Gladiatrix

★★★½
“Proof that the female action heroine’s appeal is at least a couple of millennia old.”

This intriguing piece of archaeological detective work began with the discovery of an opulent grave in the paupers’ section of a Roman-era cemetery in London. Piecing together the clues, the conclusion was reached that, while it could have been a follower of Isis, this was most likely a gladiator’s grave – which was something of a shock, as the occupant was female…

From here, we head into a discussion of how Roman life centred round the amphitheatre and how the gladiatorial games developed. While there wasn’t a great deal of new information here, it was interesting to see a connection made between the rise of the female participant linked to Boadicea’s revolt, which had taken place a decade or two earlier. This would have no doubt opened the Roman mind to the possibilities of broads with swords. Similarly, in Rome, the absorption of the Amazonian legend (originally a Turkish story) could have led to the introduction of the gladiatrix.

Narrated by – who else? – Lucy Lawless, the documentary is hampered by an over-enthusiastic visual style during the battle recreations. At times, these were so hyperactive as to convince me that I was watching clips from the 2001 version of The Arena. While understanding the need to avoid becoming a sequence of talking heads and shots of ruins, the attempts to jazz the inserts up prove more of a distraction than an enhancement. I’d have welcomed more speculation on the life of the gladiatrix too. Still, great to hear a little about the ancestors of Michelle Yeoh and Pam Grier!

Dir: Jeremy Freeston
Discovery Channel documentary, December 2001

‘Gator Bait

★★★½
“Swamp saga is buoyantly sleazy, but sinks at the end.”

Between being Playmate of the Year in 1970, and her death in a car accident at the end of the decade, Jennings appeared in a slew of action/exploitation flicks which earned her the title “Queen of the B’s”. Despite unlikely casting as Desiree, an alligator poacher – with perfect hair and make-up, even in the Louisiana swamps – this film comes within an ace of getting our seal of approval, falling short only at the finale.

Desiree finds herself in trouble when she’s involved in the death of a local cop. His family, a bunch of half-breeds of hugely dubious morals (witness the immortal line, “What’re ya tryin’ to do, ya horny little bastard? That’s yer sister!!”), get on her trail, dragging the more or less unwilling police chief with them. But the bayous and backwoods are home turf (the title comes from her father’s habit of dragging her behind his boat as a lure!) and after her sister is murdered in truly repellent fashion, mercy is in short supply.

Rather too much speedboat footage slows the second half down, but it’s an interesting twist on the Deliverance nightmare, with rednecks being hunted rather than the hunters. Jennings doesn’t have many lines (kid bro’ is mute, so there are few chances for conversation), which is perhaps wise. However, she carries herself well, whizzing through the swamps, blazing away with her shotgun – it’s unfortunate she has to rely on assistance to finish things off, a weakness in character which is hugely disappointing.

Dir: Ferd and Beverly Sebastian
Star: Claudia Jennings, Sam Gilman, Doug Dirkson, Clyde Ventura

Golgo 13: Queen Bee

★★★★
“A tale with plenty of sting, but too much sexual bee-haviour.”

Four stars but no seal of approval? That’s because this is about the most wildly variable animated film I’ve seen. The story and characters are great, but the frequent sex scenes are incredibly tedious and clearly put in solely for the teenage male fan (all pneumatic breasts and moaning). It’s rare for me to say this, but they are genuinely gratuitous, and the film could have coped fine without them.

Between times, there’s certainly plenty going on in terms of plot. Ultra-taciturn hitman Golgo 13 is hired to kill narco-terrorist Queen Bee, who has been sending threatening letters to a presidential candidate. From here an entire web is spun (sorry, failed to come up with a bee analogy!) of deceit, double-dealing and death. The anti-heroine comes across rather better than the anti-hero, since you see more about her background, and she’s certainly a fascinating personality, even in a grim world where no-one is innocent.

The animation uses every trick in the book to mixed effect, with some of the violence particularly well-executed. The tape I saw was dubbed, which is another reason to deny it the seal, though the voice acting here is largely painless (it helps that Golgo 13 has about five lines!). It may yet make it: I’ll likely pick up the subtitled DVD sometime, with a director’s commentary, apparently revealing that the candidate and his adviser were shown as gay lovers in a deleted scene. Frankly, I’d have been happy to trade that for one of the heterosexual encounters.

Dir: Osamu Dezaki
Star (voice, English dub): Denise Poirier, Carlos Ferro, Dwight Shultz, John Dimaggio

Gunsmith Cats: Bulletproof

★★★★
“Fast, hardware-heavy fun in Chicago, Japanese-style!”

Watching this dubbed was, for once, viable since despite its Japanese origins, it’s firmly set in and around Chicago. So we did sit through some of it in English, but the accents were woefully Cal-girl and thus we’d recommend sticking with the Japanese, even more unlikely though it might be. That out of the way, this is an action-packed romp, in three episodes but effectively one story. Rally Vincent and May Hopkins, one a crack marksman, the other an explosives expert, own a gun store, but are blackmailed by the ATF into helping nail an arms ring. It’s not as simple as it seems, since the perps have connections at a high level, and the services of a former Soviet Special Forces hitwoman.

The episodic structure means there’s never a dull moment and you effectively get three climaxes for the price of one, with the car chase in #2 perhaps my favourite. If it occasionally teeters on the edge of cheesecake – Rally gets her blouse shot open – it’s made clear early on that the heroines have little time for romantic dalliance. Indeed, there’s little time for anything much, including character development, but the story charges on at a great pace, so it’s not as if they’re wasting time.

You can see why Sonoda set it in America, since handguns are illegal in Japan, and the crowded streets would likely impair the auto quotient. Creator Kenichi Sonoda’s fondness for fast cars was apparent in his earlier work, Riding Bean, and by the end of this, Chris had decided she wants a Shelby GT Cobra, just the like the one Rally drives. Drool. :-) A lot of effort went into reproducing Chicago and wiser heads than mine (who have actually been there!) say it’s accurately detailed. Though undeniably great fun, perhaps the most amusement we got was from pretending the opening song was the theme to Saturday Night Live, to which it bears a spooky resemblance…

Dir: Mori Takeshi
Star (voice): Michiko Neya, Kae Araki, Aya Hisakawa

Guns

★★★½

Two federal agents (Speir and Vasquez) are hot on the trail of South American gangster Degas (Estrada), after one of their friends is shot during one of his hits – but perhaps that’s really what he wants? Zipping around from Hawaii to Arizona to Las Vegas, this was the first Sidaris movie I saw, and was probably better than I expected. While obviously not shot on an unlimited budget, most of the deficiencies are made up for in energy and a host of interesting characters.

Those on the wrong side of the law come off particularly well: Estrada is suitably nasty, and his sidekick of few words is an early role for Danny Trejo. Add a pair of transvestite assassins, and Devin DeVasquez as Degas’ murderous squeeze, and the heroines seem kinda bland in comparison, despite good support from Chuck McCann and Phyllis Davis, making an impression in small roles. Cynthia Brimhall is perhaps the best of the cover starlets, though I could certainly have done without her lounge singer turn. Speir still seems to be finding her feet, while Vasquez merely looks pouty.

It’s the action sequences which really show up the paucity of the production. Helicopters chasing motorbikes is all very well, but Sidaris might have been better off reining in his ambition, to something more in keeping with his pocket. The smaller-scale stuff works better, such as a nice double-hit involving a computer screen and a radio-controlled boat – they were supposed to return the computer and get their money back, but couldn’t get the blood out of the keyboard…

Dir: Andy Sidaris
Star: Donna Speir, Erik Estrada, Roberta Vasquez, Bruce Penhall