ANGEL OF VENGEANCE (1987) * ½

Tina (Jannina Poynter) goes to a cabin in the woods where she is harassed by the rapey Manny (Macka Foley).  Manny belongs to a group of trigger-happy survivalist nut bags who are stationed nearby.  These half-assed militants have a run-in with a biker gang, which leads to a shootout.  They then execute the remaining bikers and take the lone female captive.

I guess I should say a word or two about these bikers, so you can completely get the picture.  This gang isn’t the usual Harley-riding guys in leather jackets.  They’re just regular-looking bozos on dirt bikes.  That’s right, dirt bikes!  They even wear T-shirts with their gang name on them.  (“The Thrill Killers.”)  

Anyway, later, Manny goes back, catches Tina, and kidnaps her too.  He ties her up and the men have their way with her.  The survivalists eventually decide to turn her loose, but it’s merely a ploy.  They really want to hunt her in the woods. 

It’s here where the film turns into a half-assed hodgepodge of The Most Dangerous Game and First Blood.  The scenes of the survivalists tracking Tina through the woods are largely interminable, but there are a few highlights here.  The big moment comes when Tina shoves sticks into an assailant’s eyes, although really, it’s too little too late. 

Angel of Vengeance isn’t nearly as exploitative as it could’ve been.  During the rape scenes, director Ted V. (Astro-Zombies) Mikels fades to black before you see anything.  I guess he should be commended for his restraint, but aside from the aforementioned eyeball scene, there’s very little here that would jump out at exploitation movie fans. 

I guess Angel of Vengeance is more memorable for its behind the scenes drama.  Filming began with Ray Dennis (The Incredibly Strange Creatures Who Stopped Living and Became Mixed-Up Zombies) Steckler as director.  Three days into production, he was fired and replaced by Mikels.  That at least explains two things.  First, it explains why it has none of the oddball charm of most Mikels movies as he was essentially a gun for hire.  The second, it explains the T-shirts, which was clearly a nod to Steckler’s 1964 opus, The Thrill Killers.

AKA:  War Cat.