Tag: s

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

Sailor Suit and Machine Gun

  By

★★★½
“Lured in by the title, stay for the well-acted drama.”

sailorsuitThe novel by Jirō Akagawa which spawned this has proved rather popular in Japan. It also inspired two television series, in 1982 and 2006, but this film was the earliest adaptation, coming a year before the first show. Izumi (Yakushimaru) is in a funk because of the death of her father, but gets a shock when dozens of yakuza suddenly show up at her school. Turns out, he had a rather shady past, and had just been named heir to a gang, on its boss’s death: his own departure suddenly leaves Izumi next in line. Initially reluctant to take over, she does so, simply to spare the members from a futile death. And it’s not as if they’re a massive organization anyway: most of those at her school were on loan to them for the day(!), so how much trouble can really ensue…?

Of course, the answer is more than she expects, since it turns out her father may have been holding a large package of drugs, and its owner, Fatso (Mikuni), now believes Izumi and her gang have it. Her place is ransacked while she’s out, and there’s also the questionable Mayumi (Kazamatsuri) who claims to know Izumi’s father, but whose past is even murkier. Let’s just say that, by the time the film ends, their numbers will have been reduced from the already fairly feeble count of four, with which they start. It’s not exactly a glamourous life at the bottom of the organized crime pyramid, and the movie doesn’t portray it that way. There is, however, an odd unevenness of tone and style, which swings from drama to comedy to art-house. Sômai seems to have a fondness for setting his camera up some distance – in one scene at the end, a very great distance – from the characters, and letting things unfold. It’s certainly striking on occasion; there’s a sequence where a cop wants to interrogate Izumi, but her bodyguard won’t let him in, despite being obviously and horribly over-matched, and another achingly long-take that flows effortlessly from pedestrian to motorcycle traffic.

However, if you’re looking for action, even at the cheesy level of Sukeban Deka, you’re better off elsewhere. Despite the attention-grabbing title and poster, there is only one, brief moment of machine-gun madness. While that may be part of the point – it’s almost Izumi’s last hurrah, giving her very few options – it is a shame that such a striking concept was not more enthusiastically embraced. We do still have a heroine who is brave, loyal to her friends, and through Yakushimaru’s solid portrayal, comes to three-dimensional life. Finally, if Kazamatsuri looks familiar, that’s probably because, 20+ years later, she played the proprietress of the House of Blue Leaves in Kill Bill, Volume One…

Dir: Shinji Sômai
Star: Hiroko Yakushimaru, Tsunehiko Watase, Rentarô Mikuni, Yuki Kazamatsuri

The Stunt Woman (Ah Kam)

  By

★★
“Because stunt women have feelings too.”

stuntwomanThe end credits of this show, in a style familiar from Jackie Chan movies, the “stunts gone wrong” montage. Except here, it’s Michelle Yeoh suffering a serious back injury after a bad landing following a jump from a bridge. What’s particularly galling is that the stunt was entirely pointless, in terms of the movie, and also filmed so badly, they could easily have used someone much more experienced in that kind of thing. This is likely what happens when you have a director who apparently has no aptitude for, or interest in, action cinema. Instead, Hui’s filmography is full of earnest social cinema such as Summer Snow, “about a middle-aged woman trying to cope with everyday family problems and an Alzheimer-inflicted father-in-law,” according to Wikipedia.

On a similar basis, I guess this is about a middle-aged stunt woman, Ah Kam (Yeoh), trying to cope with everyday cinematic problems, and an alcohol-inflicted father-figure (Hung). What we learn, is that the life of an stunt person involves as much sitting around and drinking as it does actual, ah, stunting. We also find out, apparently, that you can go from walking-on to the set, to becoming the de facto director in about two days. Actually, snark aside, this is the most interesting section of the film, with a no-holds barred depiction of the crappy conditions under which action scenes are created in Hong Kong cinema, with a brutal mix of time constraints, Triad hassles and a near-complete disregard for personal safety. You won’t do this stunt? Kiss employment goodbye, because there’s always someone else who will. If nothing else, you will come away from this with an enhanced regard for the people who put their bodies on the line for your entertainment.

However, odds are that’s all you’ll get, for the longer this goes on, the further this meanders off track, in to a series of unsatisfying threads which are equally underdeveloped and unsatisfying. Ah Kam falls for a man and follows him to China, only to find life as a bar manager not what she expected, so she gives up and goes back to movie work. The Triad troubles escalate until they lead to the death of a major character, but this doesn’t go anywhere much either. Even when she has to rescue a young boy, kidnapped for what’s basically a prank on a mob boss, there’s little or no resolution, the movie ending in such an abrupt fashion, it feels like Hui ran out of film-stock. While it’s nice to see Yeoh given a chance to exercise her dramatic talents more, and she acquits herself well, the results are singularly disappointing, and unfortunately, are also definitely not worth the injury she sustained.

Dir: Ann Hui
Star: Michelle Yeoh, Sammo Hung, Ken Lo, Hoi Mang

Spitfire

  By

★★
“Imagine Tonya Harding playing Jason Bourne. Yep, it’s like that.”

This can only be described as a mess, albeit a crappily entertaining one, with a leading lady in Phillips, who almost made it to the Olympics, being described as “the next Mary-Lou (Retton)”, before trying her hand in low-budget action. She plays an international-level gymnast and martial-arts expert, whose parents are, unknown to her, involved in a plot involving the launch codes for Ukrainian missiles. The mother is killed by villainous Brit, Carla Davis (Douglas – apparently Jenny Agutter was unavailable. Or, more likely, too expensive), who wants to get her claws on the codes for some reason. Hey, she’s a villain: what more does she need? She captures Dad (Henriksen), but not before he has given his daugher the first in a series of clues which will lead her and investigative journalist Rex Beechum (Thomerson), apparently with an unlimited expense account, around the globe from Rome to Kuala Lumpur to Hong Kong and Athens, bumping into various unexpected siblings along the way.

One senses this globe-hopping was largely funded by Pyun’s frequent flier miles, and he makes sure that we see enough of the actors that we know they were actually there – I suspect Henriksen was excluded, as he is never shown in anywhere that couldn’t be faked outside a studio, nor is he ever on-screen at the same time as Thomerson. Despite an opening credit sequence which is clearly trying to channel a seventies Bond flick (not least in the jet-pack with which Henriksen escapes the bad guys), this plays more like a distaff version of Gymkata, with significantly poorer production values, though at least Phillips doesn’t need to be doubled for the gymnastics scenes. There’s a bizarre subplot involving evil Romanians, which also appears to have strayed in from a Cold War era, and many, many chase sequences, which pause briefly for exposition, or Phillips to demonstrate her mediocre martial-arts skills. There’s certainly no shortage of things going on, even if the interest level of these often remains questionable. However, I’ll admit, I did laugh at the running joke which sees Beechum perpetually being knocked out by someone or other.

Thomerson and Henriksen could do this kind of thing in their sleep, and apparently did so here, though still lend the film an air of quality that it largely lacks otherwise, and Douglas makes for a decent villainess. Phillips is more problematic: after Betrayal, it was the second film of the day where we had a lead actress who wasn’t actually an actress, and it shows. I’m now fairly convinced that some kind of test should be required of anyone starring in a movie, and if you don’t pass, your artistic license gets revoked. Phillips, wisely, retired from acting there after, saving the world from further punishment – if, unfortunately, not further Albert Pyun movies.

Dir: Albert Pyun
Star: Kristie Phillips, Tim Thomerson, Sarah Douglas, Lance Henriksen

Sasori

  By

★★★
“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

Salvage Mice

  By

★★½
“Mice-ensed to thrill… Albeit, barely.”

Mai (Tanimura) and her partner (Sato) form a team – the titular rodents – who recover art and artifacts, and return them to their “rightful” owners – quotes used advisedly, it’s vague on the details. However, Mai is betrayed, and framed for the robberies actually being committed by the gang operating under the Evil Western Dude (Heselton, who was also the main villain in Karate Girl). Mai encounters Mio (Nagano), part of ‘Hiroshima Cleans’, a group of volunteers who help keep the city tidy. Initially, Mio thinks Mai is the villain, but is eventually convinced that the real bad guy is elsewhere, and the pair team up to take on the villains, including both Mai’s ex and Evil Western Dude.

The main problem is Tanimura, who is incredibly unconvincing in terms of martial-arts skills. Even though her character is supposedly more thief than fighter, there is much more of the latter than the former, and she simply isn’t up to it. Nagano fares rather better in this regard, and there are a few sequences which are decently put-together and well-executed. However, even here, you still find yourself yearning for a presence like Rina Takeda or Jeeja Yanin, who are capable of really upping the pace and delivering blows that look like they have real impact. Too often, that’s not the case, especially when the heroines team up to take on Evil Western Dude.

What works a little better than expected is the stuff around the edges, like Mai pretending to be a tourist to lure Mio into befriending her, or Mio’s relationship with her non-violent colleague in Hiroshima Cleans. This kind of stuff could be grating, but it’s handled with a light enough touch to pass for frothy entertainment, and fits with what could be a showreel for the Hiroshima Tourist Board. There’s more than a hint of anime series Saint Tail here, and it’s entirely PG-rated. That’s not necessarily a bad thing, but here, its more blandly inoffensive than family-friendly, and passes the time acceptably, without being at all memorable.

Dir: Ryuta Tasaki
Star: Mitsuki Tanimura, Julia Nagano, Tomohito Sato, Richard Heselton

Stiletto

  By

★★★½
“Pretty good, but needs to get to the…ah, point quicker.”

Two gangsters are having a discussion in a sauna, when they are brutally attacked by Raina (Katic), the former girlfriend of one. The Mexican is almost decapitated; the other, Greek mob boss Virgil Vadalos (Berenger) is gutted, but survives. He vows to track down his ex-squeeze and unleashes his forces to do so. They include the near-psychotic Lee (Biehn), who has just returend from London with an even more insane sidekick, plus dirty cop Beck (Sloan), who owes Vadalos a favour, and is involved in the investigation from the inside. Keeping those aspects separate becomes more difficult, as the waters become increasingly muddied as more bodies show up, murdered with the titular weapon, the Mexican’s colleagues plot their own revenge, and there’s also the tricky matter of several million dollars in cash which has gone missing.

Quite an impressive cast of (admittedly, second-tier talent) assembled here: outside those already mentioned, Kelly Hu, Tom Sizemore, Dominique Swain, James Franco and D.B. Sweeney all meander across the screen. That, actually, is perhaps part of the problem here: it’s a movie that is likely guilty of trying to cram too much in. It feels overstuffed with both plot threads and characters, which leads to some underdevelopment of both, and that’s a shame, as there are more than enough interesting elements in both to hold your attention. Raina’s motivation isn’t revealed until well into the second half, but makes more than sufficient sense, and it’s wise of the makers to establish her bad-ass credentials right at the beginning. The violence to be found here is both startling and brutal – Lee’s fate is certainly one we’ll remember for a while.

However, as noted, the film seems uncertain of its grounding. Thst’s particular true during the middle, when Raina’s lethal force takes a back seat to the kind of criminal shenanigans, betrayal and back-stabbing with which we’re all overly familiar, and which is much less interesting. Debit points are also due for cover art which, as shown below, shows the heroine wielding a gun, definitely not her weapon of choice. I’m going with our pic on the right, as much more accurate. But, all told, this was better than I was expecting, and actually delivers on the spirit of the cover, if not perhaps the specific details.

Dir: Nick Vallelonga
Star: Stana Katic, Paul Sloan, Tom Berenger, Michael Biehn

Stand Off

  By

★★★½
“Reservoir Bitches“

A series of bank raids has local police baffled: ‘The Executives’ specialize in slick, swift in and outs, never over-reaching themselves. They’re also very well-dressed, which might actually be a clue, since these four robbers are women, under veteran criminal Fox (Evans). But all is not well in this gang of thieves, with some seeking a bigger score. Matters come to a head when they find a cop (Lombardi) nosing around their headquarters, and a tracking device attached to their van – all signs point to an informant within the gang, Is someone seeking to take over from Fox? Or is Fox herself tired of her accomplices? Let the accusations – and the bullets – fly.

The obvious touchstone can be found in the brief summary above, though clocking in at a crisp 61 minutes, the script does avoid the rambling on about tipping, the meaning of Madonna songs and the other verbal diarrhea which bog just about all of Tarantino’s scripts down. It’s ironic – presumably deliberately – that the Executives explicitly state they take inspiration from the likes of Point Break, while appearing to be blissfully ignorant of the closest parallel for their actual situation. I note that Notarile’s Blinky Productions, as well as original films, make fan films using characters such as Daredevil or Snake Plissken. This feels a little too close to a fan tribute to Reservoir Dogs; given my general skepticism over Tarantino (Kill Bill 1 aside), that’s a mixed blessing.

However, there’s still plenty to enjoy here, even for a Quentinophobe like myself. Notarile has a very good eye for action, directing it with a crisp efficiency that clearly captures what’s going on, generating tension and urgency. The bank-robbery which opens proceedings, for instance, would not be out of place in any Hollywood movie, it’s that slick. Similarly, the gunplay never succumbs to the sloppily-shot mentality, where the only way to figure out what’s going on, is to count the bodies afterwards and see who’s missing. The performances are also solid, with Evans and Santiago the most impressive, though all the characters are drawn and fleshed out effectively.

On the down side, there’s some plot holes that stood out. For instance, why do the gang simply dump the cop in a room, not bothering to handcuff him to anything? And why does he attach a tracker to the van? He has an informant, just ask her where their hide-out is. Something also felt fractionally “off” about the editing of the dialogue. The pacing and rhythm was sometimes weird, as if the conversations were spliced together from multiple different takes, and as a result, don’t always flow as they should.

All told, however, these are small quibbles, and the bottom line is: we enjoyed it. Someone should give Blinky enough money for a proper movie – but I suspect, Notarile will likely keep on making films, whether anyone does or not! I’ll be looking out for them.

[Director Chris Notarile emailed us to say, “The reason why the tracking device was on the van at all was pretty simple. It was part of Cole’s plan. If he were to call the cops in, and ______ (spoiler!) was going to be his informant, it would be best if he made it look as official as possible. A tracking device seemed cooler than him just randomly knowing or popping up. As for him being locked up, the girls didn’t think he’d break free the first time, but he did – thus Fox cuffed him the second time.]

Dir: Chris R. Notarile
Star: Mandy Evans, Kim Santiago, Kerri Miller, Roberto Lombardi

Sweet Karma

  By

★★★½
“Hang on: I thought revenge was sweet, not karma? Oh, well: never mind.”

After she gets word, back in their native Russia, that her sister has been killed in Toronto, Karma (Bechard) vows revenge on those responsible. This pulls her in to a seedy, dangerous world of sex trafficking, with women being lured from Eastern Europe to the West, with the promise of legitimate jobs, only to forced on arrival into working as strippers or worse, by the criminal elements who organize and run the business, with a fist of iron. As Karma stabs, shoots and bludgeons her way up the chain of command, those at the top grow increasingly restless. Initially, they think a rival gang is responsible, but the evidence eventually convinces them Karma is, indeed, a bitch,

This was better than I expected, with the obviously low budget working more for the film than against it, enhancing the ‘grindhouse’ feel that you have here – Karma is mute, which adds a definite resonance of Ms. 45 or Thriller: A Cruel Picture, though little more than that. It’s certainly not short on nudity and violence, but rarely topples over the edge into gratuitous, being largely necessary to bring out exactly how callous those are, treating the women as nothing more than slabs of meat, as in the scene where the girls “learn” pole-dancing.

After the initial death – an assault using office supplies, whose aftermath has Karma puking her guts out into a waste-paper basket – it does take a little while to get back to the nitty-gritty. There’s also a mis-step towards the end, where attention is diverted from the heroine, to an undercover cop (Tokatlidis) who is none too pleased to have his case threatened by an avenging angel. And some of the dialogue is a little too Tarantino-esque, e.g. burbling on about hockey. Well, it is Canadian, I guess.

However, the pluses generally outnumber the minutes, with some imaginative deaths, not least the pimp lured into a bathroom and offered “cocaine” by Karma. Bechard, despite her lack of dialogue, does a good job of putting across the determination she feels in pursuing her goal, and I liked the throbbing techno soundtrack which underscores proceedings. I’m also pleased to see it avoid the faux trappings of some recent genre entries, such as Machete. I was expecting something a good deal shinier, shallower and, well, shittier; instead, it’s a grubby and fairly serious look into a world which we probably would rather ignore.

Dir: Andrew Thomas Hunt
Star: Shera Bechard, John Tokatlidis, Frank J. Zupancic, Christian Bako

Sweet Justice (1993)

  By

★½
“Well, that’s 1 Gb of disk-space I won’t get ba… [Delete] Oh, never mind.”

Sunny Justice (Carter) is a former soldier, who is somewhat estranged from her sister, but who returns to town when the sibling – who also happens to be the mayor – dies under mysterious circumstances [savaged by a dog]. Turns out she was about to blow the whistle on developer Billy Joe Rivas (Gorshin), who has both designs on the town, and who has been using his mine as a dump for toxic-waste. The local sheriff (Singer) had bedded both sisters, but he refuses to act, and federal authorities prove no willing, so Sunny calls up some of her old pals, who were part of an all-female Special Forces unit, to take matters into their own hands. Rivas doesn’t take kindly to having his money-making scheme interfered with, and calls in reinforcements of his own, using his East-coast mob connections.

Awful. Mind-numbingly awful. Carter is best known as the female lead in Tremors, one of our all-time favourites, but this is a terrible combination of bad acting, poor scripting and terrible action sequences. It can’t even make up its mind what it wants to be, with a couple of sex scenes that don’t even have any nudity. Meanwhile, the largest-breasted ex-Special Forces girl (Michelle McCormick) is working as a go-go dancer. Not that she shows any flesh either, though I was amused by the way the inevitable training montage is interrupted for an entirely gratuitous hot-tub scene.

None of the actresses are convincing as ex-soldiers, having arms like twigs, though there is sporadically some half-decent martial-arts action. My interest was briefly piqued when Sunny uttered the immortal line, “I want to put the squad back together,” but there are just too many moments worthy of scorn for this to last. The two dog-attack sequences could hardly have been less credible if they’d just lobbed a Chihuahua at the victims using a catapult, and the final battle consists almost entirely of stuntmen falling off roofs out of shot. I’m left to presume Cynthia Rothrock must have rejected this one, and she was entirely right to do so.

Dir: Allen Plone
Star: Finn Carter, Frank Gorshin, Marc Singer, Kathleen Kinmont