Angel III: The Final Chapter takes again a step to wrong direction and feels in most ways far less insignificant than the previous two installations, missing the roughness around the edges seen in the first part, and the value adding ideas seen in Avenging Angel.
In fact, with the lead actor once again downgraded to another actress, Angel III: The Final Chapter feels almost a separate movie in the series. While the lead Mitzi Kapture alone isn’t to be blamed for the shortcomings of The Final Chapter, it really did not help that she is previously known to me only from Silk Stalkings, a ridiculously cheap and plastic 90s TV-series that plagued the Finnish late night TV for years.
Despite its title, the series did not end up with The Final Chapter, with one more unworthy sequel released in 1994.
A sequel to the Angel, Avenging Angel picks up the story a few later after the events of its predecessor, with the heroine now off the streets and working as a lawyer. I found the setup interesting and the whole Angel character now much stronger: instead of being just a gun happy lolita on a revenge spree, she is well spoken, confident and intelligent. This coupled with her background and her street knowhow makes for an interesting character that at best writes itself.
Playing Molly (’Angel’) Stewart this time around is the gorgeous Betsy Russell who fits the role perfectly, and would be my pick of all the Angel actors. The tone of the movie is lighter than with its predecessor, and it introduces some actual comedic elements and segments I wasn’t completely sure were the series needed, but I didn’t mind them much either.
As a completely average (in a good way) 80s action comedy, Avenging Angel is by far the strongest and most entertaining movie of the series.
Angel, an exploitative, sleazy movie of a teen grade-A student gone prostitute ends up something of bore.
The first part of the (mostly unrelated) four Angel movies that were released in 1984 (this one), 1985 (Avenging Angel), 1988 (Angel III: The Final Chapter), plus one more attempt to milk the weak franchise, released in 1994.
Angel is mostly passable, but nothing really substantial enough to stick with the viewer for longer. The only really interesting part of the movie is its eccentric supporting cast, as well as the depiction of the 80s street life. The exploitation angle is strong in the marketing, but the end result is a bit tame.
A 1986 take on the women prison exploitation movies popular in the 70s, Reform School Girls aims to poke fun of the genre by playing with clichés and turning all the knobs all the way to 11. But it does so only partially.
All the prisoners are of course (adult) models tippy-toeing around the reform school dorm just waiting for an excuse to go to have a shower with the other girls, and Edna, the head of the ward pictured in that awesome poster is set to make everybody’s life miserable.
Women prisoner exploitations were already quite far fetched, super heavy on clichés and caricatures for characters, so the humor here falls very short. As in, not funny at all. But in its poor genre Reform School Girls is actually well above average, even if not successful as a satire.
The January Man is an odd one, starting with its casting. Not that the cast itself isn’t up for the task, but it’s just the combination of them that does not seem a typical selection for an a-list action movie. Same goes with Kevin Kline acting as the lead: he does the work adequately, but somehow I feel like he wasn’t among the top-5 choices for the role. This becomes obviously clear in the moments he is represented as a top notch cop; no matter how hard I tried, I could not buy it for a second.
Same goes for figuring out who the killer was, which would’ve taken me some giant leaps of faith and perhaps even more imagination than the writers had.
Although coming across more as an actor than an actual cop, there’s no denying that Kline possesses a great secret presence, and despite (or, thanks to) all the fluffiness the movie does make for a very easy, weirdly enjoyable watching experience.
A ton of low-budget movies were shot in Asia in the 80s with an international crew plus a few no name American actors to make an impression of an US movie passable enough for video distribution. The vast majority of these movies are Vietnam war reenactments or other action movies, and generally they are quite a disappointment with subpar production quality to them. While I steer away from these movies per rule that they are not in fact US productions, I’ve let some of these slip in if they on the surface make a convincing enough attempt of Hollywood cinema, and are at least partly US productions.
Silk may have for me to recheck this rule.
Shot in Philippines masqueraded as Hawaii, Silk is an appalling, soulless production that never grasped me even once. When the end credits finally rolled I noticed I hadn’t been even remotely entertained by the movie, nor did I know what the heck it had been all about, making Silk a total waste of time.
Too bad. I did enjoy the lush cover art.
A clique of rich kids run a secret society policing a high school and its students, and t
Canada – or USA lite as some pundits like to call it – felt in the 80s somewhere in between Great Britain and the States (a bit like Australia did as well) performing at times pretty convincing imitation of the Hollywood cinema, but more than often not really finding a tone of its own, and ending up sort of a poor man’s version of its US counterpart.
Mindfield is 100% Canadian product that got into this list for featuring one Michael Ironside who had already achieved a sizeable career in the US that would ultimately culminate in Total Recall (1990) that made him a household name and one of the definite baddies in the cinema history.
In Mindfield he also performs well, but anything else in the movie falls so far behind the expectations that it’s clear his talent is wasted here. Don’t let the nice poster or the scifi mind altering thriller blurb fool you – Total Recall this totally ain’t.
Pink Cadillac is one of those movies I watched at the very beginning of starting out this project, but it turns out I never got around reviewing it.
Turns out I remember at the beginning with Clint Eastwood as a skip tracer going after the trailer park beauty queen Lou Ann (Bernadette Peters) who has fled to Reno with a briefcase full of her husbands counterfeit money – but the second half with them battling together against a camp full of white supremists I’d totally forgotten about. Probably due to it being more forgettable and less impactful than the plot twists that preceded it.
So, Pink Cadillac is a totally enjoyable movie – but not quite as iconic as I remembered it to be.
Still, you can never go much wrong with Eastwood.
If many of the main stream movies gained in quality from being released towards the end of the 80s, the same goes for the indie movies as well. Had Robot Ninja been released in 1982 it would’ve probably been unwatchable mess, but now the overall production quality (for a low budget movie) and the 80s style of it makes it more enjoyable and definitely closer to something that one could consider as a cult movie.
Mind you, this is still not a good movie. It is totally stupid and silly, and mostly relying on totally overboard gory special effects, but it does have that guilty pleasure aspect to it that I can relate to some people enjoying. That being said, the movie wasn’t exactly my cup of tea.
There is a definite star in this show as well, though: A Commodore Amiga 500 home computer is present in many of the scenes, which alone makes the movie worth checking out for the fans of Amiga. I know you’re out there!
First of all I have to say that the vast success of 60s-80s Bond movies almost completely escapes me, so my love for movies taking creative notes from them will be quite limited.
But when The Soldier is not blindly mimicking Bond, it actually has a few quite snappy moments going for it.
When watching The Soldier you have to take it in the right way: watch it as a top-notch spy thriller and you will be likely disappointed. But frame it as a worn out, soft covered VHS tape you discovered at the end of a local gas station’s rental rack and you will likely get a much better mileage out of it.
By 1987 Arnold Schwarzenegger had already starred in the multiple movies that defined the action genre (Terminator, Conan the Barbarian, Commando), but it was Predator that really established him as the action star of the 80s.
Presenting us with a story of an alien humanoid life from travelling over to earth for recreational sports hunting (targeting humans), Predator is a mere B-movie ramped up to an A-level blockbuster hit by utilising all the top shelve talent Hollywood had to its avail at the time.
Similarly to Audrey Hepburn in Breakfast at Tiffany’s or Clint Eastwood in A Fistful of Dollars, with Predator Schwarzenegger reached a pinnacle where his character became immortal, and something that transcends human age and passing of time.
This is how we forever remember Schwarzenegger: as a 40-year old still very much in his top form, with a flat top haircut and boasting a magnetic screen presence the few extra years under this his belt and the confidence gained by finally silencing all the naysayers who said he could not cut it as a movie star.
Predator is an action movie that defined its genre so well that its formula still works to date, 35 years after Predator’s theatrical debut.
One of those dystopian wasteland movies, The Sisterhood brings very little new to the table but slightly improved production values over its early 80s counterparts, but still clearly falling behind of the fidelity seen in the Mad Max series of movies.
Here we follow a clique called The Sisterhood that possesses supernatural powers as they make their way through the wasteland trying to free the women captured by the evil tribes of the desert.
The movie consists mostly of driving sequences, shot in a sand pit of some sort with vehicles quite lazily modified of their 1970s and 1980s originals.
While Hollywood Cop was a pleasant surprise that turned all the entertainment knobs all the way to 11, and Young Rebels was an uttermost disappointment, Killing American Style luckily resembles more of the Hollywood Cop, but loses a bit in the action department.
Like other Shervan’s movie, every pumped up character feel like they’d been taken out of Mortal Kombat arcade game, and the action and dialogue are so overboard the movies feel more like parodies rather than serious action movies. Robert Z’Dar, Shervan’s square-jawed go to actor once again complimenting this theme as a menacing baddie straight out of a comic book.
A mountain man in mid 19th century Oregon builds a cabin to the Native American’s burial site and then revenges the death of his wife by kidnapping a woman from the tribe and killing the chasing tribe members with a repeater stolen from the vendor who lent his horse to him.
In the age of political correctness all the depictions with Native Americans seem a bit uncomfortable, and I’m not sure it Sacred Ground does justice to the Paiutes. I kind of like how the movie handles the disputable decisions of its caucasian lead – this is not the heroic, virtuous character often seen in classic Western movies – but I’d appreciated if the movie had included more the point of view of the tribesmen.
The real star of the show are the Oregon nature and mountains, and the movie captures well what I’d imagine the life there might’ve been back then.