Tag: h

Hell on Wheels

  By

★★★½
“In the beginning was the word, and the word was ‘Austin’…”

The revival of modern-era roller-derby started in Austin, Texas, when a man of dubious background and apparently even more questionable character, Dan Policarpo, arrived in the city and started talking up the sport to anyone who would listen. While he didn’t last long – taking loans out in the names of his skaters doesn’t inspire confidence – he was instrumental in putting together the first in what would become a worldwide wave of amateur, but extremely dedicated, all-girl roller-derby leagues. At the center in Austin were four women – Heather Burdick (a.k.a. Sugar), April Herman (Queen Destroyer), Anya Jack (Hot Lips Dolly) and Nancy Haggerty (Iron Maiden) – who founded Bad Girl Good Women and were captains of the four teams. However, it was not long before the inevitable drama starts, with the rest of the participants wondering for exactly whose benefit they were risking life and limb, as well as sacrificing their free time.

And when I say inevitable, this is not a gender slam, since we’re currently “enjoying” something similar in the male-dominated world of pro wrestling here in Arizona. It’s more that strong personalities, contact sport and money are unlikely to be a good combination, and the film demonstrates this in spades. Things come to a head after a financial fiasco involving calendars, and a very nasty injury at a bout that turns out to be an uninsured event, and about 3/4 of the skaters slough off into a rival league, setting the stage for even more drama. You couldn’t script this stuff, and it’s remarkable that Ray was there to capture it from the very beginning, well before Dave Attell showed up to film it for Insomniac, before A&E covered the original league for Rollergirls and way before Drew Barrymore and Ellen Page took any interest.

However, it’s a double-edged sword, in that there’s far more footage of league meetings than league matches – and if you can work out what’s going on in the latter, you’re better than I am. Admittedly, that may be because, in these early days, they weren’t actually very good skaters. As for the former, most get-togethers appear to take place in bars, or other places not conducive to the recording of crystal-clear dialogue. But it’s worth persevering, for the characters and drama that unfolds with a remarkably even hand. It would have been easy to portray the Gang of Four as exploitative tyrants, but one makes the point that they wanted to run the league like communists, and it failed miserably. There are also times when the film should have called out the BS of those present, such as when a skater gets all snotty after an audience member grabs her crotch… instead of merely spanking her as intended… while she’s dressed as a sexy schoolgirl. Yeah. I think you lose much right to credible outrage at that point.

But, for all its uncritical approach and other flaws, this is the Declaration of Independence of roller derby, a historic document which shows how the whole thing got started. Austin set the tone for both the good and the bad aspects of the sport-industry-crypto-feminism which we know and love today, though after this film, you’ll be left feeling it’s something of a miracle the whole shebang didn’t crash and burn during its formative years.

Dir: Bob Ray

[The whole doc is now available to watch online, though the DVD comes with a lot of extra footage, commentaries and other assorted bells and whistles.]

High-Kick Girl

  By

★★★
Less a “film” than “fights spliced together, interspersed with cut scenes from a Mortal Kombat knock-off”.

The entertainment value you get from this may depend on your expectations. It undoubtedly works best as a party-tape, show-casing the “no wires, CGI or stunt doubles” approach, but I have to beg to differ with some of the critical savaging it has received. Even on our forums, it divided opinions, with some posters calling it “moronic and offensive” and “complete TRASH”. While I can see its weaknesses, and it’s no classic, at least in the first half, it does deliver pretty much everything you’d expect in the way of teenage ass-kickery.

The plot – such as it is, and I wonder what they did with the rest of the postage-stamp – is as follows. Kei Tsuchiya (Takeda) is a student under master Matsumura (Naka), but fed up with training, goes out to “hunt black belts.” This brings her to the attentions of the Destroyers, a gang of mercenary martial-artists called the Destroyers, extend an invitation to her to join them. Turns out it’s a trap, designed to lure in Matsumura, against whom they have a 15-year old grudge, and with the kidnapped Kei as bait, they await her teacher’s arrival. And that’s the main problem. The first half sets up Kei as fearless and tough, but after the chief villain shows up, spends much of the second-half whimpering on the floor: Matsumura does far more of the heavy lifting, despite his claim, rather questionable on the evidence here, that “karate is not for fighting.”

And that’s a shame, as Kei makes a good impression, right from her first bit of action, which sees her surprise an unsuspecting opponent with a kick to the head from a standing position, as shown on the right. Another standout was the kickfest (below), against another real-life karate star, Yuka Kobayashi. Stylistically, however, the main problem is the director’s repetitive, frequent use of slow-motion: while this is great in the aforementioned “party tape” atmosphere (where, if someone yells, “Wow, look at that,” you can turn around and see it again), it is badly overused and drags the viewer out of the cinematic experience far too often: lob this kind of stuff on as an extra on the DVD, if you must.

The reviews which aren’t writing this off entirely tend to point out that it works better if you regard it as some kind of martial-arts promotional piece, and that would tie in with the heavy emphasis that “Karate is a martial art for protection.” [Personally, I feel a good pair of running shoes would be just as good there] However, there’s little doubting that Takeda is the real deal in terms of fighting ability, and shows a willingness to take punishment as well as dish it out, that is certainly to her credit. However, the inexperience of both her and the creators in the more traditional aspects of film-making – for the final battle, the location appears to be a school gymnasium, on loan to the Destroyers! – do significantly hamper the overall merit.

Dir: Fuyuhiko Nishi
Star: Rina Takeda, Tatsuya Naka, and a host of faceless minions

Hired to Kill

  By

★★½
“A product of a different era, when men were men…and so were the women.”

Mercenary Frank Ryan (Thompson) is hired by a shadowy private entiry to go to a Mediterranean dictatorship, and bust out the leader (José Ferrer) of the rebels, so he can lead a revolt against current leader Michael Bartos (Oliver Reed). The only way to get in, is for Ryan to become a “faggot” fashion designer, along with a team of special-ops trained supermodels – or perhaps that should be, supermodel trained special-ops ladies, since they’re mostly bailed out of Turkish prisons, federal detention facilities, or otherwise have dubious pasts. After putting on their fashion show, and gaining Bartos’s trust, the team hit the road and head cross-country to the remote jail where the leader is being sequestered.

I liked the subversive nature of this. Ryan is a homophobe, making his role somewhat troublesome – particularly when Bartos grabs his junk and snogs him, to see if Reed’s undercover persona is who he claims (the most horrible thing about that is probably Reed’s handlebar mustache). And he’s also a chauvinist, bordering on the misogynist, unimpressed with his female associates, despite their obvious competence, especially crossing swords with local contact Ana (Moffett) – naturally, they end up bonking. Hey, it was 1990… I also enjoyed the variety of action heroines, each of whom have their own skills, useful to the mission, and genuine characters; despite the ubermacho cover, featuring Thompson looking very rugged, it does qualify for inclusion here.

What doesn’t work is the plot. The supermodel angel is just too ludicrous and contrived a concept to be credible in any way, and if you can’t come up with a hundred better reasons, you’re not trying. Also, let’s just say, what counted as “high fashion” at the time…now, not so much. There are other script holes, such as Bartos conveniently deciding to fly his chopper right into the battle zone, on discovering the plan. This helpfully sets up the final showdown (and, unfortunately, also led to the death of stuntman Clint Carpenter while performing an aerial stunt); however, it’s not quite what we saw from, oh, Colonel Gadaffi. Still, this entertaining nonsense should keep your eyelids open as things unfold, and the scenery (of both kinds) is pleasing enough.

Dir: Nico Mastorakis and Peter Rader
Star: Brian Thompson, Michelle Moffett, Barbara Lee Alexander, Jordana Capra

Haywire

  By

★★★★½
“First Form at Mallory Towers”

Soderbergh has never shied away from using unconventional cast members in his movies. Bubble was made entirely with non-professional actors, and when he wanted someone to play a high-class call-girl for The Girlfriend Experience, he went with renowned adult actress, Sasha Grey. Continuing this trend, Haywire revolves around MMA star Carano, which I guess means Soderbergh’s recent leading ladies could, in real life, kick your ass or lick your ass. Ok, I’ll stop. Here, Carano plays Mallory Kane – I keep wanting to type Mallory Knox – an employee of a shady private contracting firm with links to the government, who do the dirty jobs for which the feds want plausible deniability.

We first meet her in a diner, where Aaron (Tatum) meets her. It’s clear there’s some tension, with Aaron having been ordered to bring her in. After a brief, brutal brawl, she knocks him out and escapes, in a car belonging to startled patron Scott (Angarano). There she reveals what led up to that day: an operation in Barcelona, supposedly to rescue a hostage, followed by another in Dublin, which turned out to be an attempt to tidy up the loose ends from Barcelona, The plan is to frame Kane for multiple murders and portray her as a rogue operative. Kane needs to get to her boss, Kenneth (McGregor), and expose the truth before she’s gunned down.

It’s a deliberately-vague plot, with the characters speaking in clipped obscurisms, that leave the audience to piece things together. Don’t worry, it all becomes clear by the end, but it is probably fair to say that you have to pay a bit more attention than is usual for this kind of Hollywood thriller, between the fractured timeline and doubtful loyalties of most characters. It’s economical, at a tight 91 minutes (about 22 minutes shorter than the average Jason Bourne movie to date), and much like Carano, there’s not much fat on its bones: every scene serves a distinct purpose, which is definitely the way I like my movies.

I find it hard to criticize Carano’s acting, because it’s not clear how much acting is involved. Mallory Kane does not just possess physical prowess, but one who is also extremely comfortable with using it, and has a quiet confidence in her abilities. Any similarity to Carano is clearly not coincidental, and there isn’t much more required of her, in terms of emotion or depth. Unlike most action heroines there is no “personal” agenda e.g. Sarah Connor in T2, Ellen Ripley in Aliens, or The Bride in Kill Bill, it’s simply a case that her enemies are out to get her. In that aspect, Knox is not a particularly-“feminine” character. Just as Salt was originally envisaged as a male role, it’s easy to imagine someone like Jason Statham playing this part; hardly any plot changes would be needed.

And then there’s the ass-kicking, of various kinds. It’s good, Carano demonstrating a no-nonsense style that’s highly-effective. Perhaps too effective, in fact, since it seems that hardly any of the fights last longer than about 30 seconds – even the hotel bedroom one, which is certainly one of the roughest male/female brawls seen this side of Terminator 3, feels like it ends, just about when it should be getting going. While it’s nice to be left wanting more, rather than less, it’s still not quite the all-you-can-eat buffet of action I wanted. There also is no real sense of escalation; her final battle isn’t particularly different from the one which opens the film, in the diner; it has another location, and that’s about it, there’s no indication her adversary is any more of a challenge.

While the battles are well crafted – I note that the fight co-ordinator was J.J. Perry, who worked on Sunland Heat back in 2005 – perhaps my favorite scene was not actually one of them, but an extended scene where Mallory has to shake off her pursuers in Dublin. It is adequately extended, contains a number of twists and turns over its length, and showcases Carano’s physical prowess in more than just brutality, as she glides through and over buildings. I also enjoyed a snowy car-chase, which ends in a way which, I’m prepared to bet, you haven’t seen in a movie before. One senses Soderbergh and writer Lem Dobbs enjoyed playing with the usual expectations of the genre.

It’s certainly shot in typical Soderbergh style. He throws all manner of styles in there, from black-and-white through hand-held to the heavy use of colour filters. Mostly, these flourishes enhance the film, rather than distracting from it, and a billion nods of approval are due for avoiding the rapid-cut style of editing, which is the bane of modern action cinema (except for the rare cases where it’s done properly). Still, there’s no question it’s obvious who made it, to the point that I actually laughed when a shot of Kenneth appeared in sepia – having seen Traffic, I knew, before it was explained, that he had to be in Mexico.

All told, if not quite an all-time classic, this is more than acceptable, upper-tier work. Carano is by no means out of her depth, despite a heavyweight supporting cast including the likes of Michael Douglas and Antonio Banderas, and has an understated charisma which works in her favour. I don’t know if her future plans involving returning to the octagon, or sticking with the acting, but if it’s the latter, she’d certainly be a welcome addition to the (fairly short) roster of credible action-heroines from which Hollywood can draw.

Dir: Steven Soderbergh
Star: Gina Carano, Ewan McGregor, Channing Tatum, Michael Angarano

Hard to Die

  By

★★★
“I just want to get my clothes on and get out of here.”

This slice of cheese couldn’t be any riper. Five employees of the Acme Lingerie Company are called in to work on a Saturday to do inventory, despite the presence of creepy janitor Ketchum. A misdelivered package arrives, intended for Dr. Newton, an investigator of witchcraft, and when the ladies open it, they unleash the soul of a serial killer (allowing the use of flashback footage from a previous Wynorski flick. Sorority House Massacre). Meanwhile, the workers, having got all dusty gathering up boxes in the basement, make the logical decision: to take showers and try on the latest Acme line of skimpy products. Which they then wear for the rest of the film. As the unleashed killer picks off them, and everyone else in the building, one by one. Fortunate that there’s an arms dealer who has also set up shop on another floor, and who has left large quantities of merchandise and ammo around…

For the first 70 minutes, you’ll be wondering why this even qualifies for the site. It’s more in the campy horror line, with the emphasis more on the “camp” than the horror: always nice to see genre icon Forrest J. Ackerman in a supporting role. Otherwise, this is basically an excuse to ogle scantily-clad babes, but the tone is kept light – check out the squeaking sounds when they are assiduously soaping their breasts in the shower. Even the deaths are basically off-screen, with a fraction of the gore we get now, more than twenty years on. As a B-movie, it’s fine, but despite the title, Joe-Bob Briggs was about a million miles off when he said, “It’s the female version of Die Hard, full of lighting-hot action.” There’s a reason just about everyone involved uses pseudonyms. And then, fortunately, there’s the final reel, to which no description can do justice. Fortunately, someone posted it on YouTube, so I think I’ll just let the footage speak for itself.

Quite why they waited until the end to unleash this furious assault on the senses, I don’t understand. Is it great art? Not in the slightest. But it crams in more marvellous, lingerie-clad, automatic, dumbness into ten minutes than many better-known GWG entries do in their entire running-time, and should only be respected as such.

Dir: “Arch Stanton” [Jim Wynorski]
Star: Robyn Harris, Lindsay Taylor, Debra Dare, Orville Ketchum

Hora (The Whore)

  By

★★
“Grindhouse, Norwegian style.”

Crime-writer Rikke (Vibe) heads out to her former home in the country for a quiet few days catching up on her work. There she bumps into a guy whom she hasn’t seen since she was eight, but who still seems to have the hots for her. She declines his advances, telling him of her husband back in the city, but he persists in his efforts, along with his policeman friend, and the backward clerk in a local convenience-store. A dead animal is left on her doorstep, and that’s only a precursor to a long, brutal assault on Rikke that leaves her battered and bruised, almost beyond recognition. However, barely have the rapists left, before she is already planning her revenge on each one of them, and it will be every bit as unpleasant.

Yes, it’s basically I Spit on Your Grave with a Scandinavian accent, and I’m not sure this is quite what the world needs. While I’ve no problem per se with rape-revenge movies, I am far more interested in the revenge part of the equation. See, for instance, Ms. 45, which gets to that side of things inside about 15 minutes, and is all the better for it. Here, once you get past the opening scene, the first 45 minutes are largely Rikke lounging around the cabin in her dressing-gown. She pecks away on the computer, occasionally chats to her husband (who seems more than a bit of a jerk, especially when drunk), and has uncomfortable interactions with her admirers. Then there’s the attack itself, which is vicious and unpleasant – exactly how cinematic rape should be, of course, but this doesn’t make it any more pleasant to watch, especially at the length depicted here.

Finally, we get to the revenge, and it’s pretty much as you’d expect. Indeed, the entire thing is more or less what you would imagine from the synopsis, and that’s perhaps the main issue. There’s only a couple of moments where Kiil shows flair and while Vibe (a stripper and porn star) is decent enough in the role, you don’t get much sense of Rikke’s character or personality. That’s where the impact – both from the rape, and the subsequent revenge – originates, and as a result, this left me feeling a bit like a poorly-made martini, neither shaken nor stirred.

Dir: Reinert Kiil
Star: Isabel Vibe, Jørgen Langhelle, Kenneth Falkenberg, Gaute Næsheim

The Haunted World of El Superbeasto

  By

★★★★
“Suzi-X Marks The Spot.”

Rob Zombie has had an interesting career, to say the least. From the early days as the front-man of heavy-metal band White Zombie, through his own solo work [heavily influenced by B-movies], and then on into his movies. That started with the fairly-crap House of 1000 Corpses, then the better Devil Rejects, and then his remakes of the first two Halloween movies, which were ok, as remakes of horror classics go. And then there’s The Haunted World of El Superbeasto, an animated feature which I stumbled across on cable. Well, actually, Chris did: “I Tivo’d a movie for you,” she said. And, surprisingly, she stayed for the entire thing, and appeared to enjoy this animated feature. Which is odd, because it has much the same gleeful, excessive insanity as Bitch Slap, which she walked out on.

Based on a comic-book series, the focus is, at least, theoretically, El Superbeasto (Papa), a masked luchador and part-time exploitation film-director, whose opinion of his own talents is certainly not modest. Superbeasto gets involved with the the evil plans of Dr. Satan (Giamatti), who kidnaps foul-mouthed stripper Velvet Von Black (Dawson), because if he marries her, he’ll get all the powers of the devil. El Superbeasto and his sister Suzi X (Moon Zombie) have to stop Dr. Satan, before he can destroy the world. And it’s thanks to the latter that this film effortlessly slides into GWG territory. Imagine a soft(ish) porn version of those insurance ads with Erin Esurance kicking butt. Except, with far larger breasts, much more gore and a sidekick of a horny, transforming robot. Er, ok: not really like those insurance ads at all, then.

Zombie was responsible for the Werewolf Women of the SS faux-trailer in Grindhouse, and brings much the same gleeful approach to proceedings here. Indeed, we first see Suzi-X kidnapping the head of Hitler, which is kept alive in a jar (as in They Saved Hitler’s Brain), and then has to escape by fighting her way through a massive pack of Nazi zombies (that’d be from Shock Waves). Carnage ensues, as it pretty much does, any time Suzi-X is on the screen, which is a lot – she gets far more of the action than El Superbeasto does. Proceedings culminate in a lengthy, slo-mo catfight, entirely necessary to the plot, between her and Von Black, while the soundtrack cheerily informs us that “It’s OK to jerk off to cartoons – the Japanese do it every day – so rub one out for the USA…”

Yeah, the soundtrack. By comic due Hard ‘n’ Phirm, it’s certainly worthy of note, providing a sardonic commentary throughout. Witness the play-by-play as Suzi-X takes on the Nazi zombies, or as it bemoans the shameless ripoff of Carrie which is the finale. An appreciation of genre – particularly, horror movies – of the past eighty years or longer, will also help, as will as realizing this is not to be taken at all seriously. It’s definitely not for kids, or the easily offended: copious female nudity, violence, swearing and generally questionable attitudes. It reminded me of Ralph Bakshi cartoons, such as Fritz the Cat, just much more tongue-in-cheek.

If anything, it may be a little too hyper and frenetic. We ended up taking a break in the middle, and chilling out with coffee and muffins before returning for the second-half. Throwing together everything but the kitchen sink as far as style, content and approach goes, it remains a thoroughly entertaining piece of trash cinema. While the supposed hero is actually not very interesting, and largely unlikeable, Suzi-X is a fabulous action heroine, whom I’d enjoy seeing more of [not that there’s much you don’t see of her here, if you know what I mean, and I think you do…] Check out the clip below for some idea of what to expect.

Dir: Rob Zombie
Star (voice): Tom Papa, Sheri Moon Zombie, Paul Giamatti, Rosario Dawson

Hard Revenge Milly

  By

★★★★
“In which the ongoing problem of high blood-pressure in Japan apparently reaches epidemic proportions.”

In the near(ish) future, Japan has become a post-apocalyptic wasteland in which only the strong survive. Initially, that does not include Milly (Mizuno), who is tortured by the Jack brothers and their gang: her baby is set on fire, while she has her breasts sliced off and is left for dead. However, she survives, albeit in a partially-mechanical form, and has now devoted her life to revenge on those responsible. Her artificial enhancements include a shotgun leg, a sword up her sleeve and a chest that… Well, that has to be seen to be believed, let’s just leave it at that, shall we? That’s Hard Revenge Milly, the first of the two films on the Western release DVD.

The second, Hard Revenge Milly: Bloody Battle, has Milly being sought by some colleagues of the Jack brothers, led by Ikki (Tsujimoto), a flamboyantly gay psychopath with an attitude. “That’s why I hate bisexuals,” he says, after crushing one minion’s head into a wall for making a sexual advance on a female hostage. However, Milly now has a sidekick: Haru (Nagasawa), who wants Milly to help out with her own mission of revenge, tracking down whoever is responsible for the death of Haru’s lover. However, it turns out that her and Milly’s missions may be rather more directly aligned than initially seems the case.

If you enjoyed The Machine Girl, then this should be right up your arterial alley, as it has much the same gleeful, fire-hose approach to the carnage, at times literally painting the camera lens red. This isn’t quite as good, mostly because the pacing is off, especially in the first movie, which has too much of Milly wandering about an abandoned factory that serves as the main location. The low-budget is occasionally painfully obvious, particularly for one CGI decapitation which is less convincing than any latex head could ever be. The overall plot is also just a bit too close to Kill Bill for its own good,

The pacing is less of a problem in Bloody Battle, where the post-apocalyptic world is more fully drawn, and the production values seem to be significantly higher. The addition of Haru provides something of a mirror in which Milly can see herself – there’s an interesting question raised as to whether her revenge may be an artificial construct, and the villains are also given a bit more depth. However, you will not be watching these for subtle characterization, and Mizuno acquits herself admirably as an action actress in both installments, showing solid martial-arts and swordplay skills. While unquestionably not for the faint of heart, there’s energy and inventiveness to spare, and it’s certainly unlike anything coming out of the West.

Dir: Takanori Tsujimoto
Stars: Miki Mizuno, Nao Nagasawa, Mitsuki Koga, Kazuki Tsujimoto

Hook ‘n’ Shoot: Revolution

  By

★★★
“Pretty much the first of its kind – with all that implies.”

These days, the notion of women participating in mixed martial-arts is no longer seen as particularly outlandish, with names like Tara LaRosa, Yuka Tsuji and Megumi Fujii among the top fighters [as with pro wrestling, the best fighters are out of Japan]. However, this wasn’t always the case: In April 2002, in Evansville, Indiana, one of the first all-women events in America took place. The fights took place under Shooto rules, with two five-minute rounds [though only one fight ended up going into the second]. Here are quick recaps of the seven bouts on the DVD.

  • Ruth Meija -vs- Erica Montoya Over in 2:32 with an arm-bar, but pretty one-sided. Montoya was in complete control and also landed some hard shots on her opponent.
  • Olga Bakalopoulas -vs- Shannon Hooper A better fight, with more well-matched opponents. Hooper wanted to stand and punch, but it was Bakalopoulas who came out on top; she managed to knock her opponent down (albeit more by luck than anything) and applied a keylock submission for victory in a little more than two minutes.
  • Jennifer Irons -vs- Jessica Ross A triangle choke submission ended this one at 1:48 in favor of Ross, even though she was giving away a fair amount of weight. Ross is more of a grappler, but got some good blows in, and also showed decent ground skills.
  • Tanya Vlahac -vs- Angela Wilson This was a barn-burner, with both women trading hard punches. Vlahac also dropped Wilson with one particular punch, but Wilson used her judo skills to bring her opponent down, and then took control, hitting Vlahac until the referee stopped the fight.
  • Shelby Walker -vs- Tara LaRosa LaRosa pounded her opponent into submission, after taking her down. From there on, it was an onslaught of punishment, and I can’t say I’m surprised that LaRosa went on to make a name for herself in the field. Sadly, Walker died, apparently from an overdose of pain medication, in 2006.
  • Angela Restad -vs- Mayra Conde Almost all the early offense here was by Conde, with Restad simply trying to survive on the ground. However, as round one wore on, Restad came back, with some solid knees and combinations. The second round continued in a similar way, with Conde having the advantage on the floor, but Restad landing good blows. Conde almost got an arm-bar, but Restad escaped and almost got a choke of her own. This ended in a majority draw – two called it even, one gave it to Restad. A fair result, but the best fight of the night,
  • Debi Purcell -vs- Chris Van Fleet Purcell was clearly the better fighter, and had the edge from the start with a powerful punch. However, Purcell also showed good submission skills, and got under the guard of Van Fleet, taking her down for a relatively quick victory, forcing her opponent to tap at 2:42, with a Rear Naked Choke.

Obviously, the scarcity of female mixed martial artists in the US posed something of a problem to the promoters, with the matches apparently made mostly on weight alone. The Restad-Conde match is the only one whose outcome is not certain inside about 30 seconds, and that one is one of the best MMA bouts I’ve seen, male or female. The special features on the DVD include additional interviews with the fighters, who mostly come across as smarter than you might expect, and also Erin Toughill, who was present but not taking part. Two more volumes are available in the series; on the basis of this one, I’d be interested in watching them, but not buying them unseen.

Hard Candy

  By

★★★★
“More threatening than girls with guns: teenage girls with scalpels. Gentlemen: cross your legs.”

This is almost unbearably creepy, in two different directions: however, it’s almost impossible to discuss this film in any meaningful way without spoilers, so you have been warned. The danger of online predators is well-known, and when fourteen-year old Hayley (Page) agrees to meet photographer Jeff (Wilson), who is in his thirties, alarm bells are ringing. They reach a piercing level after she goes to his house, starts drinking vodka and flirting outrageously. However, the tables are abruptly turned: she’s spiked Jeff’s drink, and he wakes to find himself tied-up, and entirely at Hayley’s mercy. He soon finds out that’s a quality she is very definitely not inclined to provide.

So, who do we sympathize with? The paedophile? Or the psychopath? Pick your poison, and it’s the kind of bravely ambivalent film I love, for Jeff is far from the usual cliched portrayal of a child-molester: rather than a sleazy old man in a dirty mac, he’s charming, well-spoken and educated. Which makes him far more dangerous, of course. Though he meets his match in Hayley, and it’s a brilliant performance by Page. We have absolutely no idea whether any of what she says is true, regarding herself (is she 14, or is that part of her act?), her family or even the apparently-damning evidence she finds of Jeff’s paedophile tendencies. The last is perhaps an error on the film’s part, since it’s at its best when we’re less certain as to whether Jeff deserves the horrible fate Hayley has in store.

Oh, yes: horrible. Armed only with a medical textbook, a bag of ice and some sharp objects, she prepares to make sure that Jeff will not bother any other little girls again. Cue the film’s second, and most critical, mis-step, as it pulls a punch which would have made this an instant evil classic – you sense Takashi Miike, whose Audition this most closely resembles, might not have backed off. From here, the film does stray into implausible territory, with Jeff spurning several chances to escape, or overpower Hayley [who looks about 95 pounds]. However, that doesn’t really diminish from a film that has the guts to ask a lot of questions which seem to have easy answers, and then confront us with a reality that makes things more complex than we’d wish.

Dir: David Slade
Star: Ellen Page, Patrick Wilson