Tag: wip

Women of Devil’s Island

  By

★★★
“Tubi or not Tubi? NOT Tubi.”

I actually ended up watching this one twice. The first time, on Tubi, was one of the worst prints I have ever seen. It was cropped and the color was so washed-out I could barely tell it wasn’t in black and white. However, the film itself was decent enough to get me hunting for a better copy. YouTube for the win: I found on there a glorious ‘scope version, with tints that fairly pop off the screen (compare and contrast) – and fifteen minutes longer, too. It’s a genuinely good-looking movie, and I don’t mean the copious quantities of attractive continental actresses. Well, not just them, anyway. This Italian-French co-production is an early example of the European women in prison genre, here with a historical bent.

An opening caption tell us this takes place at the end of the 17th century. Though that doesn’t quite fit with other elements, which seem around the French Revolution. Regardless, the government ship off their female prisoners to an island near French Guiana. There, they pan for gold, indulge in community sing-alongs and get eaten by alligators. The latest arrivals include Martine Foucher (Mercier), a noblewoman imprisoned for political reasons. There, she’s reunited with her sister, Jeanette (Ranchi), although she has assumed the identity of another, deceased prisoner. It’s a rough life. The only respite is if you sleep with the sleazy governor, Lefèvre (Muller), or his guards. Martine gets involved in an escape attempt, plotting to take some of the gold with them. It does not go well.

However, things look up with the arrival of new prison boss, Henri Vallière (Madison), who is much more compassionate towards the inmates, telling the staff, “They are not here to be tortured”. However, he is an impostor, not actually the naval officer he’s pretending to be. For Henri is a pirate, planning to stage a heist and steal all the gold. So he doesn’t truly care for the prisoners initially, though proves to be a dab hand at wrestling large reptiles. Key word: initially. Naturally, he develops feelings for Martine. This still leaves the inmates unsure of whether to turn Henri in, or throw their lot in with him. 

They eventually decide to fight alongside Henri and his men, in exchange for a shot at winning their freedom. To be fair, this does only occupy a few minutes towards the very end of the film. After Henri’s plan gets revealed, the brisk and entertaining pace the movie had maintained to this point slows considerably. Instead, there’s a bit too much relationship shenanigans: I much preferred the earlier sections, where the women were actively engaged and had agency. For obvious reasons, given this was the early sixties, don’t expect nudity, although there is cleavage, and I concur with another reviewer who noted the similarity of Margaret Rose Kiel to Brigitte Bardot. Better than expected, providing you can find the decent print. 

Dir: Domenico Paolella
Star: Michèle Mercier, Guy Madison, Paul Muller, Federica Ranchi
The good YouTube print is embedded below.

Women’s Prison

  By

★★★
“Innocence behind bars.”

It’s always interesting to watch these early entries in the women-in-prison genre, and see the elements which are still staples of the genre, close to seventy years later. Well, some of the elements anyway: this dates from 1955, so is obviously tamer than a kitten on Valium in terms of sexual content. No strip searches. No prison showers. And when it’s revealed that one of the inmates is pregnant, it’s almost as much of a surprise to the audience as it is to the authorities. But it’s still recognizable as an ancestor, thanks to things like the sympathetic prison doctor, new inmate who shouldn’t be there, and the sadistic warden who rules things with an iron fist.

It is an ensemble piece, whose focus shifts throughout. Initially, it seems likely to be the story of “fresh meat” Helene Jensen (Thaxter), who is doing time for vehicular manslaughter, and has a tough time adjusting to life inside. Then it shifts to Joan Burton (Totter), an accomplice to her robber husband, Glen, who is doing time in the men’s prison next door. He has something vital to tell her, and makes repeated attempts to sneak across the border to visit Joan. On the other side of the bars is the power struggle between the warden, Amelia van Zandt (Lupino) and jail physician Dr. Crane (Duff). Her methods are anathema to Crane, who flat-out calls van Zandt a psychopath. He may have a point.

Despite the lack of salacious elements, this is still entertaining fodder. There are a lot of amusing characters among the inmates, from cheerful fraudster Brenda Martin through to black inmate Polyclinic Jones – named after the hospital where she was born! She’s played by Juanita Jones, who’d be Oscar nominated a few years later. Interestingly, despite this being years before the Civil Rights era, the prison is not segregated: the black inmates have their own cell, but otherwise mix freely with the white prisoners. Race is never even mentioned here. There’s an impressively meta moment too, when two guards are discussing a cinema trip. “They never get things right in prison pictures,” muses one, and is told, “I know, but I like to pick out the flaws.”

This happens just before another familiar element: the prisoners riot and take over, after being pushed too far. In this case, it’s van Zandt’s brutal interrogation of Burton which proves the tipping point. Or at least, “brutal” by fifties standards; it’s not much more than a bit of light slapping around. The rebellion leads to tear-gassing and hostage taking, as the women seek to make van Zandt pay, plus Glen roaming around with a pistol. Really, the men’s side need to look into their security protocols, I reckon. For all its innocence in many ways, bordering on naivety, there are still moments which have an emotional impact; I found the death of one inmate surprisingly affecting. Released in Germany as Revolte im Frauenzuchthaus, which I only mention, as “frauenzuchthaus” may be my new favourite German word.

Dir: Lewis Seiler
Star: Ida Lupino, Howard Duff. Audrey Totter, Phyllis Thaxter

Girls In Prison

  By

★★½
“Better poster than a movie.”

This came out the same year as Swamp Women, with the Corman production beating this to the screen by a couple of months. Given the similarities in the plot, I have to wonder if the concept of the “mockbuster” pre-dates The Asylum. Though it’s not as if this is exactly a top of the line, Hollywood production, being distributed by AIP. You can probably tell from that gorgeous poster, which is a true work of art and, sadly, considerably more exciting than what this mostly pedestrian film has to offer. It begins with Anne Carson (Taylor) being sent to prison as an accomplice in an armed robbery, though she protests her innocence, and prison chaplain Rev. Fulton (Denning) believes her.

Key in the case against Anne was the unexplained disappearance of $38,000 in loot, which she says she simply walked away from. Needless to say, as soon as details of her conviction become known on the inside, a lot of people want to become her “friends”, not least queen bee Jenny (Jergens) and another cellmate, Melanee (Gilbert). After an earthquake hits the prison and throws everything into chaos, Jenny and Melanee make a break for freedom, dragging an unwilling Anne with them. On the outside, the other participant in the robbery, Paul, is equally keen to recover the proceeds, and is applying the screws to Anne’s father, using his as leverage so she will spill the truth to him.

Made in 1956, you can seem some of the standard women-in-prison tropes present, albeit inevitably in a diluted format given the time – the Hays code was still firmly in effect. Hence, the jail personnel are all nice, rather than abusive: the warden’s belief that Anne is not as innocent as she claims, is about as harsh as it gets (and, she’s not wrong…). There’s no nudity, naturally; any lesbian undertones are extremely implied; and the violence is limited to a couple of cat-fights. Though one does manage, with unerring accuracy, to make its way into a nearby puddle of mud. The main problem is pacing: while it starts and ends well enough, after the concept is established, little happens until the convenient tremor show up.

Certainly, nothing resembling the tag-lines takes place. I never did learn “what happens to girls without men”, not least because these are hardly girls, e.g. Jergens was aged 38 when this was released. The one man, presumably the Rev. Fulton, is not “against” the women, regardless of quantity, and even by mid-fifties standards, there’s little here to shock. Okay, expecting truth in advertising from an AIP movie is likely a stretch. But Swamp Women was rather more entertaining, realizing that it had to keep things moving forward to engage the audience. This knows the story has to go from Point A to Point B. It just doesn’t know how to make the journey more than marginally interesting, and to be honest, rarely makes much of an effort.

Dir: Edward L. Cahn
Star: Joan Taylor, Adele Jergens, Richard Denning, Helen Gilbert 

True Story Of A Woman In Jail: Sex Hell

  By

★★
“Bad behind bars.”

With that title, you’ll understand why it’s one I opted not to make part of family movie night. I mean, you can’t argue with the forthrightness, though I’ve little doubt it’s as “true” as most films which make that claim i.e. barely at all. However, the bigger problem is that it’s fairly borderline “pinky violence”, being considerably more interested in the pink than the violence: it’s arguably more of a roman porno. It’s as if someone presented a checklist of cliches from the woman in prison genre, and asked the director to cross them off as rapidly as possible. The resulting speed-run lasts barely more than seventy minutes, especially impressive considering the amount of time devoted to soft-core sex couplings, in various combinations.

We begin with the arrival in prison of serial re-offender Harumi Matsunaga (Seri*), a prostitute now on her fourth stay, and the taciturn Mayumi Hojo (Kozue), sent to jail for… Well, the film holds back on that information for a while, so I’m not going to spoiler it. After the obligatory induction into prison life, her silence quickly brings Mayumi into conflict with her cell’s resident top dog, Sadako Nogawa (Hiromi*), and the pair butt heads. Inevitably, eventual mutual respect develops, especially when a key is found, which could give both women the opportunity to escape the hellish environment of the facility. 

The gap between these and the likes of Female Prisoner #701: Scorpion, made three years earlier, could hardly be greater, and its not in this film’s favour. It begins with Kozue’s fairly bland portrayal of the heroine, in sharp contrast to Meiko Kaji. Given the absence of a strong central character, the film subsequently feels more like porn. Albeit porn with decent production values, though an apparently loose grasp on the concept of “informed consent”. Though I was somewhat impressed with the scene in which a guard has sex with an inmate being held in solitary confinement, through a slot in the cell door. The inventive means by which prisoners are checked for contraband – it involves a custom set of stairs – was also momentarily interesting.

But it’s mostly about sex: what else would you expect, from the director of the similarly-imaginatively titled, White Rose Campus: Then Everybody Gets Raped. And a great deal of sex too – in a variety of configurations, be it straight, gay, or solo. Let’s just say, in hindsight, giving the sexually repressed prisoners clay might have been a questionable decision by whoever is in charge of leisure activities.  You’ll be left to tick off the items from your list. Sleazy prison doctor? Check. Extended sequence in the shower? Check. Revenge on the person responsible for incarceration? Take a guess. It’s all extremely formulaic, and doesn’t do it with enough energy to overcome its limitations, despite a funky soundtrack, courtesy of the Downtown Boogie Woogie Band.

Dir: Kôyû Ohara
Star: Hitomi Kozue, Meika Seri, Maya Hiromi, Rie Ozawa
* – There’s discrepancies between who plays who listed in reviews, and those in the IMDb. I’ve gone with the latter. 

13 Steps of Maki: The Young Aristocrats

  By

★★★½
“Light pink(y)”

Made by Toei, this is very much a straightforward “pinky violence” film in concept, telling the story of the Wildcats and, in particular, their leader Maki Hyuga. What separates this – in ways both good and bad – from the pack is that Maki is played by Sue Shiomi, best known for her roles in the Sister Streetfighter series of films. That means the action in this is considerably improved on the typical pinky violence movie, with Shiomi capable of holding her own, even when fighting many opponents. In particular, her skills with a pair of nunchaku is a sight to behold. The scenario here provides plenty of opportunities for her to show all her abilities off.

However, the downside is that Shiomi is simply too “good” to play a bad girl. When you put her beside the titans of the genre, like Meiko Kaji or Reiko Ike, Shiomi just does not have the necessary edge to succeed as the leader of an all-female gang of delinquents. Any group led by Shiomi would, I feel, be more likely to sell you cookies or help old ladies across the road, than beat you up and take your lunch money. It’s notable that, while this is certainly not short on the nudity required in the field, Shiomi remains firmly attached to her clothes. Others take care of this onerous duty, with the heroine instead providing the second half of the sex ‘n’ violence recipe.

The story sees Maki running foul of Yakuza chief Ryunosuke Daimon (Nawa) after rescuing a girl from his white slavery operation, and also annoying rich bitch Takako Ebihara (Ohara). Their revenge ends in Maki being framed and sent to prison, while the rest of her gang get hooked on smack by Daimon, and turned into compliant slaves. However, she gets help from an unexpected quarter, in the form of Daimon’s top bodyguard Tetsuya Eto (Nanjô), an honourable ex-boxer who grows increasingly unhappy with his boss’s sleazy business practices. Takako is also unimpressed when she discovers she’s going to be married off to Daimon, whether she wants to be or not. That comes after he has blown up Takako’s father with a car-bomb.

Things unfold as you’d expect. Maki wins the respect of her cell-mates, breaks out and, with Tetsuya are her back, storms the headquarters of Daimon’s yakuza clan, just as he is in the process of getting married to Takako. She’s not there to bring the gang boss a toaster or some nice crockery. If almost entirely predictable, the presence of Shiomi, and resulting upgrade in the quality of the fight sequences does make it feel relatively fresh in style – just not in content. The main factor which stops it reaching the top tier for the genre is the sense Shiomi is almost cos-playing as a bad girl, something you never doubted with the Queens of Pinky Violence. There’s good reason she only dabbled in this field.

Dir: Makoto Naitô
Star:Etsuko Shihomi, Misa Ohara, Tatsuya Nanjô, Hiroshi Nawa

Escape

  By

★★★
“Now, I always fight back…”

This feels almost like a throwback to the silent era, and ‘white slave’ films with titles like Traffic in Souls, combined with a significant fear of ‘the other’. As such, it’s both painfully simplistic, and endlessly fascinating in the layers of interpretation which can be read into it, should you be so inclined. On the most basic level, it’s your everyday tale of “good” girls, kidnapped for sale to the highest bidder, who need to fight to retain their modesty and virtue. [Though let the record show, at no point is there any bikini-wearing wielding of automatic weapons, despite what the poster clearly wants you to think. The heroines here prefer weapons of the blunt and/or pointy variety]

Director Ford is no stranger to this site, having previously given us Never Let Go and The Ledge. This is similarly workmanlike, benefiting from a straightforward approach and uncomplicated plot. Young, attractive women on holiday (this was filmed in the Canary Islands) are being abducted and sold off as sex slaves. The tactics used by Andras (Cronin) and his gang vary from luring their targets to a remote cabin, to barging into their vacation apartment and chloroforming them. The net result is the same: they end up in a cell, deep in the bowels of a remote building, awaiting shipment to a buyer, located somewhere even more foreign. The latest victims are Tamsin and nurse Karla (Marks), who join seven other girls in peril, including Lucy (Rankin).

As well as the clearly xenophobic approach – foreign places are bad, and foreigners worse – there’s also a notable class element here. All the girls appear “nice”, from middle- to upper-class families, while their captors are rough-hewn working-class thugs. The exception is Jude (James): also the only one with a conscience, he provides Karla and friends with the opportunity to free themselves. This mass escape definitely feels like it’s taken from women-in-prison films, the women turning the tables on their captors. Karla, in particular, initially intends to leave, but for reasons connected to her past (everyone here has issues – see the quote, top), decides to go back and make Andras pay, using the pointy weapons mentioned above.

This is the gnarliest, though not the only bit of violence here, and the film doesn’t hold back. Despite some digital blood, other effects are clearly practical and the audio work enhances the effect nicely. There’s an subplot about the search for the girls back in Britain, which is almost entirely superfluous, and could surely have been replaced with some gratuitous nudity. The film is so chastely moral in that department, it could almost pass the Hays Code. It feels like there are too many interchangeable victims as well, who sometimes blur together, especially when they are running in different directions. Is that Tamsin? Or Karla? But it’s rarely boring, and as a melodramatic throwback, pushes enough of the right buttons.

Dir: Howard J. Ford
Star: Sarah Alexandra Marks, Sophie Rankin, Sean Cronin, Louis James

The Way

  By

★★½
“Well, I did not see THAT coming…”

I think it has been a long time since a film has so completely yanked the carpet out from under me. We might have to go back all the way to David Lynch’s Lost Highway, and that was 1997. So it has been a while. I’m not sure if it works here. It did in Highway; I’m just uncertain whether Khalili is as good a film-maker as Lynch. It’d likely require a second viewing to decide, and I wasn’t that impressed elsewhere to justify a repeat. I will remember it though, and that’s more than can be said for many of the films I review here. So it was not a complete waste of time. 

It’s the story of Jane Arcs (Jane), whom we first meet as she is on death row, preparing for her execution. Over a decade previously, she had killed another woman during an underground mixed martial-arts match, and was subsequently sentenced to death for it. Initially bitter and still filled with rage, in jail she met Qi Gong Master Xin (Wong), and learned from her how to manage her emotions, through both physical and mental training. Now, Jane is considerably more at peace with her imminent death than others around her. Most notably, guard Max Stone (Watson), who has come to care for Jane over the previous 13 years, and will go to any lengths to stop her being executed. 

This is, at least for the first hour, more of a redemptional drama than anything. There are a lot of flashbacks to Jane’s life on the outside, and we see what happened there. First, there’s the fight in question: while undeniably brutal, I am still not sure why it was deemed a capital crime. That’s especially so, given the extenuating circumstances which we then see, going a long way to explaining why Jane was overflowing with anger at life. Oddly – and this is another Lynchian touch – Watson also plays Ben Jorden, the father of Jane’s child on the outside. Otherwise, though, it’s a fairly straightforward story, albeit one that leans heavily into cliché. For instance, Xin often sounds more like a fortune cookie, saying things like, “The only respect you need is self-respect.”

And then… Wait, what just happened? You will take a few minutes to figure that out, and even when you do, you may well not be able to wrap your head around it adequately. I even Googled for an interview with the director, hoping to get some explanation. No dice – and in the end, it may be better that way. I suspect it might well fall short of satisfying. By the end, I was left with a furrowed brow, and it’s perhaps a little unfortunate. For if the story is otherwise too obvious and with gaps in its logic, I did appreciate the performances. Jane puts over an inner strength that is impressive. Shame it is so thoroughly overshadowed by the abrupt left-turn towards the end.

Dir: Dastan Khalili
Star: Eli Jane, Kelcey Watson, Joan Wong, Lorenzo Antonucci

Incarcerated

  By

★★½
“Chastely sleazy.”

There’s an interesting idea here, at least. As a young child, Elena (Ayala) has to watch as her mother and brother are killed by crime boss babe Maeve (McComb), after her father (Pardo) made the ill-advised decision to try and steal from her. It’s particularly awkward, since Maeve made him choose which of his two children should live… then killed the one he picked, his son. This Sophie-like choice has, understandably, left the father-daughter relationship somewhat strained, to put it mildly. 15 years later, Elena is a druggie, who robs a liquor store and gets sent to jail as a result. Except, this incarceration is entirely deliberate, because it’s the facility in which Maeve is now serving time, giving Elena her long-awaited chance for revenge.

Naturally, it proves not quite as simple as that, even though within two minutes, her friendly cell-mate, a veteran of the system, is providing a helpful gobbet of exposition about how Maeve has a parole hearing coming up, and has bribed a judge to recommend her release. From here, the inevitable tropes of the women in prison genre kick in, replacing the fairly original overall concept. The enemy quickly made by Elena (or rather, “Sophia,” the name she goes by in jail – perhaps a nod to the whole choice thing mentioned above?) after an incident in the chow hall. The horny guard, Fletcher (Wiles), with an addiction to taking advantage of the inmates. Violence in the showers.

What’s weird, though, is the relatively tame content, considering the situations. For example, on arrival, Elena is given a strip-search by Fletcher, in a rather creepy scene – rendered oddly powerless by the lack of any nudity. The same goes for several scenes shot in the prison showers, in a way which would barely stretch a PG-rating, and feel more in keeping with a TV movie (it’s not: this was made for streaming company Tubi, who have plenty of “mature” content on their service). The only exception is Fletcher getting his comeuppance, which involves a certain body part being sliced off and flushed down the toilet, in fairly graphic fashion. Mind you, Monroe was responsible for the remake of I Spit On Your Grave: it does feel as if he’s more comfortable with violence than sex.

This is all more than a bit implausible, from the way Elena miraculously ends up two cells down from her target, through the way she’s able to keep her identity secret on the inside, to the finale where all pretense at prison security simply evaporates. Can’t help thinking, she could also have just waited until Maeve got out on parole and taken care of her revenge then, considerably more easily. But where’s the fun in that? There are no surprises in the way things unfold, and the almost tasteful amount of restraint here left me suffering from a bit of cognitive dissonance. It feels as if Monroe misunderstood the assignment a bit, resulting in a missed opportunity.

Dir: Steven R. Monroe
Star: Yesenia Ayala, Heather McComb, Jason Wiles, Danny Pardo

Inmate Zero

  By

★★½
“Death sentence.”

Zombies and jail aren’t quite as new an idea as you might think. The Walking Dead had a major arc which took place at a prison, the facility’s fences now more useful for keeping things out than in. And back in 2005, The Asylum released the (surprisingly decent) Dead Men Walking, about a zombie outbreak at a maximum security jail. But this is, as far as I know, the first to combine zombies with the women-in-prison genre. Admittedly, it skews considerably more toward the former. However, there’s no denying its place on this site, with its heroine being ex-Special Forces soldier Stone (Chanliau), now held in a black site in the North Atlantic.

She’s there because she allegedly killed a US Senator and his family, whom she was supposed to be bodyguarding. While there is rather more to that story than this, it doesn’t particularly matter. What matters is that she’s now on death row in the women’s wing, awaiting execution. After being attacked by another inmate, she’s moved to the prison infirmary, where she’s joined on the ward by someone from a different area, where dubious medical experiments are being carried out. That person then dies. If you noticed the Z-word in the first paragraph, you will be utterly unsurprised to hear they do not stay that way, and it’s not long before being behind bars is probably the safest place to be, for both prisoners and guards.

On the plus side, you have the advantage of the occupants largely being the hardest of hardened or vicious criminals. These are people for whom human life is cheap, and so the action required to survive are not something over which much sleep will be lost. The brutality is well up to the standard you’d expect for the genre, and the effects seem mostly of the practical kind, which I always prefer over CGI. It’s a solid enough location, offering no easy way out, with the authorities hovering, and ready to wipe everyone out (as in Return of the Living Dead) should it prove necessary. The minor pieces are this in place for a decent enough entry, albeit one which missed the sell-by date on the zombie craze by most of a decade.

The problems, however, are in… well, just about everywhere else. The script is a series of cliches, joined with dialogue where cliched would probably be an improvement. The characters never get past stereotypes, whether its sympathetic guard Brooks (McGinley), queen bee Butcher (Joseph) or cowardly warden Crowe (Garda). The zombies probably show more depth, and their actions are largely limited to shrieking and gnawing on faces. The further into this you get, the more apparent it becomes that imagination stopped at the overall scenario, and does not extend to constructing interesting roles or giving them lines which could credibly be spoken by actual people. Been a while since I’ve seen a film with such a gap between the technical elements and the artistic ones.

Dir: Russell Owen
Star: Jess Chanliau, Philip McGinley, Jennifer Joseph, Jane Garda
a.k.a. Patients of a Saint

Under Lock and Key

  By

★★★
“From prison to fashion.”

I can’t recall seeing an action heroine movie with quite so much gratuitous nudity, even among the women-in-prison genre in which this (obviously, given both the title and the poster) operates – at least in the early going. It feels like there’s some kind of contractual obligation for a shower, medical exam or just an inmate randomly changing their clothes, about every three minutes in the first half hour. It’s helps that most of the residents appear to be incarcerated for crimes involving beauty parlours. Either that, or there is some kind of quality threshold applies for inmates. I should mention this does adhere to the standards of the nineties: and I’m not speaking about hair on the head, if you know what I mean.

It’s not entirely devoid of story-line, however, and there is an actual plot. Danielle Peters (Westbrook) is an FBI agent who has been sent undercover into the prison. Her mission is to get close to another inmate, Sarah Sands (Smith), who was the girlfriend of a drug kingpin, Carlos Vega (Anthony). Sarah still has a notebook containing compromising information, and Danielle is tasked with finding out its location. It doesn’t go well. Sarah is killed when the vehicle transferring them both gets ambushed, and to make matters worse, Vega kidnaps Danielle’s daughter as leverage. The whole undercover thing ends, with Danielle formally taken off the case. Naturally, she continues her investigation anyway – albeit after a long. hot shower – along with prison guard and new pal, Tina Lamb (Niven).

Let me be 100% clear. None of this makes the slightest bit of sense from the perspective of law enforcement or the penitentiary industry. Danielle’s wilful disregard for FBI procedure never gets her anything that a light tap on the wrist from her boss. And by FBI procedure, I mean the pair committing homicide (arguably justifiable), leading to this exchange with Tina:
    “What do we do with the body?”
    “I’ll call a friend, he’ll take care of it”
That’s not very FBI now, is it? Meanwhile, Tina doesn’t even call to let her employers know she’s going to be busy for a while, taking down an international drug lord ‘n’ stuff. Everyone involved, including their boss, is going to be faced with difficult performance appraisals, when it comes time for their annual review.

Plausibility very much aside, I can’t deny I was entertained by the ludicrous nature of this, which basically aims for the lowest common denominator of cinema, and somehow still manages to come up short. How can you not love a film containing the line, “Jennifer’s not only a high fashion model, but she also works for several European secret service agencies on occasion”? Especially when Jennifer has the blank, placid expression of a cud-chewing bovine. Westbrook does a better job, on occasion looking like her kicks and punches have impact, and having decent presence. While I’ll likely never watch this again, I’m certainly holding back any complaints.

Dir: Henri Charr
Star: Wendi Westbrook, Barbara Niven, K. Phillip Anthony, Stephanie Ann Smith