If a group of vampires are determined to ruin your night, what should you do? Well, according to the classic Mexican film Santo vs. las Mujeres Vampiro, your first move should be to call a wrestler.
What to know more? Well, you can read my full review of the film by clicking here!
And you can watch the movie below because it’s today’s horror on the lens!
An odd little film, 1989’s Parents is.
It takes place in the 50s of the pop cultural imagination, with neatly laid out suburban neighborhoods and perfectly mowed lawns and big cars driving down the street. Nick (Randy Quaid) and Lily (Mary Beth Hurt) seem like the perfect couple. Lily stays at home and spends a lot of time in the kitchen. Nick is an engineer who works for a company called Toxico and who is helping to develop what will become known, during the Vietnam War, as Agent Orange. Nick and Lily are friendly, well-mannered, and they love to eat meat. Lily explains, at one point, that she didn’t really love to eat meat until she married Nick and he showed her how wonderful it could be.
Their son, ten year-old Michael (Bryan Madorsky), is a bit less conventional. He’s a quiet boy who never smiles and who, when asked to draw a picture of his family, freaks out his school’s guidance counselor (played by Sandy Dennis). Michael has frequent nightmares. Michael doesn’t like to eat meat and, in fact, it’s hard to think of a single scene in the movie where Michael is seen eating anything. Michael is haunted by the sight of his parents making love in the living room. He’s also haunted by a growing suspicion that his parents are cannibals.
Are they? Perhaps. It’s hard to say. The first time you watch the movie, it seems deceptively obvious that Nick and Lily are exactly what Michael says they are. The second time, you start to notice a few odd things. For one thing, we never see Michael actually going from one location to another. Instead, he just seems to magically show up wherever he needs to be to hear something that will confirm his suspicions. When his teacher and his guidance counselor discuss his home life, Michael just happens to be in a nearby closet. When his mother is preparing something that looks like it might be a human organ, Michael just happens to be standing in the pantry. Are we seeing reality or are we just seeing what Michael thinks is reality? When Nick starts to threaten Michael and later claims that there’s no way Michael is his son, is he really saying that or is Michael just imagining his fatherr confirming all of Michael’s insecurities? How much of the film is real and how much of it is in Michael’s head?
It’s an odd film, Parents. It’s also the directorial debut of character actor Bob Balaban. Balaban has spent the majority of his career playing shy, slightly repressed characters. Parents, with the withdrawn Michael as the main character, is a film that feels autobiographical. That’s not to say that Balaban’s parents were cannibals but the scenes where Nick goes from being a loving father to an abusive monster are too intense and suffused with too much pain for them to be anything other than personal. Balaban’s direction is heavily stylized. At times, it’s a bit too stylized but ultimately, it works. The final 30 minutes of the film feel like a nightmare that has somehow been filmed.
A satire of conformity and suburbia, Parents is also a portrait of an alienated child struggling to figure out where he fits into his family. He’s given the choice of either indulging in his family’s sins or living life alone. Except, of course, it really isn’t a choice. Nick expects Michael to do what he’s been told, no matter what. Randy Quaid and Mary Beth Hurt are both terrifying as the parents but, at the same time, Balaban makes good use of the fact that both of those performers — at least at the time this movie was made — were naturally likable. You want Nick to be the perfect father that he pretends to be and you share Michael’s anger and disillusionment when he turns out to be something very different.
Parents may be a strange film but it’s not one that you’re going to forget.
Here’s a few thoughts on what I watched this week!
(How’s that for a detailed intro?)
Allo Allo (Sunday Night, PBS)
This week, yet another attempt to smuggle the British airmen out of France failed. As usual, the plan was too complicated to succeed and the British airmen themselves remained cheerfully oblivious to the danger that they’re putting everyone else into. (“I say,” one of them said after missing his chance to get smuggled out on a fish truck, “When’s the next fish truck?”) This episode’s highlight was Crabtree getting to speak perfect English to all of the British airmen who had gathered in Rene’s Cafe before then switching back to his usual mangled French to speak with Rene. Episodes of Allo Allo are not particularly easy to describe but they almost always make me laugh.
The Bachelorette (Tuesday Night, ABC)
I don’t know. Going straight from one season of the Bachelorette to Bachelor in Paradise to another season of the Bachelorette is a little bit too much. It works better when there’s some downtime between the seasons. I have to admit that I was pretty bored with the premiere of the new season. I mean, the first episode wasn’t even over and already, I was having to listen to all of that crap about whether or not the men were there for “the right reasons.” The whole thing with Ryan getting kicked off the show felt very staged and pre-planned and Michelle seems like she’ll be canceling a lot of cocktail parties to get right to kicking people off the show. I think I’ve just been oversturated with this dumb show for the past few months.
Baywatch (Friday Afternoon, H&I)
H&I has changed up their schedule. Instead of daily showing of Baywatch, they now air a five-hour block on Fridays. I watched two episodes. They were both from the 2nd season and I remembered them both from when I binged the show a few months ago. The first episode featured Eddie trying to clear his name after being accused of assaulting a teenager. The 2nd was yet another episode where a mysterious woman stayed with Mitch while someone with a gun hunted for her. This seemed to happen quite frequently to Mitch but he never commented on either the strangeness or the familiarity of it all.
The Brady Bunch (Sunday Afternoon, MeTV)
I watched three episodes on Sunday while working on my Cry Macho review. The Brady kids were so self-centered that Alice quit. Greg conspired to make Marcia the head cheerleader. Marcia fell in love with a much older dentist and decided she was too mature to go on a date with a classmate. The Bradys were the worst.
Court Cam (Wednesday Evening, A&E)
I watched two episodes when I got home from work on Wednesday. One episode featured a loser who was arrested several times for pretending to be a traffic cop. Maybe he wanted to get on Parking Wars. Regardless of his motivation, everyone he stopped could tell he wasn’t a cop and no one treated him with the respect that he very loudly demanded. That was kind of fun to watch.
Day of the Dead (Friday Night, SyFy)
I finally watched last week’s premiere on Thursday and I reviewed it for the site.
Fear the Walking Dead (Sunday Night, AMC)
I reviewed the season premiere here!
Friday the 13th: The Series (YouTube)
Once Horrorthon is over and I have the time, I’m going to go back and binge this entire series.
Hunter (Weekday Mornings, ZLiving)
I watched two episodes of this surprisingly violent 80s cop show on Friday. I was also working at the time so the show mostly served as background noise. (I find having the TV on helps me to focus, oddly enough.) From what I did see, it seemed like an awful lot of people ended up getting shot. In fact, Hunter’s main personality trait appears to be that he’ll shoot anyone. (The second episode featured Hunter blowing away a psycho motorcyclist played by Don Swayze.) One thing I will say about the show, though, is that I love the propulsive music that plays over the opening credits.
King of the Hill (Weekday Afternoons, FXX)
I watched two episodes of Tuesday. In the first one, Bobby became a peer counselor and quickly started to abuse his position. This is actually one of my favorite episodes, even though Bobby definitely owed Stacy an apology. The highlight of the episode was Stacy singing, “I’m your Stacy in a bottle.” The second episode featured Hank visiting the Platter Ranch in Montana and discovering that Henry Winkler was refusing to allow the ranchers to herd their cattle across his land. Yes, that Henry Winkler.
The Office (Saturday afternoon, Comedy Central)
I watched some classic episodes from season 5. Dwight and Michael conducted corporate espionage against Prince Family Paper. Pam and Michael hit the lecture circuit. Stanley had a heart attack. Michael’s golden ticket promotion blew up in his face. I always say that this show started to go downhill after the third season but Season 5 was actually pretty good.
Open All Hours (Sunday Night, PBS)
This week’s episode was actually kind of charming, as it featured Granville dancing in the rain while holding a mop. For a second, it seemed like Granville might be something other than incredibly depressed. It didn’t last long but it was still good to see him vaguely smile. Of course, once the rain stopped, it was time to go back to plotting Arkwright’s death.
Saved By The Bell (Sunday Morning, MeTV)
I watched two episodes on Sunday morning. The first one featured Zack launching a hostile takeover of the student store and then secretly photographing all of the girls for a calendar. That was kind of icky but at least Kelly got a modeling career out of it. She even went to Paris, something that was never mentioned in subsequent episodes. This was followed by the infamous Running Zack episode, in which Zack learned he was Native American and Jessie demanded that Lisa forgive her for being from a family of slave traders. The important thing is that Zack was able to compete at the track meet. So cringey!
Silk Stalkings (Weekday Afternoons, ZLiving)
Agck! Where are Chris and Rita!? It’s been over a month since I last caught any episodes of this 90s cop show. I watched two episodes on Friday and Rob Estes and Mitzi Kapture were gone! Apparently, they left the show and were replaced by two other cops who had the exact same backstory as Chris and Rita. What a coincidence! Anyway, the show still featured the same mix of murder, sex, and attractive people getting undressed but these new detectives just didn’t have the same chemistry.
That said, both of Friday’s episodes were enjoyably sordid, featuring a lot of sem-clad, attractive rich people doing a lot of very bad things. It was fun! I may have to start binging this show.
Survivor (Wednesday Night, CBS)
I wrote about the latest episode of Survivor here!
Talking Dead (Sunday Night, AMC)
This week’s episode was a bit by-the-numbers. Even Chris Hardwick seemed to be struggling to pretend to be interested in either Fear the Walking Dead or Walking Dead: World Beyond, which was odd since both of those shows were fairly good this week.
Walking Dead: The World Beyond (Sunday Night, AMC)
This week’s episode was actually pretty good. It still feels like Christopher Pike’s The Walking Dead (or maybe Saved By The Dead) but this week’s episode actually did a good job of capturing the contrast between wanting to be a teenager while, at the same time, having to survive in a world that leaves you with little time to actually grow up.
First published in 1990, Christopher Pike’s extremely weird YA novel Witch tells the story of Julia Florence and her friend Amy.
Basically, Julia is the latest in a long line of witches. She has the power to see the future and to heal people, with the only problem being that, when she heals them, she takes their illnesses and injuries into her own body. So, if she heals someone who is on the verge of death, that means that she’ll be the one who dies. That’s what happened to Julia’s mother and Julia’s determined not to let the same thing happen to her. It seems like the simple solution would be to just not heal anyone.
But then her friend Scott gets shot during a convenience store robbery. Scott is in a coma and is going to die unless he gets some supernatural healing. Julia can either heal him or she can buy a gun (?), use her abilities to see the future, and go all vigilante in an attempt to take out the robber who shot Scott. Julia goes for the latter but then Amy discovers that the robber has a weird, kind of out-of-nowhere connection to a girl who was previously healed by Julia’s mother. And, she also discovers that there’s a coven of witches searching for Julia because …. well, who knows?
Anyway, it all comes down to whether or not Julia will risk her life to save Scott. Scott is an aspiring director and kind of an annoying guy, to be honest. But everyone is charmed by how annoying he is and he has a great future ahead of him, unless he dies.
Whatever will Julia do!?
This is a weird one. Between the witchcraft, the healing, the psychic visions, the high school drama, and the vigilante action scenes, one gets the feeling that Pike just threw random darts at a bunch of story points that he had taped to the wall and he pretty much just went wherever the darts led him. And don’t get me wrong. It is a little fun to see just how many different genres and plot elements that Pike could stuff into one book but the story itself is still a bit of a mess. There’s a lot in here and not all of it really comes together.
Plus, this is yet another Pike novel to end on a downbeat note. R.L. Stine wrote some pretty morbid books but he always ended with a joke. Pike’s books, on the other hand, always seem to end with the message that there is no such thing as a completely happy ending. Normally, I’m all for a book that ends on a down note but this time, after all the messiness that came before the ending, I really could have used a Stine-style one liner. Sometimes, the best way to deal with an existential crisis is to laugh your way through it.
This is a fun book that I came across at Half-Price Books two Decembers ago. It went right on my Christmas list and, ever since then, it’s a book that I’ve found useful many times.
As you can probably tell, it’s an encyclopedia, one that is devoted to detectives. You can’t have a good mystery without a good detective and this book proves that, with entries for fictional detectives, their creators, and the TV shows, movies, and books in which they appeared. It’s all written in a concise and lively manner, which is another way of saying that it’s a fun read. That’s especially true if you’re a fan of mysteries, as I am.
Now, I should mention that this book was originally published in 1994. Another edition came out in 1997. As far as I can tell, that was it. As such, a lot of the information in the book is a bit of out-of-date. Authors who have passed or who have retired are still listed as being very much alive and active. More recent detectives are not mentioned. (Sorry, Mr. Monk.) The original Magnum P.I. and Hawaii 5-0 get entries but not the reboots. There’s no mention of CSI and Thomas Harris’s entry is rather small, with no mention of the post-Silence of the Lamb Lecter films, largely because they hadn’t been made yet. You get the idea. But, even with that in mind, this book is still full of useful information, especially if you’re into the older, classic detectives or if you’re a history nerd like I am. (Trust me, if you have to choose between Wikipedia and reading a book that was actually written during the period in which you’re interested, go with the book every time.) What it doesn’t contain about recent detectives, it makes up for with information on Poirot, Holmes. Philip Marlowe, Mike Hammer, Sam Spade, and many others.
If nothing else, Encyclopedia Mysteriosa is a good starting point for those looking for a good mystery! And, if you’re looking for a little inspiration to maybe write a mystery of your own, this book may provie you with exactly the inspiration you need. There are several copies for sale on Amazon, all reasonably priced.
Also known as Seven Notes In Black, The Psychic is an Italian paranormal thriller that was made and released in 1977, shortly before the film’s director, Lucio Fulci, reinvented Italian horror with Zombi 2.
For years, Virginia (Jennier O’Neill) has been haunted by visions. When she was a child, she saw a vision of her mother jumping off a cliff. It turned out that, at the same time Virginia had her vision, her mother was doing exactly that. 18 years later, Virginia is living in Rome and she’s married to a wealthy businessman named Francesco Ducci (Gianni Garko, who also starred in several Spaghetti westerns). Virginia would seem to have the perfect life but she’s still haunted by disturbing visions. She sees an old woman murdered. She sees a wall being ripped apart. She sees a discarded letter. Is she seeing the past, the present, or the future? She does not know. Ducci insists that her visions mean nothing but Virginia is convinced that something is reaching out to her.
While Ducci is away on business, Virginia visits an abandoned house that her husband has recently bought. Virginia wants to renovate it but, as soon as she sees it, she realizes that the house previously appeared in her visions. When she investigates, she discovers a skeleton in one of the walls. With the police now convinced that Ducci is a murderer, Virginia tries to figure out the meaning behind her visions and looks for a way to clear Ducci’s name. Strangely, Ducci still doesn’t seem to be that concerned about any of it….
Along with Lizard In A Woman’s Skin and Don’t Torture A Duckling, The Psychic is a film that gets a lot of attention as an example of Fulci’s pre-Zombi 2 horror output. After Zombi 2, Fucli would become best known for making films that were full of gore and that often seemed to be deeply angry with the world. The fact that Fulci was also a brilliant stylist who created some of the most dream-like images ever to be captured on film would often be overlooked in all the controversy over the often violent content of his movies. One thing that makes The Psychic interesting is that, visually, it’s clearly a Fulci film. The cinematography is lush and vibrant. The visions are surreal and disturbing. However, there’s very little of the gore that came to define Fulci’s later films. Instead, the emphasis is on the atmosphere and the mystery. This is one of the few Fulci films that you could safely show an older relative.
Fulci was often (a bit unfairly, in my opinon) portrayed as being a cinematic misanthrope, as a director who little use for the characters that populated his films. That’s certainly not the case with The Psychic, though. Virginia is probably one of the most sympathetic characters to ever appear in a Fulci film and Jennifer O’Neill does a good job in the lead role. Even more importantly, Fulci seems to like her and, from the start, it’s clear that the film is fully on her side. The entire story is told through her eyes and she’s a character who you immediately root for. Like Fulci himself, she’s a visionary whose visions are often underappreciated until it’s too late. Though the film ends on a characteristically downbeat note (happy endings were rare even in Fulci’s pre-Zombi 2 films), Virginia is still allowed her triumph with one final and rather clever little twist.
The Pyschic is a bit slowly-paced but it’s still a far better film that many Fulci critics seem to be willing to acknowledge. (One gets the feeling that many critics resent any film that indicates that there was more to Fulci than eye damage and zombies.) It’s an entertaining and intriguing latter-era giallo and proof that there was more to Fulci than just blood.
The 2016 film, Shut In, is yet another film in which Naomi Watts plays an intelligent woman who is forced to do stupid things because, otherwise, there would be no story.
This time, Watts is cast as Dr. Mary Portman, a psychologist who is taking care of her stepson, Stephen (Charlie Heaton). Stephen was left in a vegatative state by a tragic accident that not only killed Mary’s husband but which also totaled a brand new SUV. Mary and Stephen are in an isolated house so there’s no way anything could go wrong, right?
Mary has a lot on her mind. Not only does she have to take care of Stephen but she’s also starting to date again. Plus, one of her patients, a child named Tom (Jacob Tremblay), has disappeared. She’s worried about Tom. He disappeared near her house and no one has been able to find him. Mary occasionally thinks that she sees Tom but her psychologist (played by poor Oliver Platt, who looks embarrassed to be there) says that Mary is just seeing what she wants to see. And when two little hands come out of the darkness to keep Mary from entering a crawlspace, that’s just a coincidence, too.
Right.
Because it’s not like totally obvious, from the freaking start, that Tom is hiding out in her house.
Now, before anyone gets excited, this film does not feature Jacob Tremblay as an evil child who torments Naomi Watts. (Jacob Tremblay is 15 years old now, just in case you needed an excuse to feel old.) Instead, it turns out that Mary’s tormenter is….
What?
Spoiler alert?
Really, I have to give a spoiler alert before revealing the most obvious twist of all time? How is that fair?
Okay, fine. SPOILER ALERT! Stop crying, you babies.
Mary is being menaced by Stephen, who it turns out woke up from his coma long ago and is now faking his vegetative state. That seems like that would be a difficult thing to fake but, whatever. Anyway, it turns out that Stephen has really enjoyed having Mary all to himself and he’s not really happy about the idea of having to share her with Tom. So, Stephen’s idea is to trap Tom in the crawlspace and hold Mary hostage. Or something. I don’t know. It doesn’t seem like Stephen’s really thought this out. Normally, that would be understandable because it takes a lot of planning to trap someone in a crawlspace while pretending to be in a coma. But Stephen spends all day lying around so he should have used that time to give a little more thought to his plan.
Eventually, Oliver Platt realizes that something strange is happening so he goes up the house to rescue her but — surprise! — Stephen kills him. Seriously, Oliver — you deserved better than this movie.
For that matter so does Naomi Watts. Watts is a good actress who can play both comedy and drama and yet, she keeps showing up in these movies where she basically spends the whole movie being held prisoner, either physically or mentally. She always does a good job in them and, when I first heard that Woman In The Window was being turned into a movie, she was my choice for the role played by Amy Adams but, still, Watts definitely deserves better than a by-the-numbers film like Shut In. Too often, the film requires Mary to act in a totally illogical, rather stupid manner. Watts does her best with the character but the script lets her down.
Along with being totally predictable, Shut In moves at a glacial pace. A lot of time is spent in an attempt to establish mood and atmosphere but again, the big twist is so obvious that no amount of mood and Kubrickian atmosphere is going to save it.. Shut In is a movie that very slowly takes us to exactly where we think it’s going to take us. Everyone involved deserved better.
Reviewing Fear The Walking Dead’s seventh and final season is going to be difficult for me.
You have to understand that I’ve only seen a few episodes of Fear The Walking Dead. I watched the first two or three episodes of the first season. Then I got bored. I tried to watch the second season. I got bored. I was determined to watch the third season but I changed my mind halfway through the season premiere. Again, I got bored Seasons 4, 5, and 6, I didn’t even try. I was exhausted with zombies and, even more importantly, I was exhausted with the world of The Walking Dead.
But I am going to try to watch season 7 because it’s the final season. With both The Walking Dead and Fear the Walking Dead reaching their conclusions, a pop cultural era is coming to an end. And so, despite not having the slightest idea what’s going on or who the majority of the characters, I’m going to attempt to watch and review Fear The Walking Dead.
Fear the Walking Dead‘s seventh season premiered last Sunday. I only got around to watching it today because I may be determined but I’m not particularly enthusiastic. “What,” I asked myself, “can this show possibly provide me with that The Walking Dead and countless other zombie films haven’t?”
As if to answer my question, Fear the Walking Dead opened with several atomic warheads exploding. Certainly, there have been other zombie films that have opened with nuclear bombs going off. Fear the Walking Dead, though, may be the first television show to do so at the start of its seventh season. On the one hand, the people incinerated did not return as walkers. However, those who died of radiation poisoning did. Seriously, that’s a terrifying through. Radiation poisoning is a bad enough way to die without spending the entire time knowing that, once you do die, you’re going to return as a zombie.
The majority of the show’s regular cast did not appear in the first episode, which was fine with me since I don’t really don’t know who any of them are. Instead, the episode centered around Strand (Colman Domingo), a regular character who had kind of set himself up as a warlord over the radioactive landscape and Will (Gus Halper), a wanderer who was eventually picked up by Strand’s men. At first, Strand had little use for Will but then Strand discovered that Will knew Alicia. I, of course, don’t know Alicia but this is all stuff for which I’ll have a better understanding after a few episodes. What’s important is that it was obvious that Alicia was important to Strand.
Fortunately, I didn’t really need to understand all of the backstory in order to enjoy this episode. The Beacon, as the premiere was entitled, was a visual triumph, with the nuclear hellscape becoming as important of a character as either Strand or Will. The inevitable battle between Will, Strand, and a group of walkers was also nicely handled, with the shadowy walkers emerging from a dark mist in a style that brought to mind John Carpenter’s The Fog. In this episode, the walkers were frightening in a way that they rarely were in the recent episodes of The Walking Dead.
As for Strand and Will, Domingo and Halper did a good job playing opposite each other. They’re both intriguing characters. Unfortunately, the script was full of clunky dialogue, which seems to be an issue on all of the shows that make up The Walking Dead universe. Still, the episode was visually impressive and well-acted so I’m going to continue to watch the final season of Fear The Walking Dead and, after a few more episodes, I will hopefully actually know what’s going on.
You’ve seen I Was A Teenage Werewolf….
You’ve watched I Was A Teenage Frankenstein….
Now, it’s time to watch How To Make A Monster!
Released in 1958, How To Make A Monster is a clever little horror satire from American International Pictures in which the stars of Teenage Werewolf and Teenage Frankenstein are hypnotized into believing that they actually are the monsters that they played! The main culprit is a movie makeup artist (Robert H. Harris) who has been deemed obsolete by the new bosses at AIP.
Be sure to watch for the finale, which features cameo appearances from several other AIP monsters! And read my full review of the film by clicking here!
The 1992 film, Rage and Honor, tells the story of two people from different worlds, who come together to kick ass and save a declining American city.
Preston Michaels (Richard Norton) is a cop from Australia who has come to America as a part of an exchange program. When he’s not working undercover, he’s supplementing his income by working as a bodyguard for what appears to be an 80s cover band.
Kris Fairfield (Cynthia Rothrock) is a teacher at the local high school who also moonlights as a karate instructor. She’s haunted by the death of her parents and the subsequent disappearance of her brother. She cares about her students, even though hardly any of them actually appear in the film. In fact, the whole high school teacher thing never really matters much in the grand scheme of things.
Preston and Kris are teaming up to take down spacey drug lord Conrad Drago (Brian Thompson). Conrad has a fierce mullet, a cocaine addiction, and a knowledge of all of the body’s pressure points. His girlfriend is Rita (Terri Treas) and the only thing that could possibly prevent Drago and Rita from taking over the city is a tape that reveals Rita and a bunch of crooked cops killing someone. Kris and Preston are trying to find the tape before Drago and Rita find it. Somehow, it all eventually leads to a homeless stock broker named Baby (Stephen Davies) and a weird fight club that’s run by Hannah the Hun (Alex Datcher).
It’s an incredibly silly film, to be honest. It’s the type of film where Preston gets shot once in the side and once in the leg and neither time does it slow him down. (He does mention that his leg hurts at one point but he never starts to limp or anything like that.) Kris, meanwhile, is given a tragic backstory that is explained to us in-between scenes of awkward comedic relief. Hannah goes from being a calculating villainous to a heroic ally, without the film attempting any explanation as to why. Meanwhile, despite Brian Thompson’s best efforts to be menacing, Conrad is written as being some sort of flakey, New Age drug dealer. He’s about as intimidating as the biggest guy in a drum circle. There’s really not much rage or honor to be found in Rage and Honor.
And yet, it was impossible for me to dislike the film. Every time Cynthia Rothrock did a flying kick and sent some jerk flying, the film won me back. Unfortunately, she didn’t really get to do as much fighting as she should have. She had to share the screen with Brian Thompson and Richard Norton, who both received fight scenes of their own. All three of them looked good fighting but Cynthia was the clear star. What she lacked in actual acting ability, she made up for with pure enthusiasm. Watching her, you realized that she was not only good at fighting but she enjoyed it as well. For all the film’s flaws, Cynthia kicked everyone’s ass and that’s really all that mattered. It was empowering and, even more importantly, it was a lot of fun to watch.
Go, Cynthia, go!
Previous Guilty Pleasures
Through the Shattered Lens 