Tag: h

Hannie Caulder

  By

★★★½
“Iconic imagery, but not really too convincing a heroine. “

If genre entries produced in Italy are “spaghetti Westerns”, what does that make those produced in Britain? “Fish and chip Westerns?” “Roast beef Westerns?” Shot in Spain, but made by Tigon Film, and including such quintessential Brits as Christopher Lee and Diana Dors in supporting roles, this is nicely-photographed and hits all the right notes. But as the titular character, who seeks revenge after her husband is gunned down, and she herself raped, by the Clemens brothers, Welch perhaps has too much cinematic baggage. While responsible for one of the all-time absolute classic images of the genre, it’s an association which leaves the viewer struggling to look at the heroine without seeing fur bikinis or even Fathom, rather than a widow, hellbent on and dedicated to vengeance with an almost psychotic obsession and lack of self-concern.

Still, there is plenty to enjoy, not least Culp as the bounty hunter who, reluctantly, agrees to take Caulder under his wing, largely realizing that she’s going to get herself killed otherwise. He delivers exactly the right air of world-weary wisdom, and Hannie’s training is covered in enough depth, and with enough bumps in the road, to be credible. Unfortunately, the same can’t be said of the Clemens (Borgnine, Martin and Jack Elam): for some reason, they are portrayed almost as comedic jesters or harmless buffoons, characters in great contrast to the vicious rapists and killers we first see. It’s an odd combination, that doesn’t work. Much better used is Lee, as a gunsmith who has retired to Mexico to raise rug-rats, and it’s there Caulder’s mettle is first tested.

I did suspect that she wouldn’t be able to complete her mission without significant male help – this was made in 1971, after all. I was somewhat right, but only somewhat. The ending is both fairly satisfying, in that it avoids the obvious get-out in this direction, but also unsatisfying, in that it merely replaces it with a different one, which is likely too much of a deus ex machina to be acceptable. However, there’s no denying Welch’s credentials as a screen icon, and if this could never be called a classic of the genre, there’s enough here that does work, to make this more than an acceptable entry in the field. Even if one which, thanks to its Anglo origins, perhaps would be best accompanied by a nice cup of tea.

Dir: Burt Kennedy
Star: Raquel Welch, Robert Culp, Ernest Borgnine, Strother Martin

High School Girl Rika: Zombie Hunter

  By

★★½
“High School Girl? Check. Zombies? Check. Hunting? Not so much.”

Rika (Kudo) and her schoolgirl pal ditch education for a day and head off to a remote village to check up on her grandfather, who hasn’t been heard from for a while. But as soon as they arrive, the pair come under attack by zombies, initially spawned as the result of a euthanasia drug being tried out by the Japanese government to address the whole “inverse pyramid” thing. They do reach Grandpa’s house, but find him in the stages of advanced Alzheimer’s – at least, until Rika is bitten. Gramps removes the limb, and replaces it with one conveniently lying around, which happens to belong to a master zombie hunter. Who cares if it’s the wrong colour and incredibly muscular? With America preparing a Return of the Living Dead style cleansing operation on the area, Rika and her allies have to locate the King Zombie and kill him, before being reduced to their constituent atoms.

There are a couple of nice ideas here, so let’s get those out of the way first. The master hunter is an amusingly male version of the Onechanbara heroine, both in the cowboy hat and otherwise scanty clothing. And I liked the fact there is actually an intelligent, polite zombie thrown into the mix, who retains his fondness for humanity (or does he? For he’s still a bit bitey…). However, it’s the best part of an hour before anything approaching the title is seen, by the time Rika loses her arm, gets her new one and comes to terms with the new, strong urges to swing a sharp sword in the direction of anything lacking a pulse. When it does…it’s really no great shakes either, and the action aspects of this are absolutely no match for the likes of Machine Girl or Hard Revenge Milly.

This is, however, operating in a rather different genre, as you’d expect from the makers of the catchily-titled Girls Rebel Force of Competitive Swimmers, which occupies an uneasy middle-ground between horror and soft-porn. This is mostly horror, occasionally comedy (the Three Stooges who are also roaming the town could have taken their comic mugging and left, without doing the film the slightest damage), and the action is some way back, likely less important than the “let’s all compare our breast sizes” scene. I’m certainly not averse to horror, and on that basis, given its low-budget, it’s a harmless time-passer. But given the title, I’d have liked to see Rika do an awful lot more actual hunting of the zombies.

Dir: Kenichi Fujiwara
Star: Risa Kudo, Takeshi Yamamoto, Mai Minami, Tsugumi Nagasawa

Hoodrats 2: Hoodrat Warriors

  By

★½
“And no: neither of the actresses on the cover actually star in the film, as far as I can tell.”

When Chino (Rodil) beats up his woman, Lucia (Sparagna) decides it has happened for the last time, and accompanied by her two friends, Celia (Mortel) and Miriam (Cho), she gives him a dose of his own medicine, with a baseball bat. This turns out to be a clear case of thinking without acting, because it turns out he’s a big kahuna in one of the local gangs, and is now out for revenge on the trio. After a drive-by cripples their vehicle (a ghettomobile with the amusing personalized plate, ‘ICUHATN’), they are stuck deep in enemy territory, with a lot of unfriendly people looking for them. And even if they make it out alive, what then?

I like the idea a lot: it could have become a Latina take on The Warriors, an urban nightmare journey pitting the heroines against a range of city low-lives, as they battle their way back across Los Angeles. And, perhaps surprisingly, the acting is not terrible: I was expecting something sub-amateur, but the three ladies are competent, and Rodil is actually more than adequately unpleasant as the villain. Arellano knows where to point the camera too – and, as an aside, you do not appear to need any knowledge of his previous Hoodrats. Two things, however, undo all the positives, and send this heavily into the red.

Firstly, the script is really badly written, with any number of scenes that outstay their welcome or are simply unnecessary. I’ll describe a couple of the worst offenders. Late on, two of the women are captured; the third just wanders off, bumps into a complete stranger and has an irrelevant conversation, resulting in her grooving out to some tunes. What? That, however, is a masterpiece compared to the scene where they seek help from the local king pimp, the inexplicably-British Baron of New Orleans. He looks like Simon Pegg, sounds (dubbed?) like Russell Brand, and must have been an investor in the film, because there is absolutely no justification for the seemingly endless minutes of screen time allocated to his vapid burblings.

The other problem is the fights, which are largely predictable, uninteresting and completely fail to be hard-hitting. For instance, the enemies met by the three women as they head home, are inevitably…three women, and the sluggish cartwheel move Lucia uses, apparently inspired by capoeira, doesn’t improve with repetition. I’ve seen films where my attention drifts away, except during the action scenes: here, however, it drifted away more during the action. It builds to a finale in what could well be a school gym, that is ludicrous in its implausibility, though is a fitting end to an inept work.

Dir: Edgar Arellano
Star: June Marie Sparagna, Donnabella Mortel, Arden Cho, Neal ‘Xingu’ Rodil

Hell’s Fury: Wanted Dead or Alive

  By

★½
“There’s nothing like a good Western. And this is nothing like a good Western.”

Eryn Cates (Hague) returns home to Texas from finishing school in New York, to find her family farm teetering on the edge of foreclosure [maybe if they hadn’t spent all that money to send her to finishing school in New York…]. In a misguided attempt to help things, her brother tries to rob a stagecoach carrying payroll, but is injured. The attempt fails, but local mogul Mortimer (Harris), who holds the loan on the Cates farm, sees a chance and pockets the loot. Two Texas Rangers, including the young and handsome Flint (Hagenbuch) show up to investigate the robbery, but it’s up to Eryn to save the family property, take on the mantle of the bandit, fend off the unwanted advances of Mortimer and engage in pseudo-romantic banter of the least interesting or convincing sort with Flint.

It’s not very good, and the problems start right from the format: it was shot on low-definition video, which gives everything a harsh, modern look that really doesn’t suit the genre. Hague is equally unsuited for the role, and never succeeds in putting across any significant degree of emotion. And quite why there’s a kung-fu master in an early scene, I have no idea: he crops up once, and then is never seen again. It’s not as if Eryn exactly wields nunchakus against Mortimer’s minions. There are some cheap laughs to be had, not least the town dance where the band appear to play the same eight bars of The Streets of Laredo for six minutes straight, but most of this is just terribly pedestrian.

The DVD cover blurb claims, “The Quick and the Dead tips its cowboy hat to True Grit in this action packed Western gun battle.” Hmm. The tubes of the Internet deny any such phrase, though since Independent Film Quarterly [or “Quartly”, as the blurb has it] appears to be that endangered species, a print magazine, we can’t definitively claim fabrication here. What I can say with certainty, is that the apparent provider of the quote, Stuart Alson, has crafted a far greater work of fiction in that single sentence, than anything the writers here manage to conjure up in their 72, almost entirely tedious minutes.

Dir: Alan Chan
Star: Hannah Hague, Adam Hagenbuch, Ron E. Harris, Richard L. Olsen

Hannah’s Law

  By

★★★
“A straightforward tale of revenge, Western style.”

In 1866, the young child Hannah Beaumont (Canning, best known for her role in The Vampire Diaries) watches as the rest of her family is slaughtered by outlaw Frank McMurphy (Pyper-Ferguson). Twelve years later, Hannah is now getting her long-awaited revenge. Having been trained to shoot, ride and collect the bounty on wanted men by Isom Dart (Danny Glover in a small role), she is now reeling in the members of McMurphy’s gang, one by one. When McMurphy hears about this, he gathers up his entire posse and rides to Hannah’s base in Dodge City to finish off what he started, a decade before. Can Hannah – with the aid of the town’s deputy marshal, Wyatt Earp (Holt) and her other friends, come out on top?

Well, there’s really not much doubt about that, this being a Hallmark Original Movie. Which means, as well as good winning out, there will be no sex or bad language, and severely restraint is exercised on the violence front. That said, knowing this going in will help defuse much sense of anticipation, and if you can get past the feeling this belongs to a far kinder, gentler age of cinema, it’s not a bad time-passer. Canning doesn’t quite look the part, being too willowy to be convincing, but that really only attracts the attention during the occasional hand-to-hand scene – firearms are a great equalizer for size and strength. She does manage to exude the required amount of steely determination, which is likely more important for this role.

Director Talalay’s name may be familiar to GWG fans; she directed the flop Tank Girl back in 1995. From the IMDB list, this looks to be her first return to the action heroine field since, and she has her moments, not least the first encounter between McMurphy’s gang and the very alone Hannah in Dodge City. Credit also to Kennedy, who plays Doc Holliday by shamelessly channeling Val Kilmer from Tombstone, yet still comes across as a memorable character. However, the presence of both Glover and Kimberly Elise as black gunslinger Stagecoach Mary, imply a racial blindness to the era that one suspects is more based on modern hopes than historical accuracy. Still, while the net result is not particularly memorable, and is clearly more interested in fulfilling expectations than confounding them, it succeeds in reaching its modest goals, in a way that some previous entries in the genre could only envy.

Dir: Rachel Talalay
Star: Sara Canning, Greyston Holt, John Pyper-Ferguson, Ryan Kennedy

The Hike

  By

★★
“The Descent without the caves. Or monsters.”

Five young women head out into the country for a camping trip, led by Kate (Phythian), a former soldier who is stil traumatized by seeing her boyfriend killed in front of her while on a mission in the Middle East. She’s about the only member of the party who seems genuinely keen on the trip, and it’s not long before the others start to whine, demanding rest stops, and the hike is curtailed before the intended destination. At least the country is not entirely deserted, though the creepy East European guy and his two women isn’t exactly sociable. But at least there are the three nice guys, out for a spot of rock-climbing, led by Ethan (Loyd Holmes), so there’s always that. And if things end up getting dicey – say, if one of the women vanishes mysteriously, while out gathering firewood, the others can turn to Ethan and his chums for help. Right? Right?

With a bit more thought on characterization and dialogue, this could have been an effective exercise. When I say, “a bit,” I probably mean “an awful lot,” as apart from Kate, the women are at best flat and two-dimensional, and at worst, actively and significantly irritating. Do women really act and sound like that? It may be relevant the script was written by two men, and there are few surprises to be found here (especially if you’ve seen Eden Lake, a similarly-themed “rural nightmare” flick from the UK). The progression is so obvious that it doesn’t even count as a spoiler to reveal that Kate ends up the ‘final girl’, and it’s likely significant that the more the film focuses on her struggles for survival, the more effective it becomes, to the point where the last reel eventually delivers the tension and energy I’d hoped to see from the beginning.

It definitely does owe some inspiration to The Descent: I don’t think it’s coincidence that Shauna McDonald has a small role as Ethan’s wife. However, I also note Nedeljacova’s role in the Hostel series, which perhaps has rather more in common with this, as the movie relishes the rape and degradation elements to a greater degree than I like. Phythian does what she can with the role and comes over as a decent heroine, who goes through hell and back again over the course of 24 hours. However, there are plenty of better entries in the genre, and little otherwise to recommend this one.

Dir: Rupert Bryan
Star: Zara Phythian, Ben Loyd Holmes, Barbara Nedeljacova, Daniel Caren

Helldriver

  By

★★
“Conclusive proof that more is not necessarily more…”

I think I am officially over the whole Japanese uber-splatter thing. Either that, or I just don’t like Nishimura’s approach. He has been behind the last couple of examples I’ve seen (this and Tokyo Gore Police) and neither have reached the heights of te better genre entries. At 117 minutes, this is even more overlong than TGP and, to be blunt, I fell asleep before the end. Oh, there’s no lack of stuff going on, as we’ll shortly see, and certainly no shortage of arterial spray. However, neither of them make any significant impression, on either the emotional or visceral levels.

Kika (Hara) comes home to find her father being eaten by her cannibalistic mother (Shiina) and uncle; Mom has designs of dining on daughter too. However, this is interrupted by a meteor which blows right through her chest. No problem: she’ll just rip out Kika’s and stuff it into the hole. Dust, apparently related to the meteor, spawns a zombie epidemic which forces the government to wall off the top half of Japan, though the zombies grow antler-like tumours, which are much in demand for the psychedelic high they induce when ground up and ingested. Meanwhile, Kika is rescued and given an artificial heart which also powers her chainsaw-sword. She is sent into the infected zone, along with her associates, to take out her mother, who has now become the queen of the zombies.

Yeah. Like I said, it’s not short on “stuff.” However, none of this is explored in any meaningful way, and the uber-low budget ($600K) is stretched thin, with most of it going on gallons of corn syrup and obvious latex prosthetics. There’s certainly no shortage of imagination on view – witness the vehicle made entirely out of zombies – but it’s operating in a vacuum, and it may be significant that the opening credits don’t appear until 40 minutes in. The fight scenes, while plentiful, are badly assembled and rarely memorable. The length here is less necessary, and more an exercise in desensitization, and long before the final mother-daughter confrontation, the arterial spray will have lost its impact.

Dir: Yoshihiro Nishimura
Star: Yumiko Hara, Eihi Shiina, Yurei Yanagi, Kazuki Namioka

The Hunger Games (film)

  By

★★★
“Not as good as the book. There. I said it.”

Ok, it has become the biggest-grossing action heroine film ever at the US box-office. So there’s that. But truth be told, it’s not actually all that good. Sure, it’s impressively-staged, and Lawrence does very well with a role. But there are a number of problems, even as it follows the great majority of the novel. If you’re not aware of the plot (and didn’t read our book review!), I’ll summarize. In a future dystopia, every year the 12 districts in the US submit a teenage girl and boy to the capital, where they battle to the death in a televised spectacle. This time, the resourceful hunter Katniss (Lawrence) volunteers, after her younger sister is selected; she and her male counterpart, baker’s son Peeta (Hutcherson), have to go into battle with the other 22 contestants knowing only one can survive.

At 142 minutes, it’s likely too long, especially as almost the first half is taken up with the pre-game activity, which is distinctly low in thrills. Even once the games start, the action quotient is fairly low, with Katniss seeming do a lot more creeping around on her own. That’s fine in a book, which can fill things up with internal monologue, but it’s not the case in a movie. And what action there is, is badly-shot to the point of utter confusion. There were also a couple of changes from the book that weakened it: the rule change in the middle seemed more of a convenient deus ex machine than in the novel, where it flowed naturally from the Katniss/Peeta alliance, and the genetically-engineered creatures which appear at the end originally were described as being created to look like the fallen competitors, a marvellously horrific touch. In contrast, the movie doesn’t add all that much, in style or content.

On the plus side, I did enjoy Lawrence, who creates exactly the sort of strong, resourceful heroine we need more of, in all media. Unlike certain young adult book series I could mention, she doesn’t seek or need male approval or assistance. In fact, Peeta is basically a wuss, who would be dead without someone stronger to whom he can attach himself – it’s a beautiful bit of role-reversal. I also enjoyed a lot of the supporting characters, particularly Harrelson as the former winner turned alcoholic mentor, and Stanley Tucci as the TV interviewer who, I suspect, is much smarter than he seems. We should also remember that this is the first part of a trilogy, so probably needs to engage in more scene-setting. We’ll see whether the rest of the series can deliver a better handle on the action, while sustaining strong elements, such as the excellent lead.

Dir: Garry Ross
Star: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson

The Holding

  By

★★★★
“Hell hath no fury like a mother defending her children.”

Cassie Naylor (Wareing) is struggling to keep her head above water on the farm she’s now running almost single-handed, eight months after her husband vanished. What the locals don’t know is that she buried him in a remote spot on the Derbyshire moors, with the help of part-time farmhand Cooper (Bradley), for reasons not initially clear. The arrival of a transient, Aden (Regan, looking not unlike a rougher version of Gerard Butler), seems like a godsend, and they agree he can work in exchange for food and lodgings. However, it’s not long before Aden’s less-desirable tendencies start to show through. While he’s fiercely loyal – dispatching anyone whom he perceives as a threat – he seems to regard Cassie and her two daughters as “his” family, and seems to know rather too much about them.

Clearly influenced by The Stepfather, this is still its own creature, with Cassie a strong, independent heroine of the first degree, who will do absolutely anything to protect her children, even if one is a Bible-thumper and the other an immensely-irritating teenage brat. Indeed, it’s probably important to note that [here be spoilers, highlight the text if you want to read it] all the women survive, and only men die. How much of this was the input of a woman director – itself, fairly unusual for the genre – is open to discussion. Another big plus is that the film doesn’t rely too much on the stupidity of the main characters, which is a common flaw; their behaviour here is relatively logical, though there were times when the victims did not take an avenue of escape that appeared to be open to them.

The look of the film is impressive, with a lush pastoral feel early on, that eventually turns into a dark, rain-drenched nightmare as things become bloody. However, the main strength are performances which are believable, on both sides of the fence, effectively ramping up the tension as the body-count increases. It builds to a satisfactorily invigorating battle, in which Cassie has exhausted all legitimate hope of rescue and is thrown entirely on to her own tenacity and survival skills. Ellen Ripley would certainly approve, even if here, the monster being opposed for maternal reasons has a human face.

Dir: Susan Jacobson
Star: Kierston Wareing, Vincent Regan, David Bradley, Skye Lourie

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.]