★★½
“Give the policewoman a big hand!”
Cop Francis Jane (Palmer) is assigned to guard jewel thief Eddie Cordero (Robbins), who was shot while being captured, and is now cuffed to his bed in an all but deserted wing of a local hospital. What should be a tedious task turns out to be far from it, as his former colleagues, led by crew leader Louis Holland (MacDonald) show up. They are eager both to discover the location of the stolen goods, and extract revenge for the death of one member, which they blame on Cordero, but which he swears was the act of a corrupt cop. The resulting assault leads to an uneasy alliance between policewoman and criminal, as they try to avoid his former colleagues. But is Cordero as easy-going and affable as he seems? Or does he have a hidden agenda of his own?
The film was basically the result of the producer having access to a deserted hospital, and getting a script written to fit the location. That’s not necessarily a bad idea, but it’s just one aspect of a storyline that requires too much suspension of disbelief. Another is the inordinate number of occasions one character or another is knocked unconscious by someone else, for exactly the amount of time necessary to the plot. Or, perhaps most obviously of all (at the risk of a spoiler), getting your hand sawn off by an untrained civilian not only does not lead to major blood loss, here, it’s the kind of injury you pretty much shake off, and which is little more than a minor inconvenience the rest of the way. Now, I guess there’s some precedent (127 Hours showed dismemberment can be non-lethal), but combined with the other issues, it’s a combo-breaker fatality as far as this story is concerned.
The characters deserve better. There’s a nice dynamic between Jane and Cordero, the latter frequently needling the cop that they’re not so different, and MacDonald makes for a fine villain, capable of conveying threat with a look or a few words. Lapeyre is obviously going for Reservoir Dogs, with a story that’s less about a crime and more about back-stabbing treachery in its aftermath, building to a confrontation in an operating theatre, with one participant strapped to the table, about to undergo the film’s second bout of impromptu surgery. But it never captures anything like the same sense of grit, playing more like a nasty, bloody cartoon. About all it’s missing is a few falling anvils and a pair of Acme rocket-powered roller-skates.
Dir: Jason Lapeyre
Star: Zoie Palmer, Ryan Robbins, William MacDonald, Sergio Di Zio
I can see why, purely for reason of brevity, the title above was preferred to the full one of The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent, even though the latter is more accurate. For the Sea Serpent has a supporting role here, met once on their way in, and again on the way out – it’s much more about what happens in the middle. Three years after their men left, the women of the Stannjold clan leave their shores under the command of Desir (Dalton), trying to find out what happened to them. Encounter #1 with the monster leads them to be shipwrecked on the same shores of the Grimault tribe as their menfolk, whose king, Stark (Devon), has set them to work as slaves in his mines. After initially appearing to welcome the women, it becomes clear that Stark has plans for the new arrivals as well. Viking high-priestess Enger (Cabot) has her own agenda, however: having set her eyes both on Desir’s husband and, for more immediate and pragmatic reasons, Stark, she sabotages Desir’s first attempt to free the men.
Star Jill Kelly is an adult actress. I mention this, because it seems highly likely that most of her 300+ other works – perhaps The Butt Sisters Do Philadelphia or Sodomania: Slop Shots 5 – are likely better scripted, filmed, edited and generally well-made than this dreadful piece of crap. I should have known, given Donald G. Jackson’s involvement – he’s probably the worst film-maker I’ve ever had the misfortune to encounter, and I speak as someone fully familiar with the works of Ed Wood, Andy Milligan, J.P. Simon and Uwe Boll. They are all pretenders beside Jackson, and even though this barely runs an hour, your patience will be sorely tried. And by “tried”, I mean at the level where gnawing a limb off to escape will seems credible.
The character of Catwoman has had a mixed history over the years in other media than the printed page. TV has had the Julie Newmar & Eartha Kitt versions, a nod in Birds of Prey, and a teenage version of the character can be seen in the Gotham series which premiered last month. In film, we had Lee Meriwether in the sixties incarnation then, perhaps most famously of all, Michelle Pfeiffer in Batman Returns [albeit only after Annette Bening, Nicole Kidman and Demi Moore all were linked to the part]. Then, there was Halle Berry’s Catwoman, still talked about in hushed tones as perhaps the worst comic-book adaptation of all time, and which arguably did more damage to action heroines than any other big-budget movie in history. Despite the massive success of the Batman reboot, it took eight years before the character would appear in another film, Anne Hathaway playing Selina Kyle in The Dark Knight Rises.
I first became aware of this novel through an article back in February about MMA champion Ronda Rousey and 
In the slasher genre of horror, the perpetrators seem almost exclusively male: Michael Myers, Jason Vorhees, Freddy Krueger, etc. Women can play an important role, and we’ve covered some of them here before – but it’s much more often as the “final girl”, than the one wielding the machete. However, it’s often forgotten that, in the original Friday the 13th movie, the killer was not Jason, but his mother, so there is some precedent for the female antagonist. See also Nurse 3D, American Horror Story: Coven or perhaps best of all, 
While twice as long as the first series, at 12 episodes rather than six, I can’t say it’s actually any better. Indeed, I think the dilution of the main element which was so much fun the first time round – the relationship between the two, disparate hitwomen, Roxie (Osment) and Veronica (Chriqui) – leaves this season less entertaining. Yes, it’s bigger and more exotic: but it feels spread thinner, to the detriment of the core aspects. The story takes up shortly after the events of the first series, with V+R in the Caribbean, waiting to get their share of the money from Eileen (Missi Pyle) and Mother (Gershon). But instead, an assassination squad is sent to get them, kicking off a reunion with Veronica’s “parents”, a deranged killer who thinks Roxie is his dead wife, a rogue CIA operative who sends Frank Barnes (Arquette) after Mother, and so on. It builds to a climax where Veronica, previously injected with a lethal nanobot virus that’s about to go off, takes part in an underground death match at a cockfighting arena, to prove her love for the deranged killer. I shit you not.
This grindhouse obscurity manages to rise above the limitations of its budget, and proves an effectively nasty piece of work. The titular teenage “heroine” (Carpenter) is on the way to see her older lover, but embarks as well on a killing spree that first includes a classmate and the guy who picks them up, then a householder (Michael Findlay) whose swimming pool Janie hijacks, before moving onto a predatory lesbian and finally her lover’s girlfriend (Roberta Findlay), whom she strangles with a belt. This is all told in flashback as she tells the story to her disbelieving bedmate – though the corpse he discovers in the bath-tub rapidly changes his mind. Oh, and did I forget to mention, for extra sleaze points, he is also Janie’s daddy? Damn. All of her exploits are accompanied by narration from what could be seen as an ancestor of Dexter’s “dark passenger”, exhorting Janie to further murderous acts, in a placid and matter-of-fact tone that is actually all the more chilling for its calmness.
It’s hard to be critical of a film for being cheap, when the movie is not only aware of its own cheapness, but wears this on its sleeve like a badge of honour. “So what if I’m made entirely by amateurs with their pocket-money,” it seems to be saying. “We didn’t care, so why the hell should you?” I could list all the flaws here – crappy sound, low-quality video, acting your local amateur dramatic group would reject, awful use of stock classical music that would make Gustav Holst spin in his grave – but its response would simply be “…and your point is?” In the interests of space, let’s largely take those aspects as thoroughly read, and get on with the rest of our review. The setting is Chicago, and far from Armageddon having hit, it looks pretty much like the city we know – trains run in the background, for example. There is some introductory guff, which is hardly convincing, and nor is there anything particular “Prehistoric” about the leading ladies here, beyond a bit of fur trim.
Undercover cop Gillian Kaites (Coll) needs a break from the force after an operation goes wrong, with her boyfriend and fellow cop being gunned down in front of her. She goes on a road-trip, but has the misfortune to go through a town where the local cops are in league with the prison to arrest fetching young ladies on fabricated charges. They can then be shipped off to jail and… Well, the script is kinda vague on the specific purpose behind this, clearly quite significant, operation involving a large number of people and no small effort. Let’s give them the benefit of the doubt, and presume the ends, whatever they may be, justify the means. Gillian ends up framed for drug possession, and has to survive against brutal guards, brutal fellow prisoners and matron Mrs. Puskar (Trevor) – in the interests of sustaining suspense, I will avoid revealing whether or not she is brutal. Eventually, the brutality on display becomes too much, and she leads the inmates in a revolt against their cruel captors. In other words: women in prison plot 3A.