Bikini Bandits Experience

Title: Bikini Bandits Experience

Director: Steve Grasse

Released: 2002

Starring: Maynard James Keenan, Dee Dee Ramone, Jello Biafra, Corey Feldman, Peter Grasse, Larry McGearty, Bret Reilly, Heather-Victoria Ray, Heather McDonnell, Betty San Luis, Cynthia Diaz, Robyn Bird, Clark O’Donnel

Plot: Following the Bikini Bandits a four strong gang of bikini loving, muscle car driving and machine gun welding bad asses, as they embark on a series of ever more random adventures, which see them being sent to hell and even traveling though time.

Okay I couldn't find a trailer, but this is pretty much what the whole film is like

Review: Honestly I originally had zero plans to review this film, happy to write it off as another zero which failed to turn out more. However since that original viewing something strange happened as I found myself still thinking about the film and frequently finding myself talking about it to other cult cinema fans, about this film which is honestly largely a horrible mess, yet at the same time projects an aura that somewhere in this hour long jumble of ideas and random plots there was something special lurking under the titillating and confused surface.

Originally the Bikini Bandits were launched as a series of short films via the now defunct Atomfilms.com and would be there that the series slowly gained a cult following of sorts as the girls embarked on a series of increasingly random adventures the majority of which have now been edited into this film. At the same time they have also been padded out with new shorts which see director Grasse taking stabs at American consumerism via home shopping commericals for the fictional conglomerate Gmart, aswell as going off on further random tangents with the beyond creepy “Morning Yoga” and the seemingly shot on the cuff “Zembo” segments were a fez wearing Zembo basically harasses unsuspecting members of the public about if they know who the Bikini Bandits are. Needless to say with the exception of the Gmart segments which also features a John Waters Alike who along with his fellow host stop them from seeing like yet more filler thanks to their tone perfect performances.

Due to the film essentially being a best of collection of those original shorts loosely tied together with increasingly random filler, the film is unquestionably disjoined to say the least and makes for an experience similar to watching TV while your ADD suffering friend frequently flicks through the channels. At the same time the various misadventures the bandits find themselves on haven’t been developed beyond their original shorts so hence most of the adventures revolve around the girls finding themselves in an interesting situation before Grasse turns it into yet another excuse for cheap thrills as the stories are often suddenly ended with the girls engaging in some form of Andy Sidaris inspired slap and tickle or tormenting whatever male character happens to be nearby. Of course such antics are not only kept to the Bandit segments as they also make up a series of mock adverts for muscle cars, which generally consist of bikini clad ladies welding guns and draping themselves over the car. Still if this wasn’t enough titillation for you already, we also get the “Imports Suck” segement which consists solely of bikini clad ladies taking sledgehammers to a car….still whatever floats your boat right. How much of the film was inspired by the films of Andy Sidaris who essentially pioneered the Girls and guns film with the likes of “Return to Savage Beach” and “Hard Ticket To Hawai” its hard to say especially when it also seems to be a questionable homage to as well as grindhouse cinema, if perhaps with none of the style that Rodriguez and Tarantino brought with their own homages which kick-started the Neo-grindhouse genre.

The only developed story we do get being “Bikini Bandits Go To Hell” thanks to its original multipart structure which sees the girls being the girls being tasked by Giant penis codpiece wearing Satan (Keenan) to deflower the Virgin Mary or face being forced to watch 80’s favourite Corey Feldman dance for all eternity. It is probably around this point were most people will choose if they stick with this film or not, especially when Grasse doesn’t seem to give much a damn about who he offends, as he frequently it would seem is aiming to offend whenever possible. This in turns leads me to my main peeve with the this film in its frequent use of the word retard, with the apparent thinking that the mental handicapped make for the best source of amusement, especially with two of the stories revolving around such characters. The film though is always at its strongest when playing things straight and not aiming for such crude stabs at comedy, while these misfire attempts at comedy can't help but bring to mind "The Underground Comedy Movie" which was yet another underground series turned into a feature with equally questionable results.

Surprisingly for such a T&A focused film the performances aren't overly bad, even if the girls are hardly being forced to do anything overly challenging performance wise, which can’t be said for most of the male cast, who often end up coming off like crude and overplayed but then the majority are played by Grasse’s brother Peter so chances are that Grasse was saving budget by having him play so many roles. Rounding out the cast though we do also get a number of interesting musical cameos with Tool frontman Maynard James Keenan really giving a standout performance as Satan, while Dee Dee Ramone makes for an interesting choice to play the pope, especially as he doesn’t exactly seem to know where he is as he bumbles from through his lines. Elsewhere we also get Dead Kennedys frontman Jello Biafra appearing as a sleazy porn producer which sadly sees him majorly underused.

The most interesting casting choice here though is Corey Feldman appearing here as, well err…himself. What makes his appearance here so interesting is just how clear it is that he had no clue what he was signing up for, which is only made the clearer when Grasse includes what appears to be footage of an unsuspecting Feldman slagging off the film and making comments about what a piece of trash it is and how he’s been made to look like a joke. True it’s hard to fault his reasoning especially when his contributions are so random and range from him busting some Michael Jackson style movies to having a drag race with an overweight Mexican masked wrestler. However when combined with the rest of the film it hardly seems out of place especially with the logic that this film runs on. On the whole though it is hard to tell if his casting was out of an obsession with his 80's glory days and that having cast him realised that they had nothing for him to do, of if it was to truly see what they could get away making his current career stalled self do.

Despite running for a mere 60 minutes the experience does feel a lot longer, yet it is hard to fault that there is still something about this film, in much the same way that there is with films like “The Room” and “Boardinghouse”. True it might seem like it is intentionally trying to emulate the so bad its good style of those films, but this film has enough weird ideas and general titillation to make it the sort of film that’s fun to dig out and maybe freak out your friends with.

Rewind This!

Title: Rewind This!

Director: Josh Johnson
Released: 2013
Starring: Atom Egoyan, Jason Eisener, Frank Henenlotter, Charles Brand, Cassandra Petersen, Mamoru Oshii, Shôko Nakahara

Plot: Charting the cultural and historical impact of VHS, as it changed the way films were not only made but distributed, while at the same time also meeting the fanboys who ensure that the legacy of the format continues to live on. 

 

Review: Previously as part of my review for “Xtro 2: TheSecond Encounter” I talked about my love of old school video shops, which sadly are non-existent here in the UK outside of Blockbuster who continue to fight on, despite pressure from the online rental brands like Lovefilm and Netflix who constantly threaten to take them over. These old school shops, as especially true in the case of my own local “The Video Bug” would rarely get rid of any tapes and instead just build more bookcases or stack them up to the ceiling, in turn providing a wonderland of colourful cases and frequently graphic covers and film stills, which I would spend hours just looking through these covers and imaging the delights which they contained within. Needless to say VHS like Vinyl has always had the kind of presence and strange allure that DVD or Blu-ray has never quite been able to replicate and it’s a love for this now defunct format that this debut documentary from Director Johnson sets out to explore.  

Needless to say this is not going to be a documentary which is for everyone especially as it’s essentially a VHS fans wet dream, providing not only tantising clips of forgotten cult classics like Leslie Nielsen’s “Bad Golf Made Easier”, “Street Trash”, “Black Devil Doll From Hell”, “Crime Hunter” and Bubba Smith’s workout video “Bubba Until It Hurts” to name but a few of the wealth of titles featured here. Like  “Not Quite Hollywood” and “American Grindhouse” this is also a documentary fuelled by the wealth of footage it offers and the untapped enthusiasm from the diverse range of interview subjects from directors like Frank Henenlotter (Basket Case), Mamoru Oshii (Ghost In The Shell) and owner of Full Moon Features and cult cinema legend Charles Brand through to personalities like Cassandra Petersen (Better known as Late Night Horror hostess Elvira) and actress Shôko Nakahara (Visitor Q) who openly sites VHS copies of Jennifer Connelly movies as being the inspiration for her becoming an actress. Elsewhere the film is also rounded out by colourful interviews with collectors and bloggers who are often eager to share their favourite tapes from their collections as part of a subtle game of collector one upmanship.

These interview subjects are of course just really a taste, as to list everyone featured would no doubt add an extra page onto this review. The range of subjects though only continued to surprise me as the documentary went on, while certainly hitting a high with the inclusion of the always deliriously enthusiastic Frank Henenlotter who as always is on fine form here, as he proves himself not only a devoted fan but also a great source of insights while also providing many of my favourite moments as he disregards criterion covers as “Boring”, while citing the cover of “The House of Whipcord” as an example of a good cover. Still lets not forget though that he also gave the world the wonderful talking case for “Frankenhooker” which screamed “Want A Date” when you pressed the button on the case, something fondly remembered by several of the interviewees despite none of them including Henenlotter having a copy with a working button, no doubt due to them being burnt out by over enthusiastic film fans years earlier.

Despite Johnson clearly trying to ensure as diverse range of subjects are featured as possible, I couldn’t help but notice the absence of Quentin Tarantino who I felt would have been an obvious choice, especially with his video store background let alone his well-documented love for the films of the VHS era. At the same time critics such as Brad Jones (The Cinema Snob) and Noah Antwiler (The Spoony Experiment), let alone UK critics like Mark Kermode or my own film critic hero Kim Newman though he does include another of my heroes Tom Mes. While it is understandable that to stop the documentary spiralling off into a five hour film by trying to include everyone’s view point there has to be a limit, but despite this Tarantino’s absence is still left a puzzling one.   

Ignoring the traditional and preferred use of voice over to provide a framework, Johnson instead makes the bold choice of allowing his interviewees tell the story of VHS, with their individual stories coming together and frequently complementing each other to provide a rich history for the format, especially with Johnson looking at it from seemingly every conceivable angle, with even a brief look at how VHS took porn out of the XXX theatres by providing the discreet alternative for its clientele while in turn blowing the business into the multi-million dollar industry it has become today.

While this might be a nostalgic look back, Johnson still ends the film looking positivly towards the future as enthusiasts continue hold movie nights celebrating the forgotten films still only available on VHS. It is during this portion of the documentary that we also meet the force of nature which is David “The Rock” Nelson the rabidly independent film maker still shooting on video making ultra-low budget monster movies, earning him the reputation of being the modern day Ed Wood as he cranks out such colourfully titled shorts like “The Devil Ant” and “Dracula vs. Sodom Insane”. A truly unique personality to say the least, his appearance might be a little too much for some viewers and thankfully Johnson doesn’t allow his appearance to overshadow the rest of the documentary or run to the point of irritation, much like so many of the bigger personalities featured here who only come off the stronger thanks to Johnson maintain a strong focus on what’s important to the story he is telling and what is just fan boy over enthusiasm.

Despite being an obvious love letter to VHS, the documentary still remains accessible to the uninitiated who might be curious about what the fuss is all about, while at the same time providing enough insight into the phenomena that there is still plenty of interest to those like myself who still fondly hold onto their VHS, when most folks have already sent theirs to the great landfill in the sky, meaning that numerous titles which never got transferred to DVD could potentially have disappeared for ever, making the role of collectors only all the more vital as the documentary further serves to highlight as archivist Caroline Frick soberly points out while worrying highlighting the potential risk of lost titles should these tapes be left to deteriorate.

True the appeal of this documentary might be limited, but for cult cinema fans and converted VHS enthusiasts I can’t recommend this film enough, as its worthy of a place in your collection, while no doubt giving you a new host of titles to hunt down, which for myself is always the sign of a good movie documentary and while it might not be the most high profile release of the year it is none the less essential and well worth hunting down.

The Sexy Killer AKA The Drug Connection

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Title: The Sexy Killer / The Drug Connection

Director: Chung Sun
Released: 1976
Starring: Chen Ping, Yueh Hua, Szu Wei, Tien Ching, Chaing Yang, Chan Shen, Lin Feng, Li Peng-fei

Plot: When nurse Wan Fei’s (Ping) sister is hooked on heroin and abused by local drug dealers, she takes justice into her own hands as she sets out to take on the Hong Kong crime syndicates responsible.

Review: With such a provocative title it’s more than obvious what caught my attention about this little seen exploitation movie from the legendry Shaw Brothers Studios who unknown to most people including myself until lately, didn’t just make the Kung Fu movies they are probebly best known for, but also dabbled in a number of other genres such as this exploitation cheapie.

Essentially a Hong Kong remake of Pam Grier classic “Coffy”, while the plotting here is paper thin and more of an excuse to show what frequently felt like a stream of nudity, soft-core sex and of course being the Shaw Brothers a healthy dose of Kung Fu action. This of course is the standard fodder for Ping who like Grier specialised in playing tough feisty ladies, while at the same time not adverse to the occasional  shedding her clothes, as we not only see here, but in the handful of sexploitation movies she did over the course of her career. True she might not be as strong an actress as Grier which it is hard to not draw comparisons to especially with the plotlines being so similar, let alone both ladies affection for a shotgun.

 

Opening with a particularly sleazy scene of Wan Fei’s sister being drugged and subsequently used by a couple of sleazy gangsters, the film essentially establishes the tone within the opening minutes, while Wan Fei sets out on her quest for revenge with a strangely confident stance which sees her not only being able to weld a mean shotgun but also infiltrate gangs disguised as a prostitute with little trouble despite from all apperences having any kind of training of any kind to assist her other than pure guts and grit it would seem. Okay perhaps the plot in this respect should be taken with a pinch of salt, especially when the plotting is as paper thin as it is, while Ping has enough presence on the screen to pull of the role even if Grier does it better.

Director Chung seems to relish the sleazy atmosphere he creates here, especially when he frequently seems to be finding new ways to add to the films already high sleaze quota including a drug baron who likes introducing prostitutes to his home torture chamber and while Chung occasionally pushes these more risqué moments, there is ultimately nothing too shocking almost as if he was keen to not lose the film amongst the ranks of the numerous Pink movies being produced during this era. Still with such focus on the exploitation elements.

Despite the care free attitude towards nudity it is pretty surprising how largely restrained the violence is here and never exceeds what we have to come to expect from the Kung Fu output of the Shaw Brothers. Still despite being more restrained with the violence, the action scenes are not hampered as a result with Wan Fei proving herself rather handy with her shotgun, aswell as her dagger bracelet. Needless to say Wan Fei does kick a lot of ass while the ending while perhaps more subtle than you expect from this kind of movie is none the less satisfying which includes an exploding waterbed none the less, as she proves not for the first time that hell truly hath no fury like a scorned Wan Fei.

While its true that other similar films may have done this better such as “Sex and the Fury” or the “Sister Street Fighter” trilogy, but there is fun to be had here none the less, even if it is disposable at best. Ideally watch this as a warm up in a double bill as on its own will no doubt leave you wanting something alittle more satisfying.

Thank God It's Friday

Title: Thank God It's Friday

Director: Robert Klane

Released:1978

Staring: Jeff Goldblum, Marya Small, Chick Vennera, Mark Lonow, Andrea Howard, Ray Vitte, Chuck Sacci

Plot: Set over the course of one night at the hip LA night club “The Zoo” following the intertwining stories of the patrons and staff on the night of their big dance contest.

Review: "Thank God It's Friday! is the greatest Disco movie ever made! Now no doubt there will be those of you who will immediately question such a statement by immediately bringing up disco mainstay “Saturday Night Fever” the movie which most folks would (misguidedly)  bestow such a title upon and it’s unsurprisingly seeing how that film has over the years since it’s release has become such a cult movie spawning Broadway musicals, a soundtrack which is reportedly the best selling soundtrack album ever, a really questionable sequel directed bizarrely enough by Sylvester Stallone let alone the numerous imitators which followed in it’s wake including the cringe worthy “Xanadu” a movie doubly painful for myself being the huge ELO fan that I am. “Thank God It’s Friday” (TGIF) is certainly not one of those imitators as it surpasses “Saturday Night Fever” (SNF), not only in terms of the story, but especially with the soundtrack were it substitutes The Bee Gee’s for the much cooler choices of “The Commodores” and disco legend Donna Summer, both of which also get to play prominent parts in the film, with “The Commodores” playing themselves as the club’s headline act, while Donna Summer plays aspiring disco singer Nicole, which essentially is a way to link in her performance of “Last Dance” which Summer would go on  to win the “Best Song” Oscar for….hmm now where’s your Oscar SNF??

The cast of characters are a certainly a colorful bunch to say the least, including the uber sleazy Tony Di Marco (Jeff Goldblum) who uses the club as his personal pick up joint, Jackie (Marya Small) who by day is a dental hygienist and drugged up disco freak come the weekend and the self confessed leather man as well as spontaneous disco dancer Marv (Chick Vennera) to name but a few of the fun characters we meet through the course of the night as they all pursue their own personal goals of hooking up, dancing or just trying to get to the club as in the case of the Floyd (DeWayne Jessie) the roadie for “The Commodores” who frequently can’t seem to catch a break as he tries desperately to get to the club in time for their set. Still despite the numourous story lines the main story at the heart of the film is that of the young straight edge couple Dave (Mark Lonow) and Sue (Andrea Howard), celebrating their wedding anniversary and end up going to “The Zoo” after an impulsive decision to go dancing by Sue. What soon follows is their wide eyed induction into the crazy disco scene, as Sue finds herself the target of Club Owner Tony’s advances after he makes a bet with The Zoo’s resident DJ Bobby Speed (Ray Vitte), meanwhile Dave is soon taken under the spaced out wing of Disco freak Jackie who soon has him hopped up on drugs and referring to himself by his new alter ego “Babbakazoo”.

Despite being a largely no name cast with the always enjoyable Goldblum being pretty much the only named actor making another memorable early appearance, having only just established himself as an actor after playing various bit roles including his memorable debut as one of the thugs in “Death Wish” . Still despite the lack of named actors, all of the cast are more than believable in their roles even when it comes to the more flamboyant and fantastical characters which could easily have turned out irritating such walking punchline such as Gus (Chuck Sacci) who not only has a serious temper, but also the questionable catchphrase of “You bet your sweet ass your sorry” when not looking for his date, as he sets about causing random acts of destruction or just generally threatening anyone who happens to bump into him, in what is just one of the numerous running jokes, aswell as Floyd’s constantly being stopped by the cops on his way to the club or just people constantly crashing into Tony’s Porsche. A car which he seemingly loves almost as much as himself. Thankfully Director Klane restrains from running them into the ground just because they prove to be funny more than once. The humour of the film really is an advantage that TGIF has over the other disco movies, a key ingredient that would be missing from many of the other disco movies, which tended to play to more straight as if trying to provide a snapshot of the disco era, which arguably is somthing that TGIF also does better not only capturing the funky sounds and certainly questionable fashions of the era, but also feels so self contained, almost like a postcard from the era as it almost perfectly captures the year of it’s release on film, as Director Robert Klane feels free to move through the club as he pleases stopping off with one character before moving on to the next to help carve a colourful and fun picture of the disco scene, while also using real nightclub “Osko’s” which not only boasted four dance floors but also an ice cavern themed room known as “The Cave” all of which can be seen throughout the film (including some brutal footage of the club’s strobe lights), as can the club’s owner Osko Karaghassian, who puts in a cameo as a club bouncer. The club has however since been demolished making this film perhaps the only real document of the club’s existence.

The other advantage the film has is it’s refusal to turn into a moralistic tale about the dangers of drugs or promiscuous sex, by flat out refusing to let anyone spoil the fun by becoming overly serious, instead focusing on leaving you with the same euphoric feeling of a great night out and it largely succeeds even with the majority of the mainstream (for it’s time) humour and numerous storyline that Director Klane somehow manages to juggle throughout.

Sadly the film would prove to be both a critical and commercial failure, with film critic Leonard Maltin, not only rating the film as “BOMB” but also going on record to say that it was “Perhaps the worst film to ever win any kind of Academy Award” but then this is the same man who didn’t get Fulci’s “The Beyond” either. Today it seems that the film has largely forgotten and it was only by chance that I stumbled across it on late night TV and this also can also be seen with it’s current availability, with the film currently only been released on region 1 DVD which is good news If you have access to a multi region DVD player or live stateside, otherwise it can be picked up pretty cheap on VHS for those of you like myself who never threw out their Video players when the rest of the world upgraded to DVD.

While other clubbing movies would follow in the wake of the death of Disco all trying to create a time capsule of the clubbing scene they represent such as “Human Traffic”  and it’s portrayal of the 90’s clubbing scene or Avangelina Ao’s little seen “Nightlife trilogy” (for those of you who like underground indie movies), would come close yet ultimately would get caught up with their genre restrictions, while even the biopic “54”  about the famous New York club “Studio 54” also fell foul of bringing morals into the actions of it’s characters, rather than focusing on the decadence the club was more famous for and perhaps this is what makes this such a special and unique film and worth watching for what is truly the essential snapshot of the days of disco.

The Long Lunch

Title: The Long Lunch
Director: Antony Redman
Released: 2003
Staring: Jeanette Cronin, Ian Bliss, Vice Gil, Alex Menglet, Victor Rodger, Steph Song, Conroy Chan, Teik Buck Ooi, Edwin Pang, Li Yang

Plot: Five Hardened criminals plotting their next big robbery, meet at a Chinese restaurant unaware that the staffs have overheard their plans and soon making plans to hijack their heist, in a bid to save the restaurant owner whose debt to a local triad gangster threatens to put them all out of business and all before the bill is paid.




Review: “The Long Lunch” might possibly be one of the most obscure movies I have reviewed here on the blog, seeing how there is no Wikipedia pages about it, seemingly no other reviews (outside of a couple of minimalist Amazon reviews) and even the IMDB page is nothing more than a synopsis and cast listing, which is especially suprising seeing how even the most random pieces of cinematic trash and student films usually get more activity than this.

I originally stumbled across this latest find at a car boot sale (essentially the same principle as a yard sale) a few months back and since then it has sat in the watch pile taunting me with it’s intriguing plot and cover (especially the character in the giant costume head). So in a bid to finally clear some out some of the VHS I have amassed, most of them picked up with every good intention of reviewing them, only to get distracted by other films, I finally decided to watch this one and the results were mixed to say the least.

This sole feature film of Australian Director Redman, whose background is predominantly in advertising, who according to his IMDB profile has won awards at nearly every major advertising award show around the world as a copywriter aswell as art / creative director, before switching to directing commercials were he was named “one of the hottest new directors” at the Cannes Advertising Festival in 1997 (yep I never knew that existed either) and yet despite shooting advertising campaigns, for Sony, Audi, Carlsberg, Sprite, Kia and Sunsilk still remains an unknown to most of us bar those who I guess obsessively research their favourite adverts to find out the directors.

Still advertising has produced many great directors in the past including such visionary directors as Spike Jonze, Mark Romanek and David Fincher and like them Redman also processes an eye for visual flair with his direction, which he brings to the film as he intercuts shots with video game footage and karaoke screens to help tell his story, with the whole film clearly shot with the intention of giving it more flair and style than the usual run of the mill thriller, with Redman also clearly being another director keen to imitate the pop culture cool of Tarantino, yet like many of the imitators he too suffers from lacking Tarantino’s ear for dialogue.

Opening with an unnamed triad (Yang) performing his own brand of liposuction intimidation on the restaurant owner (Pang), before disgustingly drinking the contents of the liposuction jar, a technique he later confesses to being pure improvisation and even name checking this technique as being the same one used by Robert De Niro, though honestly I can’t remember seeing De Niro ever drinking the contents of a liposuction jar. Still if this doesn’t have you reaching for the eject button, you soon get to meet the hardened criminals at the centre of the films plot who also frequently push the boundaries of taste, while also your usual bunch of colourful characters, who it would seem are sadly all surface colour as we never really get to learn much about who these characters are, or what their backgrounds are outside of their individual skill sets. The same can also be said for the restaurant staff planning to rip off the crooks, who include a moody waitress (Song), a roast duck obsessed chef (Chan) and a crazy ex Hong Kong Cabbie (Ooi) who like the crooks remain painfully undeveloped and nothing outside of the surface gloss.

These plus and minus qualities continue throughout the film as it frequently feels that with every good point, it will usually being followed closely by a negative point, hence we get colourful yet under developed characters, a great ending only to then have a clumsier one tacked on the end, which seems for some reason to be trying to attach some kind of confused half assed moral message to the film. We also get a great setup, yet the film is frequently sewn together with clumsy scenes, so that while the main action of the plot is unfolding with scenes of the crooks discussing random subjects such as bird nest soup with none of the aforementioned Tarantino cool it’s clearly trying aim for and with seemingly no point but to show what they are doing while the restaurant staff rip off their heist.

The film all looks very nice and despite being shot on what would seem to be an indie budget still looks great and despite a strange leaning towards giving it a grimy feel, with the scuzzy highlights including a loveless fuck against an arcade machine (while still playing the game no less) it thankfully never slumps to the sleazy depths of nearly every British gangster film of late, with the few actions scenes all being handled well, even though it ultimately feels a little hollow, with a twist towards the end looses a lot of it’s power, thanks to it raising more questions regarding it’s plausibility, even to the least nitpicking of viewers.

Ultimately the film does show a lot of potential for Redman and while he has yet to follow it up, it would be nice to see something a little more polished and focused from him in future, especially with his talent very much being comparable at the moment to the penny in the pile of shit and with a decent editor or more firm studio head behind him, he could potentially be a director worth watching more from, should he ever decide to break away from advertising again, which looking at his IMDB page wouldn’t seem to be anytime in the near future. Still if you can find it and willing to watch with an open mind, there is still fun to be had here but it’s one best approached with caution.