Cult-Tastic: Warrior Women

The Arena (1973) / The Hot Box (1972) / The Barbarian Queen (1985) / TNT Jackson (1974) / Silk (1986) / The Sisterhood (1988) / Caged Heat (1974) 

The Arena (1973) Sharp tale of ancient Rome, with Pam Grier and Margaret Markov as female gladiators leading the rebellion and fighting a way to freedom. Persuasive production values, visceral action sequences and fluid widescreen visuals aided by an effective score.

The Hot Box (1972) Equal parts bluntly effective action drama alternates with awkward production and performances as four nurses are kidnapped by freedom fighters and end up fighting for the revolution. Explosions and the final river battle divert interest.

The Barbarian Queen (1985) Luridly misogynistic or feminist empowerment, the argument of perspective is more interesting than the film itself. Lana Clarkson seeks revenge and to rescue her sister, a journey punctuated by bouts of violence but little humor or involvement.

TNT Jackson (1974) Though never exactly dull, a murkily made slice of blaxploitation and female empowerment that never really involves or amuses. Remembered for a topless fight, Jeannie Bell embodies the 70s groove and of course won the first (and only) Ebony Fist award!

Silk (1986) There's an interesting character buried in the narrative shakiness and dreary filmmaking, a female variant on Dirty Harry, portrayed with fierce intensity by Cec Verrell. The story is throwaway but provides actions and explosions.  An inferior Silk 2 (1989) recast and added nudity.

The Sisterhood (1988) Dystopian action that infuses its desolate landscapes and explosive fights with an intriguing setup as the primal, ruling male society is threatened by women with intuitive, natural powers. Thematically confused, yet the potential resonates.

Caged Heat (1974) With its wild mix of the bracingly surreal, bluntly violent and surprisingly comic, a defiantly constructed women in prison movie, yet made with cinematic flair both visually and aurally. Jonathan Demme's directorial debut is gratuitous and good fun.

Films: January 30 - February 5

Time Lapse (2014)

Molly's Game (2016)

The Witch (2016)

That Wonderful Urge (1948)

Det sjunde inseglet (1957)

Coherence (2013)

Jungfrukällan (1960) ///

Time Lapse (2014) Enjoyably mind-bending time travel thriller centered on a camera that takes a photo 24 hours into the future and how three friends quickly fall apart with greed and violence. Always surprising and made with a smoothly cinematic feel that transcends restricted locations.

Molly's Game (2016) A principled Jessica Chastain is abused by the excessive wealth of private card games and faces off against the US government. Typically fluid and smart Aaron Sorkin dialog and glossy, fleet-footed filmmaking can't compensate for the lack of real emotion and involvement.

The Witch (2016) A studied, mesmerizing combination of painterly composed visuals and dreamily off-kilter sound design build an edgy tale of family disintegration, awakening feminism and bloody witchcraft in Puritan New England. Gnawing unease engenders primal scares.

That Wonderful Urge (1948) Routine romantic comedy as Gene Tierney's wealthy heiress turns the tables on gossip reporter Tyrone Power. The power plays of social and sexual politics never rise above the perfunctory, though minor laughs manage to break through. Both stars remain beautiful.

Det sjunde inseglet (1957) Compelling, sometimes bleak, more often poetic, a surprisingly literal search for God as a knight returns from the futility of the Crusades to face the wasteland of a horrific plague. Humour and violence contrast with a need for humanity before the final chess move.

Coherence (2013) An improvised, naturalistic dinner party setup deceptively develops a twisting narrative as a passing comet throws lives into multi-dimensional confusion. Style threatens to become tiresome, yet by the third act the smart surprises turn unnerving and deadly.

Jungfrukällan (1960) Intense and poetic, the pureness of the visuals contrasts with the savagery of rape, murder and revenge. Max Von Sydow towers over the tight narrative, personifying the guilt and questions of faith that courses through all the characters. Still gripping and vital.