Tag: USA

Hooded Angels

  By

★★★½
“Clumsy plotting damages interesting idea and decent acting.”

hoodedangelsAt the end of the Civil War, marauding gangs rage through Texas, raping and killing. The victims of one such raid fight back; three years later, they have become the Hooded Angels, a notorious and feared group of bank robbers led by Hannah (Stander). But on their tail is Wes (Johansson), whose father was an innocent victim in their original battle. He and his friends catch up with the women in a town where they’re plotting their next raid and, with painful inevitably, love blossoms between Wes and Hannah.

This mixes the highly-effective, and the embarrassingly crass and badly-written. The “three years later” comes as a surprise; worse still is the shock when you find out one character is another’s daughter. Credibility explodes entirely when Wes and Hannah go at it like knives, immediately after she reveals she killed his father, and isn’t sorry in the slightest. On the other hand, this is a Western without villains; both sides are portrayed with sympathy, yet without soft-pedalling the brutality, in particular when the women ambush a posse that is following them.

A clear leader in that category is Ellie, an insecure, psychotic lesbian, beautifully portrayed by Venter, avoiding the obvious cliches. Amanda Donohoe, another member of the gang, also turns in a good performance. Stander and Johansson are less effective: one scene will work, while the next will seem stiff as a board. Could certainly have been much better, yet in the end – at least, until the end, which struggles through gymnastic convolutions in order to make Wes come out clean – this has enough memorable moments to justify its existence.

Dir: Paul Thomas
Star: Chantell Stander, Paul Johansson, Juliana Venter, Amanda Donohoe

China O’Brien

  By

★★★
“Bad, but in a good way. Mindless, harmless fun.”

There’s something charmingly naive about this film. It inhabits, and expects us to believe in, a world where a villain can blow up the sheriff and his deputy with car-bombs, yet federal authorities take no interest. Nor do they apparently care when an election rally is machine-gunned. Mind you, in this same world, a new sheriff is elected five working days after the incumbent dies, but that’s still enough time for a massive parade down main street to be organised by a candidate.

In this kind of milieu, Cynthia Rothrock’s acting fits right in, as China, the daughter of a sheriff who returns to her home town after shooting a kid, only to find home has been taken over by Summers (Kerby) and his mob of gangsters. When they kill her father, she runs for the position, which needless to say does not sit well with Summers. Luckily she has ex-Special Forces dude Matt (Norton, making no attempt to hide his Aussie accent) and crippled Indian Dakota (Cooke) on her side, and the touching loyalty of local high-school kids, willing to follow her into gunfire.

This is, as we say in Britain, bollocks. However, it is at least entertaining bollocks, which is more than can be said for most of Rothrock’s American movies. She, Norton and Cooke all know how to fight, and director Clouse puts these talents to frequent use against a broad variety of Jerry Springer candidates. Despite reusing some shots, particularly at the finale, Clouse falls some way short of replicating his Enter the Dragon work. This is mostly because Rothrock lacks Bruce Lee’s charisma; remarkably, in Lainie Watts (as barfly Patty), they found an actress who makes Cynthia look Oscar-calibre. For a Friday night, this does the job, providing equal portions of genuine entertainment and opportunities for sarcasm.

Dir: Robert Clouse
Star: Cynthia Rothrock, Richard Norton, Steven Kerby, Keith Cooke

Monster (2003)

  By

★★★½
“Powerful portrayal by Theron, but tells us little we didn’t know already.”

monsterGot to give Theron the credit she deserves here, especially since the biggest previous impression she made was probably her 2 Days in the Valley catfight with Teri Hatcher. Safe to say her performance here will lend that scene an extra chill, as she plays Aileen Wuornos, America’s best-known female serial killer, a roadside hooker who killed seven men before being caught and executed. The film depicts her life, from when she meets lesbian-wannabe Selby (Ricci), with both women looking desperately for affection of any kind. The two fall into a downward spiral; initially, Wuornos kills to escape a brutal client, but by the end, she’s doing it simply to get money and a car.

Despite Theron’s remarkable transformation – both psychological and physical – the movie seems hollow at its heart, not least because Ricci seems wildly miscast, stumbling around behind Wuornos like a bumbling puppy. Oddly, Wuornos’ real lesbian lover was a strawberry-redhead called Tyria Moore, so the film is clearly well off complete accuracy. This is perhaps for legal reasons: the dead can’t sue; the living can, and frequently do. While the film effectively ends with her capture, Nick Broomfield’s jaw-dropping documentary covers the later period of the case perfectly well.

The two central characters operate in a vacuum; there’s hardly anyone with more than one scene. As a result, the movie makes Wuornos out to be the victim of an incredibly hard life, yet an unexplained gulf still remains between that, her general hatred of humanity, and her multiple murders. While Theron’s performance is certainly worthy of praise, for a better look into the abyss, watch Henry: Portrait of a Serial Killer.

Dir: Patty Jenkins
Star: Charlize Theron, Christina Ricci

Wrestling Queen

  By

★★★
“Great for wrestling fans, non-marks may be less impressed.”

Despite the title, and the fact that Vivian Vachon is the most featured wrestler, the portion of this film which has much to do with women’s wrestling is actually rather small. It’s more a general overview of wrestling and it’s fans, during a strangely innocent era (the early 1970’s), before Vince McMahon dominated, when it still worked to give the illusion of a genuine sport.

Vivian Vachon was one of thirteen children, and with two brothers already involved in pro wrestling, it was no surprise she followed them in. This film follows her on a tour of the States, but it also diverts into her family history, and has interviews with her relatives, fans, other wrestlers, promoters and, it seems, anyone else who happened to come within range of the cameras. There’s also a fair amount of wrestling action, but this is probably the weakest point of the film; it’s edited, removing any flow, but they also only have a single camera at ringside, often making it hard to see what’s going on.

The interviews, on the other hand, are fab, though I speak as a pro-wrestling enthusiast, and action femme enthusiasts will likely be less impressed. But I find characters like her brother Maurice ‘Mad Dog’ Vachon, endlessly interesting anyway; with a voice like Bluto, he made the leap from Olympic wrestling to the pro ring 40 years before Kurt Angle. Some of the fan insights are also priceless, not least the footage of them getting seriously carried away. As a documentary on wrestling, it’s thus a hit – as a feature on women’s wrestling, it’s less relevant, but anyone who has ever been embarrassed by what all too often passes for women’s wrestling in the WWF, will undoubtedly feel a sense of nostalgia for an era when it was every bit as legitimate as the male version.

Dir: Don Chaffey
Star: Vivan Vachon, Maurice “Mad Dog” Vachon, Andre the Giant

Kim Possible: A Sitch in Time

  By

★★★★
“Somewhere between Alias, Buffy and The Powerpuff Girls lurks Kim…”

“I’m working with a man named Monkey Fist. My evil career is so in the toilet!” Thus complains one villain in the first Kim Possible movie, a relentless barrage of sight gags and dry humour likely to amuse those of any age, whether regular viewers or not. We probably fall into the latter category, having a natural aversion to the Disney Channel [if you’ve seen the Lilo & Stich series, you’ll understand], but KP is a show likely to pause our channel surfing. Kim is a teenage girl who spends more time saving the world from a range of bizarre bad guys and gals, than the usual pursuits involving the bathroom, phone or mall (if our daughter is anything to go by). Her parents are remarkably cool about these extra-curricular activities. In this edition, the bad guys team up to grab a time-travel device and alter the future so they can rule the world. It’s up to Kim and friends to restore things. [Should mention the title is as given, “sitch” being Kim-speak for situation, as in “What’s the sitch?”]

It does remain a Disney show, hence the irritating musical interludes and, while the action is fast and furious, no-one ever gets hurt – though the sequence where a naked mole-rat comes out of a kid’s trousers is frankly freaky. But assisted by a stellar supporting cast (Elliott Gould, Michael Dorn, Dakota Fanning, Michael Clarke Duncan, Vivica A. Fox and – slightly less stellar – Freddie Prinze Jr.), this is a great parody of the whole genre: as one character says, “Time travel – it’s a cornucopia of disturbing concepts.” The tongue-in-cheek self-awareness is a delight, both heroes and villains having a refreshingly world-weary attitude, cheerfully admitting the paradoxes inherent in the story. Even an evil, golfing, kilt-wearing Scot comes over as endearing rather than insulting – Mike Myers, please note. The expected fluff blends with some surprisingly dark moments, such as the “Re-education Center” which seems right out of 1984. This is what the Tomb Raider movies should have been like.

Dir: Steve Loter
Star: Christy Carlson Romano, Will Friedle, Richard Gilliland, Nicole Sullivan

Buffy the Vampire Slayer (film)

  By

★★★
“If at first you don’t succeed…”

Buffy may be the only successful TV series based upon a failed film. A critical and commercial flop, creator Joss Whedon just wouldn’t let it lie, and finally got the mix of drama, horror, comedy and action he wanted in the show. The movie is a different matter, and has not aged well. The SoCal culture now seems incredibly dated, and Swanson takes too long to become the sympathetic heroine essential to the film. It also has no idea what to be: for a comedy, large chunks are not funny (despite classic lines involving coat-racks and clapping); if it’s a horror movie, it’s a lame one, with vampires largely as threatening as harvest-mice; and if you want social satire, you’re far better off with Clueless or Heathers.

The supporting cast help rescue the uneven material, with Sutherland as the guru whose near-impossible task is to convince Buffy of her mystical calling. Hauer plays a Euro-vampiric nemesis impeccably, but top plaudits go to Paul Reubens. About as far from Pee-Wee Herman as imaginable, he gets one of the finest death scenes in cinematic history. The cast also includes future Oscar winner Hilary Swank, Natasha Gregson Wagner, David Arquette and uncredited roles for Ben Affleck and Ricki Lake. Ironically, the part played by Seth Green, werewolf Oz in the TV show, ended up on the cutting-room floor.

Perhaps the most interesting aspect is comparing this incarnation to v2.0 from five years later. No Scooby Gang (bad), no Angel (good), no cool dustings when the vampires are staked (bad). On the whole, it’s about what you’d expect after an interesting concept from a rookie film writer has been chewed up and spat out by a corporate studio. Hard to say which is more miraculous: that Whedon got another chance, or that a corporate network didn’t do worse still.

Dir: Fran Rubel Kuzui
Star: Kirsty Swanson, Luke Perry, Rutger Hauer, Donald Sutherland

One Girl, 2 Guns

  By

½
“Possibly the worst girls-with-guns movie in history?”

Even given that this was shot in 6 days for $5,000, it sucks on every conceivable level. Scenes are twice as long as necessary, or totally superfluous. The script has little of interest. And since there’s absolutely no sign of talent whatsoever, I have to presume the director slept with his leading lady. Hope she was better in bed than on screen. Rachel and Jane execute drug deals for their boss – emphasis on “execute”, since they get both the cash and your drugs. Jane’s qualms get worse when Rachel is shot dead, and she leaves the organization, until an FBI agent forces her to return, in order to kill her employer. She also gets frequent visits from the ghost of her dead friend.

In case the above sounds remotely interesting, let me repeat: this sucks on every conceivable level. The original choice for Jane quit because of qualms about the script: an excellent decision. Replacement Moss had never acted before, and it shows. Even as she’s being raped, I’ve seen pond scum with a bigger range of emotions, and if it’s an attempt to depict emotional numbness, she fails, coming across simply as tediously bad. Renee Roland does better as Rachel, and the film might have had a chance if they’d swapped parts – “dead” being just about in Moss’s dramatic range.

The rest of the cast irritate, with dialogue that’s not as clever as it thinks; the nadir is an inept scene where two henchmen bicker over how to cut up Rachel’s body. Beesley apparently wants to be Tarantino, but it’s woefully clear he lacks writing skill – indeed, any skill at all. Given his failure to work on a pic since, he might have been better off sticking to Playgirl magazine, an appearance in which helped fund this movie. Curiously, Googling Mike Lee Beesley turned up one in Palmdale (where the film was partly shot), who’s now founder and president of Cross Fire Ministries, Inc. If that’s him, wonder how he views this work?

Dir: Mike Lee Beesley
Star: Kirsten Moss, Renee Roland, Michael McGaharn, Tom Rees

Dangerous Prey

  By

★★★
“Daft, but entertaining, soft-porn angle on Nikita.”

If you must stab someone with a knitting needle, you should take time to work out what to say afterwards. Instead, Robin (Whirry) comes out with the immortal line, “Knit the devil a sweater, asshole”, which is not a one-liner that’ll go down in cinema history. But like Fatal Conflict, this is a Lloyd Simandl film, the man perhaps most worthy of inheriting Andy Sidaris’ girls-with-guns crown in the 1990’s. And as such, this is no disaster.

When the arms-smuggling shenanigans of Robin’s boyfriend get her sent to jail, she is busted out by a secret project which turns women into assassins, who seduce men before killing them. Robin is none too impressed with the idea, but Dr. Drexel (Laufer) has implanted a device that can kill her on command. After an impressively sleazy opening, which mixes sex and violence to heady effect, this has more in common with the women-in-prison genre. For example, Robin has to deal with current top bitch Tanya (Hunter, Miss Canada 1988) who is unhappy to have competition. It’s no surprise to discover the two end up, er, bosom buddies as they, um, bust out. There’s certainly plenty of eye-candy, with the women showing all the expected devotion to personal hygiene.

Whirry is actually pretty convincing, and Hunter acquits herself well, in the face of a script that hardly bothers to motivate her character. Laufer, on the other hand, appears to have been instructed to extend the running time. By. Saying. His. Lines. As. Slowly. As. Possible. However, best of all is a cameoing taxi-driver (Ahmed Rahim), whose quirky character almost steals the film, though it’s not explained why an Indian is driving a Czech cab. The action is sound if unspectacular gunplay, plus occasional cool moments such as Robin’s concealment of a razor-blade. Overall, the impact falls short of the potential, but as a B-movie, it’s solid, knows its limitations, and works within them.

Dir: Lloyd A. Simandl
Star: Shannon Whirry, Ciara Hunter, Joseph Laufer, Beatrice de Borg

Blue Crush

  By

★★★
“Life’s a beach, especially if you want to surf more than the Internet.”

The marketeers screwed up: aimed at teenage girls, our daughter refused to see it, on the grounds – Hollywood, please note – that their bikini tops and bottoms didn’t match in the poster… Anyway: Anne Marie (Bosworth) sees her ticket to stardom in a surf competition on Hawaii’s North Shore. But she has to come to terms with waves bigger than she’s ever faced before; a rebellious kid sister (Boorem); a dreadful job as a hotel maid; and, inevitably, the guy who wants to spend quality time with her on dry land (Davis), while her friend Eden (Rodriguez) tries to keep her focussed on surfing.

We’re firmly behind Eden on this one, since it’s only in the water that the film comes alive. Much credit to cinematographer David Hennings, who does an excellent job of capturing the power and intensity found in the unfettered ocean. The film needs this, as otherwise, there’s not much in the way of conflict – everyone turns out to be nice, even Anne Marie’s rivals in the surfing contest.

As is, it’s not bad, just easily predictable: maybe they should have tossed in a shark, or a giant octopus, or something, simply to spice things up a bit. A slight romance and flashbacks about a bang on the head are well short of realising the potential to be found in the magnificent Pacific setting. While there’s hardly anything new in its painfully obvious storyline, it will certainly inspire new respect, both for the sea, and those who challenge it armed with little more than a plank.

Dir: John Stockwell
Star: Kate Bosworth, Matthew Davis, Michelle Rodriguez, Mika Boorem

Two-Gun Lady

  By

★★★★
“An old-school Western delivers a very pleasant surprise.”

Trick-shot artist Kate Masters (Castle) comes to a remote town with her show, raising suspicions among locals, who suspect she’s more than she seems. They are led by Jud Ivers (McDonald) and his family, who rule the area with an iron grip. This 1955 B-movie (in the original sense – it’s only 71 minutes long) crams plenty in, with almost everyone having secrets, good or bad. Castle makes a fine heroine, exuding strength but ultimately vulnerable, and is matched by the rest of the cast. Particular credit to McDonald, and Jennifer Jason Leigh’s mother, Barbara Turner, in her movie debut as Jenny Ivers; both bring depth to what could be one-dimensional characters.

This certainly has predictable elements (the fate of Jenny’s lamb is inevitable), yet punches surprisingly above its weight, with exchanges such as the following, on the nature of frontier justice:
    “You the sheriff?
    “No. Just the law…”
It does drag in the middle, thanks to a tedious subplot involving a US Marshal (Talman) out to get the Ivers clan, which reached its nadir in a very dull horse chase. There’s also a very odd part where Marie Windsor walks into a scene she’s not involved in, and leaps back, visibly startled – how that take stayed in the film beats me. But the finale, pitting Masters against the fastest gun in town, is very nicely staged, and will likely bring animal lovers everywhere to their feet.

Most remarkably of all, our 18-year old son, more used to Buffy and Alias, sat and watched this b&w Western, made three decades before he was born. And we weren’t even in the room. Praise, indeed.

Dir: Richard Bartlett
Star: Peggy Castle, William Talman, Ian McDonald, Marie Windsor