EXTREMELY WICKED, SHOCKINGLY EVIL AND VILE (2019) ** ½

I tried watching director Joe (Book of Shadows:  Blair Witch 2) Berlinger’s Netflix show about Ted Bundy, but I could barely keep my eyes open during the first episode, so I never went back for seconds.  This biopic, also made by Berlinger for Netflix is slightly more engaging, mostly due to Zac Efron’s performance as one of America’s most notorious (and charming) serial killers.  

Ted dotes on his loving girlfriend (Lily Collins), who blindly returns his love, even when he is accused of numerous brutal murders of young women and carted off to jail.  After numerous escapes, Ted is finally detained in Florida where his trial is televised across the nation.  As she becomes more and more emotionally distant, another flame (Crawl’s Kaya Scodelario) comes to Ted’s aid and stands by him in his moment of need.  

Extremely Wicked, Shockingly Evil and Vile is frustratingly vague when it comes to some of the biggest aspects in the Bundy case.  We never see Bundy stalking his victims and killing them, which is an odd miscalculation.  I guess this was done to spare the victims’ families or to avoid glamorizing Bundy’s mythos.  Berlinger is more interested in how two very different women stand by their man even when it’s obvious to anyone with half a brain he’s guilty as sin.  To that end, the movie only works in fits and starts.

It’s hard to say if Berlinger wants us to sympathize with the women who love Bundy.  The filmmakers also curiously sidestep much of his brutality, which further hampers the drama.  I mean why watch something called Extremely Wicked, Shockingly Evil and Vile if we never really see him do anything that lives up to the lurid title?  

It’s also difficult to know who the movie was made for.  Serial Killer fans and true-life crime fanatics will probably be left cold because of the lack of forensic detail, while those expecting a straight drama will undoubtedly feel a bit unsatisfied by the clunky love triangle.  The courtroom scenes late in the film are certainly fun and have an energy to them the rest of the flick lacks.  That’s thanks largely to the casting of John Malkovich as the hammy judge and Jim Parsons as the squirrely prosecutor.  

The film is ambiguous about whether or not Bundy committed the crimes up until the closing moments, which further adds to the frustration.  Ambiguity certainly has its place in fiction, but in a film about one of America’s most notorious serial killers--a man who was tried, convicted, and eventually confessed to his crimes—ambiguity doesn’t work. There’s a courtroom scene late in the game in which Bundy says something to the effect of, “The man who you see today isn’t the man guilty of these crimes”, perhaps suggesting he was a split personality or just plain out-and-out lying. It’s like they want us to believe Bundy had an alter ego, but we never get to see his other side.  It’s like making a movie about Clark Kent and only showing him as Superman in brief flashes in the closing moments.  Not that I’d compare Bundy to Superman, although we all know if there was a Justice League for serial killers, Bundy would definitely be the Superman.  I mean he’s got the looks and all-American charm for sure, and... 

Okay, I’m getting on a weird tangent here.  Let’s wrap this thing up…

Even though much of the film is frustrating, it remains a fine showcase for Efron.  If nothing else, it allows the actor to shed his squeaky-clean Disney image by playing a psycho like Bundy.  I just wish he was allowed to get a little more down and dirty.  Seeing him hacking up unsuspecting women could’ve gone a long way from distancing himself from that High School Musical crap.  

ENDGAME (1983) ***

Endgame is a bonkers Italian sci-fi action mishmash that sort of acts like a precursor to The Running Man with healthy doses of Escape from New York, The Warriors, The Omega Man, and even Planet of the Apes thrown in there for good measure.  It stars the holy trinity of Italian schlock stars, Al Cliver, George Eastman, and Laura Gemser (using the pseudonym, “Moira Chen”), all of whom are a lot of fun to watch.  Why are you still reading this?  Go out and watch it now!  

Well, if you still need more convincing…

Endgame is television’s top-rated post-WWIII game show.  Every year, “the prey” is given a head start to make a run through the desolated, radioactive wasteland before “the predators” (guys wearing face paint and leather jackets left over from Road Warrior) are let loose to hunt him down.  Rabid viewers watch it all in the comfort of their home while the bigwigs in charge try to keep them pacified so they can continue lining their pockets with money from the corporate sponsors.  Things get complicated when this year’s prey (Cliver) gets involved with a band of benevolent telepathic mutants who interrupt the game and beg him to guide them safely across the wasteland to avoid government persecution.

In addition to the movies previously mentioned, there’s also a bit of Seven Samurai here as Cliver hires a team of mismatched mercenaries to aid him in his quest.  (Including an Asian guy called “Ninja”.)  There’s also a floating rock scene right out of The Empire Strikes Back, and the mutant wasteland cretins sort of resemble half-assed X-Men too.  The ending is kind of reminiscent of Carrie, if you can believe it. 

Only a guy like Joe D’Amato could rip off so many movies at once and combine them in such an effective manner.  He even shows a flair for comedy too as the futuristic commercials are good for a laugh.  I also loved the love/hate relationship between Cliver and Eastman, who plays his main rival on the game show.  He only joins up with Cliver and his band to ensure he’ll live long enough for a rematch.  I eat macho shit like that up by the bucket.  

Gemser’s big scene comes when she is kidnapped by the evil lizard mutant biker who says things like, “Look at me when I rape you, dammit!”  We also get an incredible scene where Eastman snaps a guy’s neck 180 degrees UPWARDS.  Now, we see neck snaps in movies all the time where the villain’s neck is twisted side to side, but I think this may be cinema’s first VERTICAL neck twist.  

If you can’t already tell, Endgame is exactly the kind of nutty movie I live for.  This is why I sit through dozens of crappy flicks, because you never know when you’re gonna find a ripe slice of warped genius.  It’s not good… exactly, but it’s a damned good time.  

THE VIXENS OF KUNG FU (A TALE OF YIN YANG) (1975) ** ½

A hooker is walking through the woods when three hoods shoot her with an “anesthesia gun” (the hell?) and have their way with her.  Bobby Aster takes her mouth, Jamie Gillis goes down south, and the other guy just jerks off in her socks.  She is eventually found by C.J. Laing who runs an all-woman army of Kung Fu warriors who live in the woods.  Laing nurses her back to health, and by “nurses her back to health”, I mean she bangs her on a bear skin rug in the middle of the forest before training her in the martial arts.

The Vixens of Kung Fu (A Tale of Yin and Yang) is a Kung Fu/porno hybrid.  It’s decidedly less successful when it’s trying to be a full-fledged Kung Fu movie than a porno.  That said, I can’t say the porno stuff is exactly titillating either, but there are a few humorous moments to be had here to make it almost worth watching.  

A little of this nonsense goes a long way.  Ultimately, it’s just too damned long (even at a relatively scant 71 minutes) and eventually wears out its welcome.  I know it’s futile to criticize the plot, but I found it odd the hooker didn’t learn Kung Fu and use it to get revenge on Gillis and company.  Instead, Laing trains her to get it on with a rival male Kung Fu master who only appears once the film is halfway over.  

The most memorable scene has the Kung Fu girls sitting around meditating until their pussies start literally smoking.  The nude Kung Fu fights are amusing as well (they contain jump cuts to make it look like the participants are moving fast), but they’re all too brief.  While the choreography may leave something to be desired, the film does end with not one, but two freezeframe shots of people jumping into the air in slow motion, so at least its heart is in the right place. 

AKA:  Vixens of Kung Fu.

BLOOD FOR BLOOD (1974) **

A trio of bank robbers kill a pair of stranded motorists and steal their car.  They then make their way to a farmhouse owned by the churchgoing Ernest Borgnine, thinking they can lay low.  They’re surprised to learn old Ernie is quite handy with a shotgun and he quickly blows a hole in the ringleader’s abdomen.  Borgnine then proceeds to hold the robbers hostage in his home, and while he waits for the cops to arrive, he takes a little too much glee in keeping the gunmen prisoner.  This doesn’t sit well at all with his granddaughter (Hollis McClaren), who is sickened by how cruel her Bible-thumping gramps can be. 

Blood for Blood is a fine showcase for Borgnine, who has fun playing a character that is equal parts Bible-quoting grandpa and warped psychopath.  Some fun can be had from seeing the twinkle in his eye when he’s putting the screws to the robbers.  Michael J. Pollard is also good as the main thug who is unpredictably crazed, and McClaren has a nice Sissy Spacek-type quality about her.

This is a typically ‘70s movie where the moralizing is purposefully murky and the violence is often gratuitous, but that doesn’t necessarily translate into a good picture.  You can tell the filmmakers were trying for a Straw Dogs-type vibe, and yet it fails because there’s very little suspense to be had.  After the shock of seeing Borgnine’s kindhearted character turn coldblooded on a dime wears off, there’s not much here, I’m afraid.  The confrontation scenes quickly become repetitive and the tension never builds up much steam as Borgnine is more than a match for the killers at every turn.  

AKA:  Sunday in the Country.  AKA:  Self Defense.  AKA:  Vengeance is Mine.  AKA:  Killing Machine.

THE HUNTSMAN: WINTER’S WAR (2016) * ½

No one really asked for a sequel to Snow White and the Huntsman, but we got one anyway.  If anything, it gives Charlize Theron another chance to act vampy.  Too bad her appearances are limited to the beginning and end of the movie.

Like 300:  Rise of an Empire, The Huntsman:  Winter’s War is part prequel and part sequel.  The overlong prologue acts as an origin story of The Huntsman and the rest tells what happened after Snow White vanquished the evil queen played by Theron.  Emily Blunt plays Theron’s sister, who has the power to freeze people who piss her off.  After having her heart broken, she rules over her icy kingdom and tells her followers they can never love… or else she’ll freeze their ass.   Chris Hemsworth once again plays The Huntsman, who is a member of Blunt’s trusted guard.  He tries to keep his relationship with his childhood sweetheart (Jessica Chastain, who deserves better) a secret, but predictably, Blunt finds out about it and drives the two apart.  Years later, the untrusting lovers reunite to bring down the queen (who is now questing to find her sister’s magic mirror) once and for all.

The Huntsman:  Winter’s War is Universal’s attempt to get some of that Frozen money.  It’s based on the same Hans Christian Anderson story, “The Ice Queen” and contains some similar imagery to Frozen (like Blunt’s ice castle).  If the original felt like a fairy tale version of Braveheart with its overstuffed battle sequences, this one seems like a fairy tale X-Men with Blunt playing the Magneto-type villain who uses her powers to right an unspeakable wrong.

I like all the performers involved (including Liam Neeson as the narrator), but the movie itself is a chore to sit through.  As with the first film, the cast is trapped in a jumbled narrative and surrounded by chintzy special effects.  Chastain and Hemsworth seem aware they’re on a sinking ship and keep themselves amused by outdoing each other with their hilariously overdone Scottish accents.  

There is one standout scene when Blunt deceives the two lovers and cleverly drives them apart, along with a few fleeting moments of enjoyable stupidity (like Blunt riding on the back of a domesticated polar bear).  Everything else is thoroughly dull though.  That includes the finale, which feels like something out of a comic book movie with Blunt’s Iceman powers vs. Theron’s half-assed Venom black goop. 

Also, how can The Huntsman: Winter’s War be about an evil queen who has killer freezing powers that has a last-minute change of heart and saves the day in the name of love and her final scene ISN’T a close-up of a single tear running down her cheek and freezing?  WTF?  DO I HAVE TO THINK OF EVERYTHING, HOLLYWOOD? 

AKA:  The Huntsman and the Ice Queen.  

AMANDA BY NIGHT (1981) ** ½

Veronica Hart stars as a madam named Amanda who is trying to make enough money to leave her life of sex work behind.  She’s shocked and appalled when one of her girls (Lisa De Leeuw) is murdered by a twisted john.  Pretty soon, more hookers wind up dead, and the cop on the case (Robert Kerman from Cannibal Holocaust and Spider-Man) fears Amanda just might be the next victim.

Directed by Gary Graver, Amanda by Night features a routine plot and so-so sex scenes, and yet it somehow came to be regarded as a classic of its type.  Its best asset is Veronica Hart’s sterling performance as the vulnerable but sexy Amanda.  She does a terrific job and is really the only reason worth checking it out.    

The all-star porn cast helps too.  Hart and Kerman have a lot of chemistry together, and it’s fun seeing Ron Jeremy playing another sleazeball character.  Unfortunately, the usually electric Jamie Gillis is stuck playing a rather dull (for his standards anyway) pimp character.

The sex scenes kind of run hot-to-cold, but I did like the one sequence where Graver contrasts the extremes of the life of a sex worker.  By intercutting a guy’s first time with Amanda with the kinky S & M scene of two dominatrixes whipping a masked, bound john, it nicely shows the range of what these ladies of the night are asked to do. The rest of the scenes are a bit of a mixed bag, with the potentially steamy scene of Kerman and Hart banging on a boat hampered by the lack of a money shot.  

Even if it leaves something to be desired, Amanda by Night will remain required viewing for fans of the beautiful Hart.

STRAY CAT ROCK: BEAT ’71 (1971) **

Furiko (Meiko Kaji) takes a murder rap for her boyfriend and goes to jail.  She later breaks out of prison and mysteriously disappears soon after.  Her sister gets their loyal hippie gang to help track her down.  They learn her boyfriend’s father is the mayor, who vows to make trouble for the gang if his son’s guilt is ever found out.  The hippies also discover the mayor has kidnapped Furiko in order to keep her quiet while he publicly grooms his son to be his successor.  After the hippies are run out of town by the pro-mayor citizens, they return to bust out Furiko.

Beat ’71 is the fifth and final chapter in the Stray Cat Rock saga.  They didn’t have part 4, Machine Animal on Amazon Prime, but since all these movies are mediocre at best, I’m sure I’m not missing much.  I only watched this series because I’m a fan of Kaji.  Unfortunately, she is kept off screen for most of the picture and spends a lot of her time locked in a prison cell.  Most of the movie focuses on the ramshackle family of homeless drifters than Kaji’s plight, which was a miscalculation if you ask me.  The hippie heroes are colorful, but the dramatics of their situation never quite hit their intended mark.  Also, the carnage they create pales in comparison to the other gangs in previous entries of the series.  (At one point, they Krazy Glue a guy to a chair.)  

The finale, set in an Old West town, is memorable although it comes a day late and a dollar short.  We also get a funny porno shoot that provides some (sadly, all-too brief) nudity.  The best part though was the performance by a groovy acid rock band, The Mops during a demonstration in front of the mayor’s house.  That’s still not enough to make you want to adopt this Stray Cat.  

AKA:  Stray Cat Rock:  Crazy Rider '71.  AKA:  Stray Cat Rock:  Violent Showdown ’71.  AKA:  Alley Cat Rock:  Crazy Riders ’71.