Tag: revenge

Sket

  By

★★★
“A Gun for Jennifer, UK edition”

“I saw my dad beat the fuck out of that woman, day in and day out. She was pathetic. Not once did she swing back, not once. The only way you’ll survive is to become like them. Otherwise you’ll end up like our mothers.”

sketPurely coincidental that I viewed this not long after A Gun For Jennifer. The films share some common themes, despite 15 years and a couple of thousand of miles between them (not to mention the French poster on the right, which is a lot more riot-y than the movie itself). In both, a “new girl in town” finds herself harassed by a couple of sleazeballs, only to be rescued by a gang of women. While initially reluctant to join them, they give the heroine a sense of belonging, sadly lacking in the rest of her life, and she’s drawn in to their illicit lifestyle. However, there’s always someone tougher out there, meaning tragedy and the death of someone close to you, is never far away when you’re on the mean streets of the big city.

Okay, it’s a little bit of a stretch to call them identical, but I felt definite resonances, despite the hell which is North London, standing in for New York [I lived in London for over a decade, albeit in Sarf London – which as everyone there knows, if far superior to the Norf]. As for differences? The women here are also younger, heroine Kayla (Foster-Barnes) maybe 15 or so, when she arrives with her elder sister Tanya from Newcastle. After being harassed on a bus, she falls in with Danielle (Hartley-Miller) and her gang, who look out for each other, since no-one else will. But Tanya has the misfortune to cross paths with violent drug dealer Trey (Walters), paying the price for interfering in his business. With Kayla capable of turning him in to the police, Trey tries to tidy up the loose end, forcing the young girl on the run, as she vows revenge. Kayla finds a willing accomplice in Danielle – and, perhaps, a surprising one in Trey’s girlfriend, Shaks (Steele), who has her own agenda.

There are some elements here which do stretch disbelief somewhat (where are the authorities? Or even her father, who barely shows up, even after the loss of a daughter) , but the performances help overcome this weakness. Hartley-Miller, in particular, is entirely convincing, creating a character you’d cross the street to avoid, yet still with the sense she’s a victim as much as a perpetrator. Steele is also very good, perpetually giving the sense that she’s analyzing the situation like a chess-master: the scenes where Danielle and Shaks face off are wonderfully intense, and I’d have liked to see more of them. Foster-Barnes isn’t quite there, apparently suffering from a bad case of Resting Bitchface, although her character has been through enough, it’s kinda understandable.

A little heavy on the grime soundtrack, the plot also wanders off occasionally in directions like vengeance on an ex-boyfriend, that turn out to be nothing but a needless diversion. But it’s still a solid enough attempt at exploring an under-explored area of female culture, particularly in the UK.  Oh, yeah: in case you’re wondering, the title is an epithet for a sexually promiscuous woman. It was originally “Sketel,” and is Jamaican in origin. Never say this site isn’t educational.

Dir: Nirpal Bhogal
Star: Katie Foster-Barnes, Emma Hartley-Miller, Riann Steele, Ashley Walters

A Gun For Jennifer

  By

★★★½
“Shitty city bang gang.”

gunjenniferThe back-story behind how this was made is, in some ways, more interesting than the film itself. The star and co-writer was working as a stripper, and came up with the idea, almost as a coping mechanism to handle some of the creeps with whom she had to interact.  Funding came from a customer at one of the clubs. But, unfortunately, it turned out that the money he was “investing” was actually being embezzled, leading to a two-year crawl through post-production – it still hasn’t received an official release in its American home. Made in 1997, it looks like a fossil from an earlier, much scuzzier era, with both its grimy New York locations and feel harking back to the work of Abel Ferrara.

Allison (Twiss) heads from Steubenville, Ohio to the Big Apple to escape an abusive relationship, but ends up in far worse shape the same day she arrives. Her rape at the hands of two local sleazebags is interrupted by the fortunate arrival of a van of pissed-off and armed women, who extract vengeance of a vicious kind on the assailants – and make Allison (or “Jennifer” as she tells them she’s called) finish one off. With no other options, she joins the gang, as they work in a go-go bar, and locate other targets who have abused women. The male-dominated police refuse to believe the truth, and only NYPD homicide detective Billie Perez (Kay) figures out the connection between the crimes. She and her partner stake out one potential victim of the women, and in the gun-battle which ensues, her partner is shot dead. As I believe the kids say: shit’s getting real.

How much you take away from this will probably depend on your fondness for the grindhouse cinema to which this is a loving homage – a full decade before Robert Rodriguez and Quentin Tarantino went there. Personally, I like the take no prisoners approach, and that this is heavily tilted towards the “revenge”side of the “rape-revenge” scale. But it’s certainly rough around the edges – actually, the bits not on the edges are also pretty rough – particularly on the acting front. It seems to have been the first (and in the cases of Kay and Hoops, only) film for a lot of the performers involved: Arthur Nasacarella, as Det. Perez’s boss, has more experience, and it clearly shows. Still, on balance, its indie heart beats strong enough for me to forgive the flaws, the most obvious being that Twiss is no Zoe Tamerlis.

Dir: Todd Morris
Star: Deborah Twiss, Benja Kay, Freida Hoops, Veronica Cruz

Foxy Brown

  By

★★★★
“…and I’ve got a black belt in bar-stools!”

foxyBrown (Grier) has a drug-dealing brother Link (Fargas), who works for a mob run by Steve Elias (Brown) and Katherine Wall (Loder). He tells them where to find Foxy’s boyfriend, a former undercover cop, a betrayal which leads to the latter’s death. Understandably peeved, Foxy works her way in to the gang responsible through their modelling agency, a prostitution front used to keep happy the judges and politicians who protect them. But when her presence is discovered, she’s shot up with heroin and sent off to the ranch where they package the smack. Does that stop her? Hell, no.

Following on from the success of Coffy, director Hill teamed up again with Grier – this was originally intended to be a sequel, under the original title Burn, Coffee, Burn! but AIP decided to make a new character instead, albeit with more or less the same script. There’s no shortage of grindhouse material, with neither the nudity nor the violence being soft-pedalled: interestingly, given this, the heroine doesn’t actually kill either villain, though you could certainly argue Elias, in particular, suffers a fate worse than death. The plot and characters have stood the test of time well, even the scummy Link, who has a pretty compelling explanation for his life of crime: “I’m a black man, and I don’t know how to sing, and I don’t know how to dance, and I don’t know how to preach to no congregation. I’m too small to be a football hero, and too ugly to be elected mayor.”

It’s an improvement on Coffy in a number of ways, with Grier more self-assured, and Hill apparently having a better handle on things as well. While it has been criticized for race-baiting – there are literally no good Caucasians – I’m as white as they come and it feels more like an attack on established power. The supporting cast also deserve credit, with Brown and Loder appropriately sleazy, Sid Haig being Sid Haig, and Juanita Brown deserving mention as another prostitute. Lots of moments here to treasure, including a spectacular death by propeller, Foxy hiding a gun in her afro (!), and a lesbian barroom brawl that’s glorious, which leads to the line at the top of the review. Among the dykes there, are Stephanie and Jeannie, stuntwomen from the famous Epper clan. with the latter a mentor to Zoë Bell.

But this is Grier’s show, and she carries it magnificently, even if at times it feels more like she is modelling the Foxy Brown fall collection, rather than engaging on a roaring rampage of revenge. [Some things about the seventies are likely best left there: the fashions would be one of them!] That’s a minor complaint, as what we have here is an iconic heroine, who has rarely been matched in the 40 years since, for her combination of heart and brain, courage and empathy, all wrapped up in one seriously kick-ass package.

Dir: Jack Hill
Star: Pam Grier, Peter Brown, Antonio Fargas, Kathryn Loder

Alley Cat

  By

★★
“Never quite sinking to tedium, yet never rising to reach interesting.”

alleycatAnother review compared this to Savage Streets and Vigilante, from the same era, and I can certainly see the similarities. Black belt Billie Clark (Mani) finds herself hamstrung by the ineffectual legal system, after she stops a rape – and, indeed, ends up going to jail, which is more than can be said for the attackers. With the help of a sympathetic cop (Torti), who’s also her boyfriend, she works her way up the chain to the sleazeball at the top, Krug (Wayne), presumably named after the villain of another grindhouse classic, The Last House on the Left. But it’s a climb not without its personal cost.

It seemed an almost cursed work, going through a lengthy hiatus mid-shoot, with one director for each chunk, and a third who then fiddled with the movie post-production. The results are about as uneven as you’d expect, but are hampered mostly by the characters involved being bland and forgettable. For someone who has gone through quite a lot, Billie is pretty damn phlegmatic about it all, rarely even bothering to get angry, though does believe cleanliness is next to vengefulness, going by her multiple shower scenes. Mind you, this lack of colour is line with Krug, who is not particularly scary himself, and is hardly a criminal mastermind in charge of an evil empire, his gang consisting of about three guys, with the combined IQ of a Pomeranian.

The supposed martial-arts expertise of the heroine leaves a little to be desired, too. If you’re going to make a point out of someone being a black belt, you need to be able to deliver at least convincing fakery in this department, but there are few moments when Mani (or even her obvious stunt-double) reach the necessary level of semi-competence. The fact that she’s still capable of beating up the bad guys, simply makes them look even more woeful. They’d have been better off letting her hang on to the gun, instead of using that instead to trigger the whole “women in prison” subthread, which feels like it comes from an entirely different movie, rather than just a different director. I couldn’t quite muster the loathing to turn it off: it’s the kind of film that just sits there, occupying 90 minutes of your life.

Dir: Victor Ordoñez, Edward Victor, Al Valletta
Star: Karin Mani, Robert Torti, Michael Wayne, Jon Greene

Prostitutes Protective Society

  By

★★
“Sin City’s Old Town comes crawling up on to dry land.”

ppsGot to suspect Frank Miller might have been aware of this 1966 sexploitation flick when crafting his story of a red-light district run by the prostitutes, because it’s easy to imagine this 62-minute film turned into a segment in Sin City 2. For that’s basically what you have here: Madame Sue leads the New York hookers in an informal collective, finding them customers and ensuring things run smoothly. But a local small-time thug wants in on the action, demanding 10% of the revenue; knowing that would just be the start, Sue declines, and her business rival starts offing the girls, trying to scare them into compliance. But you can only push Sue so far, before she proclaims “We’re gonna get guns and other weapons.” and goes to war…

Robert Rodriguez could knock this out of the park. Mahon, with far less resources and almost no acting talent, not so much (great poster though!). The shoestring operation is apparent across the board, but a couple of examples should suffice. They apparently couldn’t afford external mics, so when Madame Sue meets the mobster trying to shake her down in a public place, we don’t get to hear what they say – as with much of the plot, Sue has to describe it in a voice-over. While she’s far from the worst actress – check out the trailer for examples of delivery so wooden, it could make a charming set of living-room furniture – it doesn’t help that she has a heavy Eastern European accent, making it impossible to determine, for example, whether the mobster’s name is Carnaby or Carnegie. The indoor sets are little better, they seem to have had access to one apartment and a nearby stairwell, from which Carnaby/Carnegie appears to run all his business.

There are really three sections to this. In the first, the girls wander around topless as we establish their overall business. In the second, the girls wander around topless (and occasionally soap each others’ backs in the shower) as they get stabbed, strangled and offed. Finally, they put some frickin’ clothes on and start taking revenge, culminating in a rather nasty, if non-lethal, fate for Carnaby/Carnegie – the trailer will show enough to illuminate you, if you don’t mind spoilers. This is all very basic, and even at barely an hour, drags its feet badly for much of the time – as with many grindhouse flicks, you’re much better off just watching the trailer. However, considering its era, this is actually pretty advanced, Sue and her sidekick in particular being depicted as far stronger and more independent than most “nice” girls of the era. Credit duly given for that.

Dir: Barry Mahon
Star: “Madame Sue and her Times Square girls.” For real, that’s the only acting credit!

Naked Vengeance

  By

★★★
“In which we learn that small-town folk are dicks.”

nakedvengeanceWhile clearly knocking off I Spit on your Grave – not least in the underwater castration scene – this did at least have the good grace to wait for a bit, coming out seven years after Meir Zarchi’s infamous grindhouse pic. It’s one of the many pictures churned out by Roger Corman’s New World company, with the Philippines doing an admirable job of standing in for California, directed by Santiago, who’s no stranger to the GWG genre, with the likes of TNT Jackson and Ebony, Ivory and Jade also in his filmography.

The heroine is small-time actress Carla Harris (Tranelli), whose life is torn apart by tragedy, when her husband is killed after trying to intervene in an assault. With the law powerless to do anything, she heads off to the town where she grew up, to recuperate with her parents. However, the locals are unimpressed by her “big city” ways, in particular the men, after she rebuffs their crude advances. A drunken raid on her home, led by the local butcher (Garaz), ends in tragedy, and Carla in a catatonic state at the local hospital, apparently with no memory of the night’s events. Key-word there: “apparently”…

Yeah, it’s not exactly a spoiler that she’s soon tracking down those responsible, and disposing of them with extreme prejudice. It would have been cool – if, admittedly, fairly implausible – had she kept faking her illness and apparently remaining in hospital, while sneaking out to take her vengeance. But it’s only about two kills in before the ruse is discovered, and the rest of the film has her trying to complete the mission before the local cops, led by Sheriff Cates (McLaughlin) can track her down. I liked the pacing here: while it’s only about seven minutes in before Carla is burying her husband, the film then takes its time demonstrating the ineffectiveness of the police, and how she is now out of synch with the Neanderthal attitudes of the town where she grew up. Then: BANG. The assault is a nasty piece of work, but Santiago doesn’t linger too much there, before getting on to our leading lady’s retribution.

The problem is more one of plausibility, particularly in the second-half, where Carla seems about as indestructible as Michael Myers or Jason Vorhees. Car crashes, fires, impalement, all barely seem to slow her down with barely a scratch, and like those horror icons, she’s not interested in simply killing her victims, the stalk is just as important as the slash. Of course, it helps that her victims are equal idiots to the horny teenagers in Friday the 13th. I mean, that’s a woman you raped undressing and coming towards you. How much do you have to think with your pecker, for that not to set off all kinds of warning bells? Disengage your own brain’s higher-order functions here – and maybe your ears for the startlingly-bad theme song – and you’ll have a better time.

Dir: Cirio H. Santiago
Star: Deborah Tranelli, Bill McLaughlin, Kaz Garaz, Ed Crick

Nude Nuns With Big Guns

  By

★★★
“If you liked the party scene in Ms. 45, you’ll love this…”

Surely one of the great B-movie exploitation titles of all-time, this inevitably can’t live up to the expectations that generates, though in the early going, it makes a half-decent effort. Certainly, it’s more entertaining than Guzman’s previous Run! Bitch Run!, though it does suffer from some of the same mean-spirited unpleasantness. The heroine is Sister Sarah (Ortega), who has been a long-term victim of the Catholic Church, which is portrayed here as the embodiment of just about every evil imaginable, being neck-deep in drugs, prositution and other equally-dubious activities, with their partners, the Los Muertos biker gang. Finally, Sarah has a vision from God, telling her it’s time to clean house: she starts at the bottom, and works her way up to Chavo (Castro) and Father Carlittos (D’Marco). Along the way, yes, there is no shortage of nude nuns – or other women – though, to be honest, the guns aren’t actually all that big…

Given the title, you have a certain obvious set of expectations. This kind of thing can be enormous fun, as the likes of Machete or Hobo with a Shotgun prove. This doesn’t quite reach the same level of gleeful abandon, and while Ortega holds her own (admittedly in a role that doesn’t require much in terms of emotional breadth), the rest of the cast are acceptable at best, and painfully wooden at worst. After a high-octane and hugely-promising start, the middle section struggles much harder to keep the audience’s attention with anything other than the gratuitous nudity – it’s entirely obvious where things are heading. As in Bitch, the filling here includes some stuff which edges precariously close to rape fantasy, and if you’ve read much of this site, you’ll know that when it comes to rape-revenge movies, I like them to be firmly weighted toward the latter. There’s one particularly dubious and pointless scene of an elderly nun being assaulted, that came close to offending even my broad palate.

However, once the vengeful aspects return to being the focus, rather than Chavo, the film improves again. Though I do feel the villains could have received rather more comeuppance: their fates seem almost trivial, in comparison to what they have dished out over the course of the movie. Ortega does make an impression, and a title like this is, in many ways, entirely review-proof: anyone complaining it is sleazy and tacky, can’t have been paying much attention when they decided to watch it! At least it can’t be accused, like many B-movies, of not delivering on the sleeve’s promise.

Dir: Joseph Guzman
Star: Asun Ortega, David Castro, Aycil Yeltan, Perry D’Marco

Girls Against Boys

  By

★★★½
“Despite the director’s name, not really a chick flick. Thank you: I’ll be here all week.”

Shae (Panabaker) is not having the best luck with men. Her older boyfriend just dumped her, to try to get back with his wife, and a night where she drinks to forget ends up with her being raped in the stairwell of her apartment building. Fortunately, there to lend a helping hand is Lu (LaLiberte), a barmaid who turns out to have a dark side. A really dark side. As in, when Shae is reporting her rape. Lu takes the desk sergeant to a motel, handcuffs to the bed, sticks a gun into his crotch and pulls the trigger. When the authorities prove about as useful as they usually are in this situation, Lu helps Shae take revenge on the bastard who raped her. Then his friends. Then the ex-boyfriend. But when Shae finds a guy who might actually not be a total douche-bag, Lu is still thoroughly unimpressed.

Almost from the start, the film is playing, more or less openly, with the question of Lu. Is she real? A projection of Shae’s violent revenge fantasties? Or, in the end, does it matter all that much? This has been compared to Baise-Moi, which I haven’t seen, but the vibe I got from it was more Ms. 45. That’s true in several ways: the New York setting, the way the violence escalates from “legitimate” targets to the innocent, and even a key scene near the end, taking place at a Halloween party. Here’s it’s as if Lu exists to give voice to the situation, in a way Zoe Tamerlis’s character couldn’t voice. However, Panabaker isn’t generally as good in her role, and we really don’t sympathize with her as much, perhaps because her problems are, to a degree, of her own making.

Several things here do fall into the “very good to excellent” category. The throbbing electronic soundtrack, with added Joy Division and Donovan, is highly effective. LaLiberte is excellent in her role as the unfettered voice of violent rage, perhaps no better, than when she’s telling Shae the story of how her father started selling her for sex to his friends when she was five. And the cinematography is occasionally awesome: there’s one shot involving a mirror, near th end, which is simply breathtaking – to the point that I rewound it, purely so I could enjoy it once more. The story has been criticized for being thin, and that’s fair comment, since there is rather too much footage of the heroines going from place to place. However, if you can ignore the lurid advertising and largely misleading trailer, going in with few preconceptions of what to expect, it’s a decent, chewy piece of thought-provoking grindhouse.

Dir: Austin Chick
Star: Danielle Panabaker, Nicole LaLiberte, Michael Stahl-David

Killing Car

  By

★★½
“Because ‘Killing Asian model of few words’ wouldn’t fit on the DVD sleeve.”

This is a surreal revenge thriller, which begins at a scrapyard where the bickering of a couple is interrupted by an Oriental woman (Tsang), who shoots them dead and takes a car. A series of similar encounters follows, which take a similar form: we are introduced to one or more characters; then the woman shows up, and kills them, leaving a toy car behind at the scene as a marker. This includes a photographer and her assistant; an antiques dealer and his girlfriend; the owner of a dance club, etc. Meanwhile, two cops are following the trail of corpses and Hot Wheels, and it gradually becomes clear that the woman’s actions are tied to a car accident the previous year, with which all her victims had a connection of some kind.

It’s a very chilly piece, with a central character about whom we know almost nothing for the great majority of the film, making it difficult to empathize with her murderous rampage. Meanwhile, it doesn’t take long before we realize that just about everyone else to whom we’re introduced, is going to get shot, so there’s no point in getting attached to, or even caring about them. The role is one that was written for Tsang, who never appeared in anything else, as far as I can tell: that probably says more than anything else. She’s not bad, and has a certain cold charisma that’s appropriate, but there just isn’t enough on which to hang any criticism of her performance. Certainly, despite a willingness to shed her clothes, she’s nowhere near as good as Brigitte Lahaie was in the other Rollin flick we’ve reviewed here, Fascination – interestingly, that appears to be explicitly referenced in one scene here, with a scythe being wielded in a very similar way.

It does remind me somewhat of Ms. 45 too, with a lead character who lets her violent deeds speak louder than her words, though the motive there was a good deal clearer, and placed up front. The highlight is probably an early gun-battle in an almost deserted fairground, which has an eerie, suspenseful quality that’s quite effective, and it’s interesting to see a Rollin movie which does not include female vampires, a staple of his work. However, on balance, I think a few more fangs, perhaps accompanied by a less willfully-misleading title, might not have been a bad thing.

Dir: Jean Rollin
Star: Tiki Tsang, Frederique Haymann, Jean-Jacques Lefeuvre, Karine Swenson

Killer K

  By

★★★★
“Nikita meets Alias, while on vacation in South Korea”

Let’s be clear, right out of the gate. There is really not much original about this Korean mini-series, which takes huge chunks, almost wholesale from Nikita and Alias, to the extent, for example, that we perpetually referred to one character as “Amanda”, since she reminded us so much of Melinda Clarke’s character from Nikita, right down to her fashion choices. However, as long as you’re not looking for anything startling in the way of originality, this is slick yet gritty, with characters that are interesting to spend time with, and a handle on the action that’s easily the match for its equivalent in the West. Let’s start with some significant plot exposition, because there’s quite a lot of characters and story crammed into the three one-hour (or slightly more) episodes.

Spoilers Episode 1. Cha Yeon-Jim (Groo) is having a bad day – she just got expelled from school – and it’s about to get an awful lot worse. Hanging out by the docks, she and her friends get into a confrontation with some workers, only for things to be interrupted by a scripture-quoting hitman, Jang Se Wook, who shows up and starts shooting everyone, on both sides. Cha escapes, but when her friend is killed, as he tries to report what he saw to the police, she realizes she’s in deep trouble. Policeman Choi Tae Young (Baek), who was also at the scene, tries to track her down, but Jang is also after Cha. He wants her to return a flask of green liquid she took in the confusion, and kidnaps her mother to force Cha into compliance. At the handover, Mom is impaled by Jang’s sword and Cha is gunned down and left for dead.

Episode 2. Chief Min Ji Young (Park) comes on the scene, and saves Cha, faking her death. Min works for the same company as Jang, the Mirae Corp, a medical company run by Kwon Do Hwan. They are engaged in some shady experiments involving stem-cell research, and in particular the creation of artificial humans for organ harvesting, with the protection of high-up government ministers. To protect their company secrets, their division SS1 operates ruthlessly: Min recruits Cha as a new killer, not telling her Jang is simply another arm, but training her as an assassin, with the lure of eventually tracking down and taking revenge on the man who killed her mother. Cha’s initial targets are those who pose a threat to her employers, but Min has her own agenda, and when Jang has eventually proven to have outlived his usefulness, she has no compunction about turning her two killers on each other.

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Episode 3. Choi accidentally bumped into Cha in part two, under her new identity, and now teams up with Yoo Sung Ho (Kim), who used to be part of SS1, but bailed with his lover, Cha’s mother, and went into hiding – he was replaced by Chief Min. They are seeking evidence that will let them bring down Mirae and expose their human experiments. Cha wants to leave the organization, having fallen for Go Young Min, a boy at school. Min initially requests “one last hit” – so you know that’s going to work out just fine… In the process, Go sees Cha standing over the corpse of her target, holding the murder weapon, and as a result has to be terminated by Chief Min. That, and the discovery that her schoolmates have been used as guinea-pigs turns Cha against Mirae, and she links up with Choi, as Kwon prepares to reveal his latest plan. End spoilers

Phew. Plenty going on there, with enough for a full 13- or 22-episode order of most series, between all the twists, turns and revelations e.g. turns out Cha’s relationship to Chairman Kwon is rather more personal than she is aware. Given how much gets crammed in, the opening installment is a bit of a slow start. The entire first episode is more or given over to setting up the scenario, with Cha showing very little of the skills she has developed later on. She’s semi-competent in basic martial arts, which is perfectly fine when it comes to beating up fellow pupils. But we soon find out that this level of skill is far from enough, when she comes up against Jang and the other professional killers of SS1. Early on, it’s Choi who is most entertaining, portraying a dutiful and dogged cop whose superiors refuse to give him more than a gas pistol which is, similarly, pretty useless in the clutch.

 It’s the second part where things really take off, as events jump two years forward; the show takes Cha’s training largely as read, save for a quick montage. Instead, her new cold-bloodedness is amply demonstrated in the opening sequence, where we see her sniping out her target at a wedding, despite the presence of children which makes Chief Min call off the hit. It’s clear that this is a new, focused girl, with skills to match. Of course, as is standard for the genre, she still has to deal with everyday issues, since she has been sent back to school [which, conveniently, also offers a suitable tower from which to carry out missions, as can be seen above]. From there, through to her final confrontation with Cha and his minions, it’s an excellent bit of TV, one of the most intense action-heroine episodes I’ve seen in any genre, with the heroine taking obvious damage, both mentally and physically, as things proceed.

Let’s pause for breath before we hit the finale. One thing we noted was that Korean rules regarding what can be broadcast on TV are apparently a good deal laxer than in the US. This was, apparently, a late-night series, and it’s not clear if this was “over the air” or cable; there’s apparently advert breaks, but that could still make it something like FX or AMC. [Edit: CGV channel is “a movie cable channel”, so SHOtime or HBO would be closer parallels] The violence is generally crunchy and squibby, but it’s the female nudity that’s an unexpected pleas… er, particularly striking. :) There does also appear to be some confusion over the title of the show, which I’ve seen called several different variations of the letter K, as noted above. Here, I’ve gone with what appears on the intro screen in English for each episode.

We were kinda wondering where things might go in the last episode, with Cha having apparently sorted things out. Never mind: a whole new catalog of problems raise their heads, as the removal of her justification for assassination leaves her seeking a return to the normal life, one Chief Min is none too keen to offer. With its emphasis on discovering the truth about SS1 and the organization behind it, this episode reminded me of Alias after Sidney Bristow discovered. Meanwhile, dealing with boy issues was a throwback to early Buffy. However, the human experimentation thread was a fresh ingredient, and the episode didn’t pull from the darkness, with a subplot involving a Mirae whistleblower and SS1’s efforts to hush it up. Even if Cha and Min suddenly can’t hit the side of a barn in their final confrontation, the threads are satisfactorily tied up down the stretch, with an ending pilfered shamelessly from My Wife is Gangster 2, that hopefully hints at more to come down the line.

As noted, most of the content is material with which most genre aficionados will already be extremely familar, but there seems always to be room for another “faked death assassin” – Nikita alone has already led to three movies and a pair of television series. It’s the execution(s) that matter here, and this is easily the match of Western action heroine productions of late. I wouldn’t be surprised if this ends up heading over to the West in some form or other, most likely a remake, as has been the case for some many Korean, Japanese and HK movies in recent years. If so, they’ll have to do sterling work to match up with this original.

[Thanks to Hyomil for most of the pics. Killer K can be enjoyed in a subbed version online, through sites such as viki.com, albeit with a somewhat irritating sous-title commentary, which makes watching the show like sitting in the theater with a bunch of chatty teenagers. Still, better than nothing!]

Dir: Kim Jong Hyun
Star: Han Groo, Park Hyo Joo, Baek Do Bin, Kim Jung Tae
a.k.a. Girl K, Little Girl K, Killer Girl K