Tag: d

The Descent

  By

★★★★
“Six chicks with picks.”

Simplicity is under-rated, especially when it comes to genre films. The simplest horror movies often work the best, because they prey on widely-held fears: monsters (Jaws), getting lost (The Blair Witch Project) or claustrophobia (Below). And now, we get The Descent, which combines all three into one ball of nerves, pitting six female cave-explorers against things below ground. This will do for speleology, what Touching the Void did for mountaineering or Open Water for scuba-diving – and I don’t care if the cave, as one character here disparagingly says, “has handrails and a gift-shop”.

This is an interesting reversal by Marshall from his first film, Dog Soldiers, though both did have a group of people in a small location, facing an outside menace. Dog centered on a group of soldiers in an isolated farmhouse, facing a pack of werewolves – as you can imagine, testosterone levels were set to eleven on that one. Here, save one brief, opening character, all the roles are filled by women, which adds a different dynamic to things. Central are friends Sarah (Macdonald), Juno (Mendoza), and Beth (Reid), whom we first encounter white-water rafting, though it seems Juno and Sarah’s husband have their own leisure activity…

However, a year later, a car accident has changed Sarah’s life, and the trio re-assemble, with three other women, for a little light caving. Unfortunately, rather than the scheduled, well-known cave, Juno opts to take them into a newly-discovered one. This is unfortunate when a rock fall shuts off the entrance, and it becomes clear no-one outside knows where they are, so the women have to press on, into the depths. Sarah is convinced she sees someone nearby: initially, no-one believes her, but eventually it’s clear that there are inhabitants of the system, who are none too pleased to see them – except in a “nourishment” kind of way.

There’s no doubt, this is not exactly new – you’ll spot references to (if you’re feeling kind – “bits stolen from”, if you’re not) other films throughout, from The Thing through Aliens to Pitch Black. The first half is also, to be honest, a little sluggish. Marshall throws in some cheap “Boo!” moments to keep the audience awake, of varying effectiveness, but it’s only when the movie goes underground that this the edge of your seat becomes familiar territory. And once it does, the film barely pauses for breath until the final frame [The American version had a different, slightly-less bleak ending, from the UK version – having had it described to me, I’m curious to see it, though can’t say that I felt the US cut was significantly deficient].

The focus of the film is Juno and Sarah, with the rest of the cast largely reduced to cannon-fodder – though not badly-drawn cannon-fodder, I must admit. Juno is a near-Amazon, while Sarah has to become one, simply in order to survive, and that’s about the extent of the character development here. Demureness, beauty, the ability to bear babies, and all other typical “feminine” traits, are of absolutely no use whatsoever. The ability to drive your pick-axe, repeatedly, into the head of pissed-off Gollum wannabes, on the other hand… Yeah, that will help. But in another interesting contrast to Dog Soldiers, sisterly teamwork is notable by its absence. In the end, the women do almost as much damage on themselves, as the monsters.

The technical aspects are great, with set design and cinematography particularly worthy of praise. An uncomfortable feeling of being trapped in a dark, enclosed space has rarely been better captured; the only light present is what the explorers bring, and it gradually becomes less and less effective for their needs. It is occasionally chaotic, and a combination of limited illumination and the incidents that befall the characters often make it easy to lose track of who’s who. That aside, however, this is a seriously kick-ass film, and the prospect of The Descent 2 would be extremely welcome here (though particularly in the British cut, somewhat unlikely…). I’m thinking, in that one, our heroine could perhaps get talked into leading a team of marines back into the monsters’ lair… Stop me if you’ve heard that one before. :-)

Dir: Neil Marshall
Star: Shauna Macdonald, Natalie Mendoza, Alex Reid, Saskia Mulder

Dragon Inn

  By

★★★½
“Flying remake kicks up a sand-storm, Brigitte Lin in drag again.”

Eunuchs are always trouble. Here, in the Ming Dynasty, they’ve reduced the Emperor to a puppet, and are close to wiping out all opposition. The last rebel leader Chow (Leung) is on his way to a meeting with his subordinate Yau (Lin) at Dragon Inn, a venue in the middle of nowhere owned by Jade (Cheung), a woman whose interests include sex, bounty hunting, and spicy meat buns of dubious content. However, also waiting for him are government forces. And when the rain comes down – which it does with surprising venom for a location supposedly in the middle of a desert – no-one gets to leave…

There’s a lot to enjoy here, particularly Maggie Cheung’s performance, which is excellent. Her character pivots the film, with the other forces too well-balanced to prevail on their own – the sparring and negotiation means there’s more tension and less fighting than might be expected. The action is good (perhaps most memorably, the Yau-Jade duel where they manage to swap clothes), but it seems as if the camera is often half a step behind; even the wide-screen DVD doesn’t seem big enough. There always seems to be a sandstorm, or something else, stopping the martial arts from fulfilling their potential. Donnie Yen as the Chief Eunuch is also wasted, in a way more common in his Western movies – he vanishes for the middle 70 minutes; Yau, too, takes a back seat once Chow arrives on the scene.

Still, the finale is excellent, with the deciding player not perhaps being who you’d expect, and as a whole, the film is a more than entertaining entry into the flying swordplay genre.

Dir: Raymond Lee
Star: Maggie Cheung, Tony Leung, Brigitte Lin, Donnie Yen

Dead Men Can’t Dance

  By

★½
“Army women are only twist to very routine action flick.”

Plotwise, this is a by-the-numbers action thriller about a special forces group on a mission in the Korean Demilitarised Zone, who get embroiled in a CIA operation to retrieve nuclear triggers. Why it merits any coverage here, is because their command structure is matriarchal, from Brigadier General Burke (Zabriskie), through their operational leader and former agency operative Victoria Elliot (York), down to Staff Sergeant Rhodes (Barbara Eve Harris), who could give R. Lee Ermey a run for his money – Ermey, incidentally, turns up as the CIA boss.

This does add a nice bit of sexual tension to matters, as the leader of the CIA team is Elliot’s lover, played by Michael Biehn – what are the odds against that? Characters like Zabriskie and Harris are fun to watch; however, the action is lacklustre, consisting largely of running around and firing automatic weapons, while the plot is painfully obvious – helpful of the Koreans to build their nuclear facility within convenient walking distance of the border. Still, had to laugh at the reason for betrayal given by the (inevitable!) CIA traitor: “large sums of hard cash, what else?”.

Dir: Steve Anderson
Star: Kathleen York, Michael Biehn, Adrian Paul, Grace Zabriskie

Dragon Princess

  By

★½
“Somewhere in here, there’s a decent film trying to get out.”

If ever a movie was condemned by the medium, this is it – it’s badly dubbed, cropped to oblivion, and the print looks as if it has recently been used as kitty litter. Just what DVD was invented for… Plotwise, there’s certainly nothing new. Shiomi plays the daughter of a kung-fu master (Chiba) who was crippled by his rival (Ishabashi) in a spat over a job. He retires to New York to plot revenge, using his daughter as his weapon. After the traditional, getting-beaten-up-repeatedly training, she returns to Japan, wastes no time in making a nuisance of herself and everything heads relentlessly towards the big showdown.

The low rating is largely because of the presentation; I really wouldn’t mind seeing a good quality, letterboxed, and ideally subtitled, print because Shiomi has definite talent – as can be seen in her nunchaku-twirling. However, few genres need widescreen as much as the martial arts. It’s hard to appreciate a good bout of fisticuffs when one participant is off-screen, and when you take that away, there’s precious little left here to entertain, with neither story nor characters possessing much originality. Shiomi’s role is nicely twisted, however, as she has been created entirely as a tool for her father’s vengeance. With that accomplished (and I don’t think I’m giving away much there!), what would become of her? In some ways, Dragon Princess 2 might be a more interesting film. Pity it never got made.

Dir: Hiroshi Kohira
Star: Sue Shiomi, Masashi Ishabashi, Yasuaki Kurata, Sonny Chiba

Day of the Warrior

  By

★★

Andy was back on the helm for this one, but appears to have opted to go beyond subtle self-referential digs into full-blown camp, and I tend to think this takes away from the overall experience. The intent is clear when we are brought into the office of Willow Black, the head of L.E.T.H.A.L. (The Legion to Ensure Total Harmony and Law), and find her exercising on a treadmill in an outfit more suited for an exotic dancer. Which makes sense, because if you’re a female agent of LETHAL, you can bet you’ll be going undercover as a stripper or a porn actress – not quite the empowering government job one might expect. It also appears that breast enlargement surgery is required for all such operatives.

The target this time is the Warrior (Bagwell, who was a fixture in WCW at the time), a former agent turned professional wrestler(!) turned liberator of ancient artefacts and runner of a range of dubious business enterprises, ranging from bootleg films to diamond smuggling. LETHAL have several agents undercover, but someone hacks into their computers (which seem strangely retro from this viewing point). So the spies have to be brought in from the cold by Tiger (Sidaris newcomer Marks) before their cover is blow, including Cobra (Smith), the aforementioned undercover stripper – though there’s not much of her under cover. There is also, for no readily apparent reason, a Chinese Elvis impersonator (Gerald Okamura), though I have to say, he is kinda engaging.

The problem is, when it’s obvious the makers aren’t taking this seriously – and that’s clear from the handicap wrestling match which is the climax, between Willow and Elvis Fu on one side, and the Warrior on the other – why should the audience bother? And though the tone is clearly intended to be light-hearted, it’s not actually very funny: the comic hamming of the Warrior’s surfer-dude sidekicks is particularly dreadful. There also seems to be a lot of padding, such as stock-footage shots of Las Vegas, which go way beyond anything necessary or interesting, and you get far more uses of “I need to get something off my chest,” than are in any way amusing.

And if ever I become an evil overlord, I will instruct all my minions on the perils of hiding out in a shack with “Fuel Supply” spray-painted on the side, especially when the opposition has access to an explosive-tipped crossbow… It can never end well for those seeking cover.

Dir: Andy Sidaris
Star: Shae Marks, Julie K. Smith, Marcus Bagwell, Kevin Light

The Dallas Connection

  By

★★

Among Sidaris fans, I imagine arguments over whether this one counts, much like the Never Say Never Again debate among 007 lovers. For this was directed not by Andy, but son Drew; Dad and Mom were merely executive producers. However, the content is much the same, though (and I can’t believe I’m writing this) Drew lacks the subtle touch of Sidaris Sr. Case in point: the very first shot is of the Eiffel Tower, establishing that this is Paris. However, the point is then rammed home with footage of the Arc De Triomphe, Place de la Concorde and Notre Dame. Similarly before the ‘South African’ scenes; we get so much wildlife footage, it feels more like the Discovery Channel.

The story, also by the director (using his first name, Christian), is equally poor; something to do with a plan to steal chips being used in a new satellite system. Details are vague, too many sequences, such as the one at the race-track, are just meaningless filler, and the writer literally doesn’t know his acronyms from his anagrams. On the plus side, Julie Strain makes a good impression as a bad girl, leading her coven of killers who drop their tops at the drop of a…well, not just hat, but virtually any other piece of clothing.

They operate out of what appears to be a combination line-dancing bar/strip-club called Cowboy’s in Dallas, where the four chips are scheduled to be integrated into the system. For safe keeping, the “bureau” give one to each of their agents – what’s wrong with a bank vault? – led by the ludicrously over-inflated Samantha Maxx (Phillips). Another key clue is bullets found at the scene of a drive-by shooting, days after the event. I’d have words with your forensic technicians.

Long before the end, we were making our own entertainment, and you’ll probably get more fun from mocking this. One line is, “I told you – I bite”, to which the correct response is, “Unlike the rest of the film, which simply sucks.” “Do you think those are real?” asked Chris at one point, regarding a particularly scary pair of mammaries. “Yes,” I replied, “and the Pyramids are a naturally-occurring rock formation.” Little wonder Drew has since been relegated by Dad to second-unit work.

Dir: Drew Sidaris
Star: Sam Phillips, Bruce Penhall, Julie Strain, Wendy Hamilton

Do Or Die

  By

★★

In a filmography not exactly noted for thought-out plots, this maybe counts as one of the thinnest. Donna (Speir) and Nicole (Vasquez) are targeted by death for Kane (Morita) for their interference in his illegal business ventures. But rather than simply bumping them off, as any sane criminal mastermind would do, he informs them of his intentions to send six separate pairs of assassins after them, beginning the next morning. Our pair of federal lovelies head out of Hawaii, little knowing that a tracker has been placed on them, allowing Kane’s to follow them, while their master sits in his apartment and follows the progress of his “game” on a computer display resembling a bad TRS-80 game [younger readers can Google “TRS-80” if they need specifics], as they proceed from Las Vegas to Louisiana, with a motley crew of associated agents in tow, including infamous Meyer model, Pandora Peaks. No prizes for guessing her role.

There seems to be an awful lot more sex than violence here; the action sequences are not exactly thrilling, and the assassins are, almost without exception, entirely incompetent, so pose little or no threat. Even the boss level ninjas that represent the final obstacle are easily fooled into hanging around inside a hut long enough to be blown-up. The structure is obvious: the ladies are attacked, fend off their assassins with some semi-nifty piece of technology, then there’s the required love-making scene, showcasing generally artificial attributes. Rinse. Repeat. Six times. It’s kinda amusing to see Morita playing a bad guy, not least because his massaging Oriental sidekickess is a good four inches taller than him, as well as about forty years younger.

Brimhall gets to do another musical number, which is startlingly inappropriate in just about every way, though I confess I did find myself humming along when it was replayed over the end credits. However, I also found myself seriously dozing off during the early stages, and little of what transpired subsequently proved sufficient to retain my interest.

Dir: Andy Sidaris
Star: Donna Speir, Roberta Vasquez, Pat Morita, Erik Estrada

The Demolitionist

  By

demolitionist-poster★★★½

KNB are one of the best-known effects studios, having worked on movies such as Evil Dead 2 and From Dusk Till Dawn. With their background, one would have hoped they might have come up with a story that’s more than a shameless Robocop ripoff, but for a microbudget work (budget was only $1m, if I recall, and it was shot in 21 days), it’s not so bad. The cast are enthusiastic, and the film does a good job of capturing the desired comic-book style.

Eggert plays Alyssa, a cop killed in the line of duty by Mad Dog (Grieco), who is then resurrected by Dr. Crowley (Abbott – his second appearance in this “cape fear” section!) as a bio-engineered crimefighter who years for her former life, but is obsessed with tracking down her murderers. Like I said: Robocop ripoff, right down to the satirical news-breaks, with references to ‘President Bono’. She even “dreams”, though the visions of hell that we see are, frankly, embarrassingly bad, and the middle act in general is sluggishly-paced.

This is the kind of role for which Grieco was made – scenery-chewing to the max, although a certain amount of angst is understandable after your brother gets electrocuted via a puddle of urine (and, say what you like, that’s certainly an imaginative demise). Eggert is fine, and indeed shows more emotion than Abbott, who also tends to mumble his lines. Looks like a few horror favours were called in for the supporting cast: beside FX-god Savini, Heather Langenkamp (Nightmare on Elm Street) plays a journalist, and Bruce Campbell has an uncredited cameo. A good chunk of the bad guys are also played by KNB employees, which keeps the wages bill down, I guess.

As you’d expect from a movie directed by the K in “KNB”, the physical effects are solid; I was particularly impressed with the blood squibs which explode as pink powder in a wildly unrealistic, yet very cool-looking, way. The heroine’s costume, gadgets and bike are also nifty, and the action is by no means badly-staged – though one suspects a fair bit of doubling for Eggert, despite her swinging a staff decently enough. It’s a shame resources ran out before they could film the climatic sword-fight between her and evil henchmen Savini.

Largely, however, the lack of money and time don’t destroy the picture – the main black mark against it is the severe lack of originality, which isn’t down to financing. Making a low-rent version of what is widely regarded as a classic, is hardly pushing the boat out artistically, and any comparisons will likely be to the detriment of The Demolitionist. Rather than a nice idea, poorly executed, this is a poor idea, saved by solid execution.

Dir: Robert Kurtzman
Star: Nicole Eggert, Richard Grieco, Bruce Abbott, Tom Savini