika, in whose pantry one of the murderers hung herself from a nail. Her family then used the nail to hang bacon up.

It’s an not uncommon moment of gallows humour in the film (which puts the death-toll lower, at “only” 140). While Bussink initially met some resistance from the locals, they seem happy here to open up to her; the women, in particular, view past events with phlegmatic resignation. Maybe there’s something about Hungarian ladies; see also Vera Renczi, who murdered 35, including husbands, lovers, and a son early in the twentieth century, and of course, Countess Erzsebet Bathory. However, the film never really does more than scratch the surface, and the running-time is padded unnecessarily by shots of the local countryside, rather than providing more historical background. There’s a pointed, if very clumsy, allusion to modern times, with a local folk-dance club discussing the problems they have with their husbands.

The overall effect is to open the door on a largely-forgotten corner of murderous history, but Bussink doesn’t shine much light into the dark corner. There was word of a movie based on the topic, to star Helen Mirren, which shifted the location from Hungary to Yorkshire, with Anna Friel and John Hurt also involved, and Jon Sommersby Amiel as the director. [Curiously, Friel recently played Countess Bathory in another film] That was first announced in August 2006, but IMDB still shows it as “in development”, so who knows. I suspect the Hollywood fantasy will be nowhere near as bleakly murderous as the reality, somehow.

The Blackburn & Scarletti Mysteries, Volume II, by Karen Koehler

  By

★★★
“Truly a book of two halves, Brian.”

Coincidentally, a year after the first collection, I find the time to read volume two; this contains two stories rather than two-and-a-fragment, but weighs in at about forty pages or so longer. Same price though, I am pleased to note… The first, Legion, takes our FBI agent and her semi-vampiric colleagues off to the post-flood city of New Orleans where a demonic force has been unleashed, which is capable of transferring its presence from one body to another. Hmmm…sounds not unlike Fallen, perhaps? That aside, I did enjoy this one thoroughly: the pace is good and, if the eventual destination of the entity is not perhaps a surprise (it’s quite close to the pair, shall we say), it makes for some great set-pieces. The best of these involves a church where the possessed victim is resting up, which results in a hellacious battle that’s genuinely exciting. The story elements are tidied up nicely too, leaving this a self-contained and effective tale.

However, despite the second story possessing a great title – The Phantom of the Soap Opera – I was much less engaged by it. The set of a daytime TV drama is plagued by mysterious ‘accidents’ of an occult nature, which leads to the pair re-uniting in order to investigate, triggered by a call from an old friend of Scarletti’s. There is just not enough meat on the bones of this one, though perhaps Koehler wasn’t happy with it either, since there is a lot of back-story added here. Indeed, to such a degree that it burdens the main characters, and its relevance to the main plot is doubtful. I’m also growing rather disillusioned by Blackburn’s relationship to the Jackal, the full vampire who saved her life in volume one; Koehler is treading dangerously close here, to the cliches which eventually sank the Anita Blake series.

Another small peeve was a surprising number of typos in the volume, such as “a traveling bad slung over one shoulder.” Though I’m far from immune to these myself [even if you can only have the ‘u’ in ‘colour’ when you pry it from my cold, dead hands, dammit], and I did smile at one, when Blackburn was served by a “gun-chewing waitress.” I’d be sure to leave her a good tip. Overall, not quite as good as the first compilation, though that’s largely down to the second story – individually, Legion rates a ****, but Phantom only **, getting stuck in a morass of its own making. While that leaves the review ending on a disappointing note, Blackburn remains an engaging heroine, and if Koehler can get back to more action-oriented writing in the next volume (as she showed herself eminently capable of in Legion), I’ll be waiting eagerly.

Lady Gangster

  By

★★★
“An archetypal forties B-movie; a straightforward tale, briskly told.”

Having watched both Transformers and Miami Vice over the past week, it’s nice to see a film that doesn’t hang around: coming in at sixty-two minutes, Lady Gangster has hardly a line of dialogue that does not propel the story forward. Based on the play, Ladies They Talk About (previously a 1933 film starring Barbara Stanwyck), this centers on Dorothy Burton, member of a gang of bank-robbers. She takes the rap for one of their jobs, and goes to jail, but is also the only one who knows where the loot is hidden. Childhood friend Kenneth Phillips (Wilcox), now a renowned broadcaster, tries to help Dorothy get parole, but she has also made an enemy inside the prison, who is just as keen our heroine does not get released, and her former gang colleagues have their own interests, needless to say.

Made in 1942, there really weren’t very many films of that period which features female protagonists in this kind of role, and it deserves credit for that. The first half, in particular, is remarkably watchable today, though the plot does find itself badly-convoluted later on. There’s a lot to get through, and the film gallops on at such a heady pace, it feels almost like a trailer for itself. Made post-Hays Code, that obviously forced the makers to tone things down as far as content goes; despite the head warden’s protests that the jail is “neither a country club nor a concentration camp”, it’s certainly closer to the former. Emerson is great as the heroine – she’d go on to a long television career – and Jackie Gleason (The Honeymooners) also turns up as the gang’s getaway driver. Despite a daring escape from jail, she ends up taking a back-seat to Phillips and his two-fisted heroics at the finale, which is something of a shame, but undoubtedly a result of the era. Certainly remains a decent effort.

Dir: “Florian Roberts” [real name: Robert Florey]
Star: Faye Emerson, Frank Wilcox, Julie Bishop, Roland Drew

Hood Angels

  By

★½
“You’ll be a right Charlie if you bother with this one…”

I think I can safely say that this films fails miserably on just about every level. Now, I am probably not the target audience for this unashamedly ‘urban’ movie, but that didn’t stop me from enjoying the works of Pam Grier. This, on the other hand… Three women (Brown, Nurse and Sha – though I’ve my suspicions that one of them might just be a man) are arrested under dubious circumstances, but are bailed out to investigate the murder of one’s brother, a rising rapper. They get employed at his record-label, the questionably-spelled Murda Boi records, to scope out the suspects. Was it his partner in the label? The sleazy CFO? Or the mail-room man?

I can cope with bad acting, if the action makes up for it. I can cope with bad action, given an interesting storyline. I can cope with a pedestrian script, as long as the performances enliven proceedings. when each aspect is more hideously inadequate than the next…I was reduced, for entertainment, to seeing how far I could jab my thumbs into my own eyeballs, without making them pop. Okay, that’s an exaggeration. However, even the 99 cents I paid for this DVD would appear sufficient to have funded most of the production – with probably enough left over to buy acting lessons for the performers most in need of them [including two-thirds of the leading laideez – Brown is tolerable in this regard]

But I think it’s probably the action sequences which are the nadir of this film’s elements, carried out at the pace of a Vicodin-addicted sloth, and with the originality and fluidity of a Republican National Congress. The DVD cover and tagline are particularly wide of the mark, since only one of the trio holds a gun at any point, and that’s just to take it away from a villain. Okay, given the price, I wasn’t exactly expecting…well, anything. However, I haven’t been so underwhelmed by a movie in a very long time. That’s 85 minutes of my life I’ll never have back.

Dir: Paul Wynne
Stars: Kenia Brown, Allison Nurse, Kita Sha, Erica Goings

Domino

  By

★★½
“Domino Toppling”

“This is based on a true story…sort of” is how the pre-credit disclaimer goes. Which does, at least, show far more honesty by Tony Scott than the usual claims in such things – Blair Witch and Wolf Creek shuffle their feet nervously. Unfortunately, my response would have to be, “This is a watchable movie…sort of.” Scott brings his usual, hyper-kinetic style to the table, but I was prepared for that and so didn’t mind it. No, the major problem was the derailment of the film from the potentially fascinating and probably unique character of Domino, into yet another heist movie. So instead of any insight into personality, we get to watch a bunch of gangsters and low-lives, of whom Domino is merely one, double-cross each other. It’s an hour of watching the corpse of Barbaro being beaten, if you get my drift; even Scott has been here before, to better effect, in True Romance.

When it concentrates on our heroine, however, it’s eminently watchable, Knightley demanding attention in a way where her obvious lack of physical bulk becomes almost irrelevant. [I was surprised to see how the real Domino was similarly wispy, as the photo on the right shows.] Her finest moment is probably during sorority hazing at college, where her tormenter viciously criticizes her figure. Domino coolly stares back, pauses and asks, “Have you had a nose job?” Bemused, the girl says “No” – Domino sucker-punches her in the face. Twice. The incident sums up the feisty, take absolutely no shit attitude of the character brilliantly, and bounty-hunting becomes an obvious, logical choice of career.

She gets a job with Ed Moseby (Rourke) and Choco (Ramirez), who track down people who’ve skipped bail for bondsman Claremont Williams III (Delroy Lindo) – Ed and Claremont are based on real people, who worked as technical advisors on the movie, Choco is apparently a fabrication. Together, they become an efficient team, aided by Domino’s skills both with weapons and in street psychology. However, Williams has a plot to steal $10m from a Las Vegas casino, which goes badly wrong, not least because two of his chosen patsies to take the fall, are actually the sons of a mob boss. It all ends in a massive gun-battle at the Stratosphere Tower in Las Vegas, where everyone is after the cash and survival.

The film is filled with distracting stunt casting in the minor roles. This includes Christopher Walken, Mena Suvari, Lucy Liu, Jacqueline Bisset, two guys from Beverly Hills 90210 playing themselves, Macy Gray, Tom Waits and even Jerry Springer, though the episode of his show here is far duller and more earnest than the real thing. Walken is, inevitably, the only one to make much of an impression, playing a reality TV producer who wants to make Domino a star. He’s described as having the attention span of a ferret on crystal meth, probably an adequate metaphor for the film as a whole. It lacks the patience to stay with and develop any of the characters, so sniffs around them for two minutes, before scurrying off to find someone else instead.

I should probably comment on how close the film is to the real story of Domino Harvey: not very. She was the daughter of Laurence Harvey (star of the original The Manchurian Candidate) and his fashion-model wife. She was expelled from multiple schools as a child and is rumoured to have tried her hand at modelling, though the evidence for this is questionable; certainly, the catwalk catfight shown in the film appears to be an outright invention. She was, indeed, a bounty hunter, albeit not for long – maybe a couple of years, around 1994-1995. That’s about where the film and truth part company. In sad, actual fact, Harvey had been fighting with chemical abuse issues for years, and was found dead of a drug overdose in June 2005, while awaiting trial for distributing meth.

It doesn’t seem as if the life of a supermodel turned bounty hunter would be in much need of embellishment. But I guess when you sign Richard Kelly, the writer of Donnie Darko, for your script, you’re not looking for cinema verite. That said, this still seems like a wasted opportunity, relegating Domino, who should have been the focus of the film, into just another sidelight. Hell, even the impressive skill with nunchakus, demonstrated earlier on by Knightley, is largely abandoned. Scott’s earlier Man on Fire was much more successful, as it stuck with Denzel Washington’s character throughout, and a similar approach here would have paid dividends. In fact, the plot there, where a bodyguard hunts relentlessly for a kidnapped little girl, would have acquired an entirely new set of resonances with a woman playing the bodyguard. Memo to Scott: if you’re going to base a film on someone’s life, and still make stuff up for it, please use the opportunity to enhance, rather than distract from, the subject matter.

Dir: Tony Scott
Stars: Keira Knightley, Mickey Rourke, Edgar Ramirez, Lucy Liu

Big Bad Mama II

  By

★★½
“Non-threatening mayhem and a healthy dose of gratuitous skin.”

A Roger Corman production. Those four words cover much turf, both good and bad; this inclines toward the latter, simply because it takes an interesting premise, and goes next to nowhere with it. It’s less a sequel to, than a remake of the 1974 film, also starring Dickinson, which is generally believed to be superior. However, that isn’t on heavy cable rotation this month, so you’re stuck with the follow-up. Dickinson plays Wilma McClatchie, evicted from her home by uncaring businessman Morgan Crawford, and whose husband is killed in the process. She and her daughters Billie-Jean and Polly take up a life outside the law, but when Crawford makes a run for governor, their crimes take on a political perspective, as they aim to sabotage his campaign.

However, this is far too flimsy a production to support any social subtext, and while there’s certainly plenty of ammunition expended, the action scenes have almost no impact at all [though there’s an amazingly enthusiastic bit of blood squibbing at the end that is memorable]. Brisebois and McCullough, playing her daughters, are there largely to add skin to the production, though have a certain naive charm – incidentally, I suspect Dickinson’s nude scenes were body doubled, unlike the original film. Given she was in her mid-50’s by the time this was made, it’s understandable. She still has undeniable presence and that’s what keeps the film ticking; Culp has fun with his role as a journalist, hot on the family’s trail.

There’s a fairly useless subplot in which they kidnap Morgan’s son (Jeff Yagher) and turn him to a life of crime – I’m sure the presence of the nubile daughters was in no way an encouragement. Naturally, however, it all ends in a massive gunbattle, but given the generally fluffy nature of proceedings, it’s not much of a spoiler to say that Big Bad Mama III remains a possibility. [Hell, the ending of the original pretty much ruled out a sequel, logically speaking] How old is Angie Dickinson these days?

Dir: Jim Wynorski
Stars: Angie Dickinson, Danielle Brisebois, Julie McCullough, Robert Culp

Public Enemies

  By

★★★
“Historical accuracy? It’s vastly over-rated…”

The story of Ma Barker, legendary leader of a bank-robbing gang consisting mainly of her sons, has inspired multiple movies, from relatively well-known (Roger Corman’s Bloody Mama) to obscurist (Ma Barker’s Killer Brood from 1960). They all play extremely fast and loose with the facts, upping Ma’s role from a travelling companion for her sons, who rarely if ever got involved in their crimes, to the undisputed leader, who wielded a mean tommy-gun. The FBI at the time leaned towards the latter, but that was perhaps because they ended up gunning down Ma and some of her sons. [Hey, I don’t regard historical fact as meriting a spoiler warning. At the end of Titanic, the ship sinks.]

This is a cheery enough romp, making up for in blood squibs what it lacks in historical accuracy, depth or significant character development. Russell holds the film together well at the center, but it’s all shallow – hints (totally unjustified, as far as I know) of an abusive childhood are about the closest we get to psychological insights. There’s also creepy hints of incest between Ma and her sons – which reminds me that, contrary to her prominent cover position, Alyssa Milano’s role is minor, as a “gang whore”. If the dramatic side is half-baked, the action is good, with a real sense of the FBI being out-gunned. They actually were in their early days, though the level of ineptness shown here, with regards to stakeouts and ambushes, is difficult to swallow.

Especially towards the start, the narrative is lumpen and certainly doesn’t grab you immediately. Once the main thread becomes apparent – agent Melvin Purvis (Cortese) tries, but fails, to capture Barker and her gang – the film can devote energy towards this, and becomes more successful. It’d have been interesting had the connection between Purvis and Barker been made more significant; there’s an interesting scene where a drunk Barker rails against her hunter on the telephone, hinting at the potential here. However, I doubt the director of Commando was really interested much in subtle underpinnings, and on the whole it’s probably for the best he doesn’t even try.

Dir: Mark L. Lester
Stars: Theresa Russell, Dan Cortese, James Marsden, Frank Stallone

Perra Maldita (Damned Bitch)

  By

★★★½
“This cheap Mexi-trash is fun to view, though if you don’t speak Spanish, may lose some depth.”

Camelia (Palmer) sees her way out of the ghetto in Ramiro (Saenz), a friend of her father’s who always has more than enough easy money. She convinces him to employ her as an apprentice, but discovers she likes sharing his life of drug-deals and casual slaughter. But they soon find out, they may not be the only ones capable of a good double-cross…

The translated title is appropriate, whether she’s gunning down rivals or being used as a wager in a card game. Perhaps the most chilling thing is her taciturn acquiescence when she’s lost in the latter, which demonstrates how far her (originally virgin) character has come. Palmer certainly has a forceful presence that helps overcome obvious limitations on the action front; despite copious training montages, Camelia is much less effective and impressive with her fists than a gun. Then, her cold-blooded passion – I know that seems a contradiction in terms, but it’s the best way to describe it – can truly flower.

The script and acting are solid, with occasional moments of effectiveness where the film punches above its weight, such as her mentor explaining why you must always be ready for a quick escape. More of this kind of depth would have been welcome, as would, I confess, subtitles: even Chris had a hard time with the gutter slang frequently used here, and without a translator, you’ll miss details like Camelia’s family heritage, which is steeped in blood too. These factors likely prevent this from getting the seal of approval; but on the whole, the performances are surprisingly credible, and this is the best girls-with-guns example of Mexploitation we’ve seen to date.

Dir: Tono Chavez
Star: Valeria Palmer, Fernando Saenz, Eleazar Garcia Jr.

Sunland Heat

  By

★★★½
“Only really one thing badly missing: a logical storyline.”

This Brazillian-shot entry has a lot of good ideas, and some excellent moments, but comes up short with a script that borders on the incomprehensible. For example, in the middle of the film, the hero and heroine are both shot with tranquilizer darts – but no subsequent mention or explanation of this ever appears. This kind of sloppy plotting plagues the movie; it’s almost half-way through before the basic story becomes clear.

To save you the effort, here’s the main thread: Jennifer Howard (Van Hagen) is a top-class martial artist, coaxed into brutal matches by rich husband Daniel (Richardson). After killing an opponent, Jennifer has had enough; but will her ex-spouse, who has his own problems, with someone syphoning money off from his business, let her find sanctuary in Brazil? ‘Course not. Luckily, she meets a friendly photographer (Perry) – who just happens to be a top-notch martial artist too, naturally – and he’s there to assist her, when Daniel kidnaps her daughter.

There’s lots to appreciate, not least the actors. As opposed to many films, Hagen here actually looks like she could kick your ass, and the flashback fight sequence is excellent – I’d like to have seen more of that, and all the battles are well staged and shot. While Perry is somewhat bland, he’s effective in action; Richardson is a B-movie veteran for almost two decades (Hollywood Chainsaw Hookers, Attack of the 60-foot Centrefold, etc.), and has a nice, world-weary air here. But Putney (left) is perhaps the best find as Daniel’s gun-toting sidekick, Jackie; the final scene between her and her boss is fabulously intense. And there are other cool little aspects, in things like Daniel’s henchmen.

However, in an interview, the director says, “I had to cut almost 50 pages of the script.” A suggestion for next time: don’t just yank them out at random – as appears to have been the case here – and you might find the end product is rather more coherent.

Dir: Halder Gomes
Star: Alex Van Hagen, JJ Perry, Jay Richardson, Laura Putney

Gun Crazy, Volume 1: The Woman From Nowhere

  By

★★★½
“Muroga reclaims for Japan, what Clint and Sergio borrowed in the 1960’s.”

If the inspiration for this one wasn’t clear, Goro Yasukawa’s score will soon enlighten you: Sergio Leone. A character with a mysterious past and equally obscure agenda comes into a lawless town, and kicks ass. For The Man With No Name and his horse, read Saki (Yonekura) and her Harley. Given that Leone basically ripped off Akira Kurosawa’s Yojimbo in A Fistful of Dollars to begin with, the irony is satisfying. She has come to Tsuson – surely a nod to Tucson, less than two hours down the dusty Arizona I-10 from where I write this – to take on Tojo (Tsurumi), the local mob boss, who commits his crimes with impunity from the safety of an American Air Force base. She gets his attention when she interferes with his robbery of a wages truck, and takes the money herself. The two had met previously, though Tojo doesn’t recognise Saki; you’ll probably work out the basic circumstances long before the film reveals them, but it does add a couple of unexpectedly nasty twists of the knife.

The Okinawan setting is interesting, given tension between US forces there and the locals, dating back to a 1995 incident when three servicemen raped a 12-year old girl. Hence, the scene where Yuki demolishes two leering US soldiers has an additional level of resonance for local viewers, and the tolerance of the Americans to a brutal thug on their territory become somewhat more explicable. Yonekura is impressive in her role, and Muroga wisely doesn’t bother to introduce any love interest; the film is barely an hour long, so there just wouldn’t be room. The inevitability of the final Suki-Tojo faceoff is perhaps only exceeded by its ludicrousness – the heroine expands the definition of “unarmed” to include other limbs too. However, for an obviously low-budget work, it’s busily energetic, and rarely slides much below entertaining.

Dir: Atsushi Muroga
Star: Ryoko Yonekura, Shingo Tsurumi, Takeshi Yamato, Takashi Ukaji