Tag: revenge

Sasori

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★★★
“The Story of Ricky meets Saviour of the Soul.”

While sharing the heroine’s name with the renowned Female Convict Scorpion series, it’s not clear how much of an official remake this is: it’s supposedly based on a manga series, which I don’t quite recall being the case with its predecessors (it was a while ago I saw the original, though – must get round to re-viewing it for the site at some point soon). The concept is not dissimilar, however: Sasori (Mizuno) is sent to prison, where she is brutalized, but eventually escapes, and seeks vengeance on those who were responsible for putting her inside to begin with. However, it’s really poor at providing motive or explanation: for example, after Sasori is left for dead, her body is dumped outside the prison, where a corpse-collector (HK veteran, Simon Yam) rescues and revives her, before training her in the ways of top-end martial arts and sending Sasori on her way. Why? Who knows. Similarly, the reason why our heroine is in prison at all, raises more questions than it answers.

It’s a movie of two halves: the first sees her struggling to survive in a prison, where the warden makes the inmates fight each other, in a muddy pit naturally, for his amusement; Sasori ends up battling the evil jail queen, Dieyou (Natsume), and that’s where the Story of Ricky comparisons come in, though without quite the same level of hypergore. But outside the prison, it’s a much more chilly and stylized production, taking place in a city where there’s almost no-one around, except the main characters: that’s where it reminded me of Saviour much more. The fights are a similarly odd mix of wire-fu with ground ‘n’ pound, that are not badly put together: Mizuno occasionally looks the part with a fair degree of conviction, but there’s just too much which doesn’t so much defy expectation, as simply gets none at all.

On the plus side, this isn’t anywhere near as sleazy as some of the entries, which are more “women in prison” than “action heroine”. Despite the mud wrestling, and some costumes that definitely lean towards the exploitative, this is definitely in the latter camp. It’s not particularly outstanding, yet is worth a look if you’re feeling in a forgiving mood.

Dir: Joe Ma
Star: Miki Mizuno, Dylan Kuo, Emme Wong, Nana Natsume
a.k.a. Female Convict Scorpion

Angels’ Brigade

  By

★★½
“Charlie’s Magnificent 7 Angels.”

After her brother is severely beaten by a drug dealer, Las Vegas lounge singer (!) Michelle Wilson (Kiger, Miss January 1977) is visited by his teacher (Cole), who knows the location of the cartel’s drug warehouse. Wilson puts together a team of women who have reason to want to take the dealers down, including a stuntwoman (Anderson) and an undercover cop (Grant). There’s also a martial-arts instructress, a model and, tagging along, one of the teacher’s pupils. They build a heavily-armed van, train in the ways of war, and rip off a bunch of militia types for weaponry, before staging a successful raid that destroys the warehouse. However, the mob (led by veteran actors Peter Lawford and Jack Palance) are not prepared to let them get away with it.

This is best known through its use – in a severely truncated form – on MST3K, and I suspect that’s where most of the 1,200+ votes on the IMDB come from [it’s more than, say, the rather better-renowned Black Mama, White Mama]. The unedited version is less worthy of derision. I wouldn’t call it great cinema, but it heads from Point A to Point B in a brisk fashion, and the practical effect – stunts, explosions, etc. – are decent enough. Of course, there’s little or no characterization to speak of, on either side, it’s clearly ripped off from Charlie’s Angels, and there’s a weird unevenness of tone that is hard to handle. For instance, the militia types are incredibly incompetent, bumping into each other at the drop of a swastika, but then the girls seriously consider dropping a truck on the head of an informant.

However, I couldn’t bring myself to hate this to the level its former position in the IMDB Bottom 100 would project. There’s something almost charmingly naive about such a simplistic approach, and it’s also refreshingly free of any romantic angles to slow things down. At a few points, I even found myself contemplating the remake potential. If the discussed all-female version of The Expendables ever comes to pass, it might not be too dissimilar to this, though hopefully with more originality.

Dir: Greydon Clark
Star: Susan Kiger, Sylvia Anderson. Jacqulin Cole. Robin Greer

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

Warrior Queen (2003)

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★★★½
“Rates much better as a drama than for historical accuracy.”

Probably best to approach this with few expectations of this being a factual representation of the time; more than once, it felt clearly like the writer was using the Roman occupation of Britain, and Boudica’s rebellion, as a metaphor for American’s involvement in Iraq. There are certainly enough anachronisms, particularly in the dialogue (the Roman Emperor chatting informally away with the leader of a British tribe, and references to “terrorists”), that it seems deliberate. The basic story is the one well-known of legend: after her husband’s death, and the raping of her daughters by the invading Romans, Boudica (Kingston) led her tribe in an initially successful revolt, only to be stopped when the full force of the Empire was turned on them.

There’s a lot of familiar faces here, most obviously Kingston, who is well-known (in this household, at least) as River Song from Doctor Who – I kept expecting Boudica to enter a scene and say, “Hello, sweetie!” But there’s also Potts, as a deeply creepy Emperor Nero, well before we knew him a nerd in Primeval, and Blunt, as one of Boudica’s daughters, has gone on to significant Hollywood fame. The performances are really what keeps this interesting: Kingston brings the right level of steely resolve to her role, and is particularly convincing when rousing her troops to battle. Equally as good is Michael Feast, as Roman general Suetonius, who is there because of a combination of “professional pride” and the Emperor’s whims, and puts across exactly the right sense of battle-weary experience.

What doesn’t work as well are the battles, in part because the budget for this falls well short of what we’re used to seeing in terms of the approximate period, e.g. Gladiator, 300. There are some moments of spectacle, such as a burning Roman encampment, or a plain covered with corpses, but the shortage of live extras is often embarrassingly obvious. They’re not well-shot either, with an irritating strobing effect which serves no purpose, and Boadica doesn’t do much actual fighting, mostly waving her sword from the back of a chariot [without spiked wheels, I was disappointed to note. Look, if you’re gonna play fast and loose with historical accuracy, you might as well include the coolest thing about the queen…]

Still, I can’t say we were bored, and the solid acting more than made up for the occasionally-shaky production values, though it is definitely important to go in to this, not expecting a Discovery channel documentary. Instead, this is Exhibit A, proving that when cinematic necessity and historical facts collide, the latter will almost always come off worse.

Dir: Bill Anderson
Star: Alex Kingston, Hugo Speer, Emily Blunt, Andrew Lee Potts

Hannah’s Law

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★★★
“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

Cherry Bomb

  By

★★
“More bomb than cherry.”

Cherry (Julin – yep, that appears to be her surname) is a stripper, whose life takes a turn for the worse when she is assaulted by five customers in a private room at the club where she works. The cops aren’t able to do anything, so she takes the law into her own hands, with the help of her brother (Rodriguez), who accidentally kills one of the perpetrators when he goes to demand help with Cherry’s medical bills – no prizes for guessing how that request goes. As the others realize someone is out to get them, and who that someone ins, they hire Bull (Hackley), a gigantic hitman, to stop Cherry before she gets to them.

It’s clearly attempting to re-create the grindhouse era, but wimps out on most levels – for example, Cherry is a stripper who never shows any significant flesh. That’d perhaps be forgivable, if Julin’s performance hit the required notes elsewhere, but it wobbles uncertainly from giggly schoolgirl, incapable of forming any kind of plan to violated bitch, capable of ramming a vehicle into someone’s head (in probably the film’s most impressive moment). The other performances are similarly shaky, with the possible exception of Manning as the club owner, who captures the necessary tone for his role. Hackley is so shamelessly channeling Samuel L. Jackson from Pulp Fiction it goes beyond irritating into amusing – then past that, back into irritating again [Chris wondered if it was a white guy in blackface, it’s so clichéd!]. The action is equally as mixed a bag, swerving from well-staged to sloppy, occasionally even within

The overall impact is occasionally effective, with a couple of scenes that deliver the necessary wallop. But too often, it feels half-hearted, like they had a vague interest in resurrecting the grindhouse era, rather than a passion or drive, and it’s certainly all but lacking the “grind.” While I’m all in favour of emphasizing the “revenge” over the “rape” aspects of the story, the latter is so toned-down and muted – the assault itself is barely shown here – that the justification for the former is almost non-existent. That makes it difficult for the audience to get on board, when the ends don’t appear to justify the means.

I’ll Never Die Alone

  By

★★½
“Will cross rural Argentina off the list of holiday destinations, in much the same way that Deliverance did for North Georgia.”

I have no problem with rape/revenge movies, providing the balance is skewed more towards the revenge than the rape. Ms. 45, for example, has about five minutes of rape and 60 of revenge. This is fine by me. I am all about the revenge, which should be nasty and brutal, exactly what sexual predators deserve. Actually, so should the rape be, because portraying it any other way is very, very questionable. But that’s something which hardly needs depicting: I’m quite happy taking it as read, thank you very much. Here, the depicted brutalization of four young women goes on far longer than necessary to serve any point.

They appear to be heading home from college – it’s a bit vague – when they see a girl lying beside her bike, injured at the side of the road, and some men with guns nearby, who might just be hunters…or might not be. The women load her into the car, only for the victim to die before they reach the next time. They report it to the two-man police force, who seem less that enthusiastic about investigating. As they leave town, they find themselves being chased by the hunters’ truck, and it’s soon very apparent that their intentions are very, very unpleasant.

To be honest, I largely tuned out the middle portion of this, for reasons explained earlier. That said, when the tables are finally turned, it is certainly satisfying, especially in the final moments of vengeance. Bogliano takes his time in all aspects, which is a double-edged sword: some scenes benefit from the unflinching approach, such as the filling in of a grave, which unfolds in real time and is chilling viewing. However, others are simply dull and pointless, for example, the one where one of the girls goes into a bathroom, smokes a cigarette, changes her shirt and leaves. Really. That’s it. There’s a serious lack of characterization as well, to the point that it’s hard to care too much about the victims, as you’ve been given no reason to do so, or insight into their characters.

The film does improve markedly in the final reel, though this may be as much due to my personal prejudices as any actual change in the direction. But the revenge is certainly memorable, in particular the use of a strand of barbed-wire, in another sequence where Bogliano’s unblinking camera lens comes out as a positive. Much credit is due to all the actresses involved, for going to hell and back in the name of their cinematic art, and the overall impact is certainly better than some of the entries in the genre, as linked below. However, it may simply be too brutal, and the tuning-out mentioned above is something likely to be experienced in an even greater degree by viewers that are more sensitive than I.

Dir: Adrián García Bogliano
Star: Gimena Blesa, Magdalena De Santo, Andrea Duarte, Andres Aramburu
a.k.a. No Morire Sola

Bandit Queen (1994)

  By

★★★
“Not quite Bollywood.”

If you’ve seen Bollywood films, you might expect the same here – a light, breezy romp, interspersed with gratuitous musical numbers. Wrong, on every conceivable level. It’s an almost unrelentingly grim portrayal of the life of Phoolan Devi (Biswas), sold off by her family at the age of 11, abused by her husband (Shrivastava) as well others in the higher-ranked Thakur caste, and basically treated worse than an animal. She’s eventually abducted by a gang of bandits, whose lieutenant Vikram (Pandey) is sympathetic to her: when the leader tries to rape her, Vikram shoots him in the head, and takes over, making Phoolan his co-chief. However, after the group’s true leader is released from prison, he’s none too happy, and sets out to teach Phoolan a lesson than will make her earlier misfortunes seem like paradise.

How much of this is true, is open to debate. Devi was supposedly so upset by the film, she threatened to set herself on fire outside a cinema if the film weren’t withdrawn, but the depth of her anger can be questioned, since she ended up being paid off by the producers. The basics do seem true, and it’s a remarkable story, centred on a performance from Biswas that leaves nothing in the locker. It’s also entirely unlike any other Indian movie I’ve ever seen, being foul-mouthed, brutal, and even contains some full-frontal nudity – though that is far more unsettling than anything else. However, in depicting the hellish life of low-caste women, it goes beyond the eye-opening to the stage where you almost find yourself thinking, “Oh, look: she’s being raped again.” Less would be substantially more, in terms of impact.

It’s definitely more drama than action, with her gang’s raid on a village the main set-piece in this area. Another thing that doesn’t quite work is Biswas being a full decade older than the character she’s playing. In reality, Devi’s rise to bandit infamy and eventual surrender to authorities was all over, while she was still a teenager, which is quite stunning. The movie certainly exposes a side of Indian life unlike one you’ll have seen, even if probably not one you’ll want to see again. But it certainly shows that someone is pushed far enough, they will push back.

Dir: Shekhar Kapur
Star: Seema Biswas, Nirmal Pandey, Aditya Shrivastava, Saurabh Shukla

War Cat

  By

½
“Time to put this cat out, permanently. “

There aren’t many times I agree with censorship, but the British Board of Film Classification rejected this movie entirely when it was submitted in 1987. I’d like to thank them for saving the public from this appalling piece of dreck for 25 years, even if I think they were probably confusing it with Abel Ferrara’s Ms. 45, which was also known as Angel of Vengeance in the UK. I can’t believe they actually watched this, as it’s so entirely harmless, the only threat it could have posed to the public at large would have been from the wholesale gnawing off of limbs, by viewers desperate to escape the ordeal.

I’ve seen a few Mikels movies now, in and out of our genre here: none have been great, few have even reached acceptable, but this was truly the bottom of the cinematic barrel. In Mikels’ defense, it was a troubled production, to say the least, with original director Ray Dennis Steckler being fired two days into shooting. Producer Jeff Hogue “came up with new ideas almost every day,” according to Mikels, and the cast included Poynter, who had been a cocktail waitress at a Las Vegas casino wuth no acting experience at all. It’s remarkable anything ended up getting released at all.

The story, such as it is by the time all this was endured, focuses on a militia group out in the desert, under Major Hargrove (O’Hara), and to a significantly lesser degree, on Tina Davenport (Poynter), who is writing a book on her deceased father, who just happened to be a soldier. This attracts the attention of some of the more brutish members of Hargrove’s survivalists, who end up kidnapping Tina and taking her out to the camp. Hargrove is annoyed by this, having recently spent a significant chunk of the running-time killing a biker gang, but agrees to Tina’s proposal to give her a chance. Rather than killing her outright, he lets her go, to provide a training exercise for his men, by hunting her down. Of course, her military background means they’re in for a nasty surprise.

It’s nowhere near as interesting at that may sound, not least because the hunt only takes place in the last 30 minutes or less of the movie, and is so badly put-together and executed as to suck any life out of the concept. Up until then, you’ve got to endure an endless stream of scenes that redefine “turgid,” and don’t develop storyline or character. Not even entertainingly bad, just incredibly boring: avoid, at all costs.

Dir: Ted V. Mikels
Star: David O’Hara, Jannina Poynter, Macka Foley, Carl Irwin
a.k.a. Angel of Vengeance

Colombiana

  By

★★★
“The revenge and hit-woman genres could cross-pollinate each other. Just not here.”

There are moments where this seems to have the potential to break out beyond its story, but once you get past the strong central core, the script has very little to offer. Cataleya (Saldana) narrowly escapes death when her parents are killed on the orders of their gangster employer, Don Luis. She flees from Colombia to Chicago and is raised by a family friend, but never forgets where she came from, and has revenge on her mind. Grown-up, she becomes a hit-woman, but has a side-project of payback. She has an occasional boyfriend (Vartan) who knows little about her, and a dogged FBI agent (James), intent on tracking down the mysterious, elusive killer. Y’know: all the usual baggage that goes along with being an assassin.

The action, however, is what rescues this, and when the heroine is in motion, it’s generally fluid and effective. There are two sequences in particular that stand out: Cataleya’s hit of a gangster in prison, and the final showdown where she goes to Don Luis’s headquarters, and takes on… Well, to borrow a famous line from another Besson script, “Everyone!” They are well-staged, with Saldana showing flexibility and athleticism of an impressive degree (Besson’s fondness for parkour also shows up). However, between these two, there isn’t much to speak of; a third sequence, involving a swimming-pool filled with sharks(!) fails, mostly because you’re wondering why the hell Cataleya opted to swim across said pool rather than – oh, I dunno – walking around it?

The background stuff doesn’t work either, particularly the efforts to give her a normal life, which seem both perfunctory and contrived, and Vartan’s role is entirely pointless in emotional terms. I suspect, going by past history, Besson would have been better off directing this himself, not giving it to the man who handled the eminently forgettable Red Siren and Transporter 3. This might be as close to a Leon sequel as we’ll ever get. However, a while back, probably nearly 15 years ago now, I came up with an idea for a film about a woman who witnessed her family being killed, and a decade later, came back for her revenge. I even got as far as starting on a script. While I’m probably biased, I’m pretty sure it was better than Colombiana.

Dir: Olivier Megaton
Star: Zoe Saldana, Lennie James, Michael Vartan, Jordi Molla