Tag: wilderness

The Naked Killers

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★★½
“Because ‘Topless killers’ wouldn’t sell quite as well, I guess.”

naked killersNot to be confused with the Hong Kong exploitation classic Naked Killer, this 1977 Spanish film is set mostly on a Pacific island inhabited solely by a veteran Japanese soldier, Yamato, who thinks World War 2 is still going on, and three women, whom he rescued from a plane crash when they were small children. He has raised them in military style, to defend the island against any “invaders”, and it’s not long before these show up. They come in the form of a boatload of treasure-hunters, who have heard that a Japanese freighter carrying gold wrecked itself on the island’s shoals. Adding an additional layer of complexity, the crew, a collection of ne’er-do-wells apparently chosen at random from the dockside, are planning a mutiny, unhappy with captain Paul, and old salt Walter, who knows the island’s location. This leads to a rather unusual alliance between Yamato and his adopted daughters with Paul and Walter, as they fight for survival against the latter’s former employees.

It’s more than a little bizarre, not least because the actor playing the soldier is very obviously not Japanese at all. I was thoroughly confused when he called himself a Japanese officer, until I realized this was made not long after the last Imperial Army holdout. Teruo Nakamura, having surrendered in December 1974. The other unusual aspect is making him more than somewhat sympathetic: perhaps this is due to Spain’s position in the war, which leaned toward the Germany-Japan Axis under General Franco, who had died not long before this was made. He’s shown very much as a father figure, loyal to a fault (which is why he stuck to his post for 30 years after everyone else gave up) and utterly honourable. Witness his face as one of the mutineers tells him the Japanese emperor is now shining the shoes of the American president every morning, or his embarrassment as he tries to breach the subject of s-e-x with his nubile foster family. It’s kinda endearing, despite this still being the worst case of yellow-face I’ve seen since Mickey Rooney in Breakfast at Tiffany’s.

The film’s original title translates as The Island of Burning Virgins, which is one of the most awesome titles in exploitation history. Naturally, they spend an impressively hygienic amount of time frolicking in natural pools – though I do have to wonder, where the hell did they get their thoroughly modern bikini costumes? And they’re naturally delighted when the handsome captain shows up, happy to demonstrate to them what this s-e-x thing is actually about. However, they are not mere puppets, laying some rather nasty jungle traps for the “invaders”, and with hand-to-hand skills that are occasionally surprising. It is, of course, extremely silly, very dated and questionable in a whole number of ways. However, it certainly isn’t boring, and compared to certain jungle girl films I’ve seen, can only be appreciated for that.

Dir: Miguel Iglesias
Star: Sita Sadafi, Roxana Dupre, Inca Maris, Alejandro del Enciso

Die Wand (The Wall)

  By

★★★½
“Alone again… Unnaturally…”

diewand4This is a very different kind of GWG film: indeed, it could almost be called an inaction heroine movie. It starts from a very simple presence. A woman (Gedeck) wakes up in a cabin in the Austrian Alps. When she tried to head to a nearby village, the path is blocked by an unseen, impenetrable barrier that has sprung up overnight, and now defines the boundary of her world. Everyone outside is dead. What do you do? How do you survive, both short- and long-term? Could you handle the loneliness? Can you retain your humanity, when you are, apparently, the only human being left?

These are the questions which this film is interested in asking – much more so than prosaic ones, such as “Who put the wall there?” or “Can you maybe dig under it?” If you’re looking for a definitive resolution, go elsewhere too, because the film simply ends when the woman has to give up keeping her journal, because the supply of paper has run out. I suppose, technically, that’s a spoiler, but this is a film where it’s not the destination that matters, it’s the road which takes you there. And you’d better be able to handle a lot of voiceover, because there’s almost nothing else here. Normally, I regard voiceovers as a cinematic cop-out, for when you can’t be bothered to write dialogue or action; but, considering the heroine is virtually the only person you see over the course of the film, they’re basically essential here, and even in subtitles, have a poetic quality that is generally effective.

Admittedly, for long stretches, there’s nothing of significance going on, and if you’re not in the mood for some (very picturesque) navel-gazing, the lack of activity could become aggravating. However, I can’t say I was ever bored at all, and I’m quite surprised by that, since I am more likely to be seen tapping my foot impatiently, if ten minutes go by without a giant fireball. The cinematography, combined with the Alpine scenery, is quite luscious, and so even during the quieter moments – okay, quieter half-hours – this remains a visual treat. Gedeck’s performance is full of quiet strength; she simply gets on with the business of everyday survival, despite the bizarre twist life has taken. I suspect I wouldn’t handle the same situation anywhere near as well as her character does, and It’s that inner depth of fortitude, which makes it fit in here, despite the low-key nature of the content.

This is not the kind of film which necessarily creates any immediate impression. It finishes, in the same laid-back manner as the previous 105 minutes have unfolded. But over the days which followed, I found myself thinking about the questions it raised, and how my answers differed from the heroine’s, or where they overlapped. This lasting impact is one of the things which is generally the mark of a good film; it stays with you, when more ephemeral pleasures have been forgotten. While entirely devoid of pyrotechnics, this is still one which I’ll probably want to revisit and chew over again.

Dir: Julian Pölsler
Star: Martina Gedeck

Inara, the Jungle Girl

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★
“The film that could only be made in South America, where hair-care products are cheap…”

inaraDear god. It has been a very, very long time since I have seen a film displaying such a degree of ineptness, in so many areas. About the only exception is the look of the film, which is nicely lush, allowing the makers to put together the trailer below. It’s a greater work of fiction than the movie itself, because the preview manages to give the impression that the feature its advertising does not entirely suck. In reality, trust me: it does. This is clear within the first 15 minutes, where we’ve had one burbling monologue of sub-Tarantinoesque proportions, two musical montages of absolutely no point, and the worst attempt by an actor to look drunk in cinematic history. I started looking up other reviews online at that point, and discovered, no, it wasn’t just me.

The plot is basically Avatar in bikinis. No, wait: that sounds a lot better than this actually is. Inara (Danger) has been raised by her father, after her mother was killed during a jungle operation by mercenary group Asguard. Dad killed the perp responsible – the one with a taste for long, droning speeches rather than action – and his son still bears a grudge against Inara, 18 years later. After her father’s death, Inara is recruited to join Asguard and return to the scene, but on the way there an entirely unexplained (and unshown: trust me, if this film can skimp on any cost, it does) crash leaves Inara the sole survivor. She joins a tribe of local “Amazons” – quotes used advisedly, since they are basically Caucasians with unlimited expense accounts for Target’s bikini department. Discovering the true meaning of life, our heroine switches sides, and joins the natives for a battle against Asguard. This clocks in at a brisk one minute, 40 seconds, or rather shorter than the average WWE Divas match.

Lead actress Danger appears to be a star of fetish sites like RingDivas.com, which offer services such as filming of “custom wrestling matches,” and that may explain why there is little acting demanded of her. However, the rest of the cast are tasked to no greater extent, by a script consisting largely of scenes that begin nowhere, end nowhere and, in between, serve no purpose in developing story or characters. Now, every film might have a couple of these: here, they crop up with such regularity, it begins to feel that Desmarattes is playing some kind of surreal joke, making a native warrioress version of My Dinner With Andre. Sadly, I think it’s pure incompetence. Any time the film has a choice, and can go either towards being interesting or boring, it’s always the latter. And if you’re watching in the hope of some nudity or action, forget it: this fails to deliver anything of note in either category. I don’t use the phrase “worst movie ever” lightly, and have seen plenty of truly terrible offerings, but this certainly deserves to be in the conversation, for both its breadth and depth of awfulness.

Dir: Patrick Desmarattes
Star: Cali Danger and other people. Names redacted: they’ll thank me later.

Naked Fear

  By

★★½
“The Naked Prey”

The concept of “hunting humans” has been popular cinematic fodder for over 80 years, since The Most Dangerous Game came out in 1932. This isn’t the first specifically to target women – the Roger Corman produced The Woman Hunt did so in the seventies – but the prey in that needed male help to accomplish much, which isn’t the case here. The heroine is Diana Kelper (DeLuca), whose new dance job turns out not to be quite as expected – she’s more or less coerced into working as a stripper, unable to leave until she pays off the debts to the man who brought her in. The only way to do that is to turn tricks on the side, but her first client is Colin Mandel (Garfield), who is interested in a longer-term relationship. Specifically, one where he can take his female victims into the remote wilderness, where they wake up, unclothed and eventually on the wrong end of a crossbow bolt or bullet. However, with Kelper, he may have bitten off more than he can chew.

It’s a good concept for a movie – all the more striking when you discover real-life serial killer Robert Hansen basically did the same thing for real, up in Alaska – and much credit to DeLuca for a performance which retains her character’s dignity, more than you’d imagine from the pretty lurid plot-line. The problem is mostly the script. The two obvious flaws are, firstly, it takes too long to get to the interesting stuff (from both exploitative and less prurient views), instead, meandering around pointless subplots such as a new local cop (Shiver), who has suspicions about all the missing persons reports, but blah blah blah. And secondly, way too much idiocy is required by Diana for reasons of plot. For example, at one point, she completely has the drop on her tormentor, having knocked him out with a rock. Obvious things to do would include, keep on smashing his skull, taking his weapon, or at least removing his boots and clothes for your own use, since you are buck-naked. Nope: she just runs off. Really?

There’s some discussion over the ending: some have said it feels tacked on, but I liked it, and felt it pointed towards a potentially more-interesting sequel, with Diana swapping roles and becoming the hunter rather than the hunted. But it isn’t quite enough to salvage the overall movie, with the weaknesses noted above enough to negate the more positive elements.

Dir: Thom E. Eberhardt
Star: Danielle DeLuca, J. D. Garfield, Arron Shiver, Joe Mantegna

The Hike

  By

★★
“The Descent without the caves. Or monsters.”

Five young women head out into the country for a camping trip, led by Kate (Phythian), a former soldier who is stil traumatized by seeing her boyfriend killed in front of her while on a mission in the Middle East. She’s about the only member of the party who seems genuinely keen on the trip, and it’s not long before the others start to whine, demanding rest stops, and the hike is curtailed before the intended destination. At least the country is not entirely deserted, though the creepy East European guy and his two women isn’t exactly sociable. But at least there are the three nice guys, out for a spot of rock-climbing, led by Ethan (Loyd Holmes), so there’s always that. And if things end up getting dicey – say, if one of the women vanishes mysteriously, while out gathering firewood, the others can turn to Ethan and his chums for help. Right? Right?

With a bit more thought on characterization and dialogue, this could have been an effective exercise. When I say, “a bit,” I probably mean “an awful lot,” as apart from Kate, the women are at best flat and two-dimensional, and at worst, actively and significantly irritating. Do women really act and sound like that? It may be relevant the script was written by two men, and there are few surprises to be found here (especially if you’ve seen Eden Lake, a similarly-themed “rural nightmare” flick from the UK). The progression is so obvious that it doesn’t even count as a spoiler to reveal that Kate ends up the ‘final girl’, and it’s likely significant that the more the film focuses on her struggles for survival, the more effective it becomes, to the point where the last reel eventually delivers the tension and energy I’d hoped to see from the beginning.

It definitely does owe some inspiration to The Descent: I don’t think it’s coincidence that Shauna McDonald has a small role as Ethan’s wife. However, I also note Nedeljacova’s role in the Hostel series, which perhaps has rather more in common with this, as the movie relishes the rape and degradation elements to a greater degree than I like. Phythian does what she can with the role and comes over as a decent heroine, who goes through hell and back again over the course of 24 hours. However, there are plenty of better entries in the genre, and little otherwise to recommend this one.

Dir: Rupert Bryan
Star: Zara Phythian, Ben Loyd Holmes, Barbara Nedeljacova, Daniel Caren

The Holding

  By

★★★★
“Hell hath no fury like a mother defending her children.”

Cassie Naylor (Wareing) is struggling to keep her head above water on the farm she’s now running almost single-handed, eight months after her husband vanished. What the locals don’t know is that she buried him in a remote spot on the Derbyshire moors, with the help of part-time farmhand Cooper (Bradley), for reasons not initially clear. The arrival of a transient, Aden (Regan, looking not unlike a rougher version of Gerard Butler), seems like a godsend, and they agree he can work in exchange for food and lodgings. However, it’s not long before Aden’s less-desirable tendencies start to show through. While he’s fiercely loyal – dispatching anyone whom he perceives as a threat – he seems to regard Cassie and her two daughters as “his” family, and seems to know rather too much about them.

Clearly influenced by The Stepfather, this is still its own creature, with Cassie a strong, independent heroine of the first degree, who will do absolutely anything to protect her children, even if one is a Bible-thumper and the other an immensely-irritating teenage brat. Indeed, it’s probably important to note that [here be spoilers, highlight the text if you want to read it] all the women survive, and only men die. How much of this was the input of a woman director – itself, fairly unusual for the genre – is open to discussion. Another big plus is that the film doesn’t rely too much on the stupidity of the main characters, which is a common flaw; their behaviour here is relatively logical, though there were times when the victims did not take an avenue of escape that appeared to be open to them.

The look of the film is impressive, with a lush pastoral feel early on, that eventually turns into a dark, rain-drenched nightmare as things become bloody. However, the main strength are performances which are believable, on both sides of the fence, effectively ramping up the tension as the body-count increases. It builds to a satisfactorily invigorating battle, in which Cassie has exhausted all legitimate hope of rescue and is thrown entirely on to her own tenacity and survival skills. Ellen Ripley would certainly approve, even if here, the monster being opposed for maternal reasons has a human face.

Dir: Susan Jacobson
Star: Kierston Wareing, Vincent Regan, David Bradley, Skye Lourie

A Lonely Place to Die

  By

★★★½
“The Ascent rather than The Descent. With humans as the monsters. “

Five mountaineers are exploring the remote Scottish highlands, when they stumble across an underground box containing a terrified, near-dead young girl who speaks no English. Two of the party are sent, by the most direct but not child-friendly route, back to civilization to get help, but it’s not long before they discover the parties who buried the girl are not too happy with her removal. For they are two kidnappers, Mr. Kidd (Harris, who also plays a psychotic killer in The Borgias) and Mr. McRae who are negotiating with her father’s emissary, Darko (Roden) to pay the ransom, not aware that Darko has hired some ex-soldiers to resolve the matter. Having lost the child, the pair set out to recapture her, and don’t care how many bodies are left in their wake.

It’s only slowly that Alison (George, whom GWG fans may remember as Lauren Reed, Vaughn’s wife in Alias – the role here was originally intended to go to Franke Potente) comes to be the focus, but it’s clear that her maternal instincts have been aroused, and she’s prepared to do anything to protect the child, and she’s got the skills for the environment. That’s when the film is at its strongest, pitting Alison and her steadily-dwindling band of friends against Kidd and McRae. Once they reach civilization, it becomes notably less credible, not least because the “festival” conveniently going on in town (whose fireworks are needed to mask the gunshots), is so wildly inappropriate for small-town life. I grew up not far from where this was shot, and we certainly never had festivals involving topless women in body-paint. It’s a shame, as I liked how the protagonists were not your usual college students in peril, the staple of survival horror, but a little more mature and sensible. Not that this helps their longevity.

It’s always a difficult call whether the “final girl” genre should be included here. To me, the decisive factor is less how she takes on the monster, villain or nemesis in the last reel, it’s how she has behaved before that point. The Friday the 13th heroines, for instance, do little or nothing to justify the term “action heroine”. Here, however, Alison proves herself worthy of the title, almost from the first scene, which finds her half-way up a mountain-face. By the time she becomes the kidnappee’s sole hope, she has already covered miles both horizontal and vertical, fallen off a cliff, gone through rapids and survived her fair share of bullets aimed in her direction. Yeah, she qualifies, and only a clichéd last 20 minutes stops this from being thoroughly satisfactory.

Dir: Julian Gilbey
Star: Melissa George, Ed Speleers, Sean Harris, Karel Roden

Undiscovered Tomb

  By

★★★
“Tomb service.”

Obviously inspired by a certain raider of tombs, this has Yuan as Georgia, who was rescued from an orphanage, along with her sister (Koinuma) and trained in… well, raiding tombs. When their foster father vanishes while on an expedition seeking the secret of immortality, the two siblings head off to look for him, only to come under attack from a range of locals, natives and the local fauna. Meanwhile, Professor Ivy Chan (Shimada) links up with billionaire art-collector Michael Lui (Wong), and discovers that shady forces are after a relic possessed by Ivy, and that they need to follow the girls into the remote jungle.

The best thing about the film is certainly Yuan, and it’s not surprising when you consider her pedigree – her mother is Cheng Pei-Pei, the Jade Fox herself. She has the necessary charisma and action chops to succeed, and it’s a shame her IMDB filmography included only half a dozen features after this one. The problems with the film are not just elsewhere, they’re almost everything else. Koinuma is profoundly irritating, whining perpetually about make-up, and the attacks serve no purpose beyond an apparent requirement for an action scene every 10 minutes – it’s painfully obvious the same guys are playing all the villains, and there’s only about four of them. Finally, if you’re going to write a script that requires a 20-foot snake, check with your special effects house they can deliver something at least slightly convincing. This step was clearly omitted entirely here.

Despite these painfully obvious flaws, I can’t say I was ever bored here. There’s no shortage of action, and it’s decently-staged, with Yuen proving a more than adequate Joliealike. I also enjoyed the majestic (Chinese?) landscapes which acted as a spectacular backdrop for the jungle sequences. Overall, it was certainly more entertaining than the over-blown Cradle of Life, and on a per-dollar of budget basis, probably comes out ahead of its original inspiration as well.

Dir: Douglas Kung
Star: Marsha Yuen, Miyuki Koinuma, Yoko Shimada, Ken Wong

In Her Line of Fire

  By

★★
“Lesbian Action in the Jungle [suitable for all ages].”

This is a competently-made but ultimately forgettable film – it feels very much like a TVM, albeit for one of the slightly-more liberal channels. Hemingway plays Secret Service agent Lynn Delaney, who has to look after the Vice-President, when their place crashes in the Pacific. Of course, in the way things only happen in Hollywood movies, the island to which the struggle is a rebel outpost, and the VP is a former soldier, with more-than adequate combat skills of his own. Which extend to more than shooting people in the face, Dick Cheney please note. Meanwhile, there’s a lot of tension with female journalist Sharon Serrano (Bennett), who is also among the survivors; this includes tension of a sexual kind, if you know what I mean, and I think you do. Like I said: one of the slightly-more liberal channels. However, it’s nice that no big thing is made of this; you’re not whacked over the head with anyone’s sexual orientiation, as in D.E.B.S. [Curiously, even the nods in this direction are edited out from some releases]

“Her mouth irritates me.” That was Chris’s dismissal of Ms. Hemingway and, for once, her snap judgement would have saved me from enduring this. For it is directed and written with a stunning lack of energy, imagination, invention or enthusiasm – basically, anything that’d make it worth watching. This is apparent very early on, when the villain’s henchman are, once again, unable to shoot for peanuts. Yes, I suppose they are a rag-tag guerilla outfit, whom their mercenary leader (Millbern) is supposed to lick into shape, but they still basically get their asses handed to them by one Secret Service agent and a politician. No-one is allowed to develop their characters beyond a single dimension, with Serrano perpetually whiny, and Delaney perpetually furrowed. While Hemingway’s mouth may not, particularly, have irritated me, just about everything else in this vapid confection did.

Dir: Brian Trenchard-Smith
Star: Mariel Hemingway, David Keith, Jill Bennett, David Millbern

Nightmare at Bitter Creek

  By

★★
“Made for television, and no better than you’d expect from that.”

Nita Daniels (Wagner) and her three girlfriends take a horseback trip up the mountain, expecting to meet their husbands at the top. However, the trip becomes a nightmare, as four members of the ‘Aryan Survivalist Brigade’ are holed up there, and decide to take out the women and their alcoholic guide, Ding (Skerritt). Initially, Ding takes the fore, but when he is injured it’s up to Nita and her pals to fight back. This TVM struggles, largely because of the lack of justification for the white supremacists: the entire party they attack are about as Aryan as they come, so why, exactly, should they be targeted for elimination? It would have been far more plausible had the party been ethnically-mixed, or even their guide been black – or, heck, Jewish.

Instead, the threat here is…well, a bit crap, really. They’re all but entirely faceless, clearly no good at marksmanship, and even the biggest of them is no match for a hungover Ding. Understandable, the TV-movie limitations restrict how “nasty” they could be shown, but there’s no sense of threat. It probably doesn’t help that the best actor in the film is Buster the dog, probably because his motivations are the most clear. The four women rarely get beyond the most shallow of caricatures, without any background to make you care for them – but I must admit, things do pick up significantly in the last twenty minutes, as the heroines find themselves trapped in a canyon, and Allison (Cassidy) needs to grow a spine if she’s to save her friends.

It’s not a terrible concept; this just needs to be executed with more conviction, and the medium of the television movie is probably not the right one for the story. That doesn’t permit the necessary level of dread, which would be something no TV company would want to show, especially back in 1988, when this was made. Finally, a small note on truth in advertising. Of all the facets depicted on the sleeve (right), there are certainly no bears and no lynchings. Nor is there any mention of the Confederacy or the Ku Klux Klan. Skerritt and Wagner, I will give you, but I’m not quite sure what the middle image on the right is supposed to depict.

Dir: Tim Burstall
Stars: Lindsay Wagner, Tom Skerritt, Constance McCashin, Joanna Cassidy