Films: April 4 - 10

Panic (2000) / Blush (2019) / The Last Seduction (1994) / Le semeur (2019) / The Descent (2005) / Leviathan (1989) / Violent Playground (1958) /// 

Panic (2000) Intelligently structured and written, William H Macy is a hitman facing a nervous breakdown who meets insecure Neve Campbell in a psychiatrist's office. Visually unfussy, melancholy and frustration is shot through with humor, and performed by a uniformly fine cast.

Blush (2019) As Wendi McLendon-Covey's suburban life inexorably comes off the rails when she becomes involved with a dysfunctional family's twisted lives, so too does story and character involvement. A fearless lead and mordant social and sexual observations maintain interest.

The Last Seduction (1994) Linda Fiorentina's wonderfully cruel and savagely unrepentant turn drives the mechanics of a twisted and twisting narrative, using and disposing of men as she escapes with stolen drug money. Direction and script are stylishly straightforward, allowing its lead to shine.

Le semeur (2019) Framed with elegiac beauty, the women of a 19th century village must band to create their own society when all males are taken by the French emperor and the younger vow to share any man who might appear. Bracing and original view of socio sexual politics with sweeping emotion.

The Descent (2005) Undeniably tense, claustrophobic and filled with gory shocks, as a group of thrill seeking women drop into an Appalachian cave system and battle psychological and literal demons. The cast provide energy, production is polished, the atmosphere and action becomes numbing.

Leviathan (1989) Despite a typically skillful Jerry Goldsmith score and strong cast, the flat narrative springs too many leaks, as deep-sea miners are contaminated by a virus in Russian vodka and mutate into a monster. Technically potent, the setup promises more than the rehashed end product.

Violent Playground (1958) Respectful pacing and open visuals allow a solid cast to take centre stage, as Stanley Baker's policeman and Peter Cushing's priest seek to help David McCallum and troubled youth in Liverpool. Overly earnest, the reflection on society maintains interest.

Cult-Tastic: Against All Odds

Pit Stop (1969) / Women In Cages (1971) / The Slumber Party Massacre (1982) / Cocaine Wars (1985) / The Destroyers (1985) / Stripped To Kill (1987) / Eye Of The Eagle (1988) / Nam Angels (1988) / Stripped To Kill 2 (1989) / Eye Of The Eagle II: Inside The Enemy (1989) 

Pit Stop (1969) With gleaming B&W visuals and gritty sense of place, a snarling tale of dueling stock car racers featuring the crash-laden drama of figure 8 racing. Overcoming the rough edges, the pacing is swift, the script tight and the performances persuasive. Tough and entertaining.

Women In Cages (1971) Defiantly sadistic, with an unremittingly cruel and cynical ending, Pam Grier is the vicious lesbian warden gleefully seducing and torturing her prisoners. The grim style and lack of humor prevent the material rising above the bleakly functional.

The Slumber Party Massacre (1982) A more considered and constucted piece than its attention grabbing title or poster suggests, both reveling in and undermining its genre conventions. A generous view of its female protagonists sits alongside some dark, ironic humor.

Cocaine Wars (1985) Suitably arrogant John Schneider is an undercover DEA agent whose operation is complicated by former girlfriend Kathryn Witt reporting on the targeted druglord. Killings, kidnappings and torture lead to all out mayhem. Undemanding nonsense.

The Destroyers (1985) The Philippines is a shakey North California stand-in as traumatized Vietnam vet Rick Hill rounds up his soldier buddies to take revenge on a marijuana growing gang. Competently made with nice locations and lots of explosions. Katt Shea provides colorfully off-kilter support.

Stripped To Kill (1987) Gutsy cop Kay Lenz goes undercover as a stripper to find a killer. A generous approach to the female characters and easy backstage companionship stand out from typical slasher beats, while the stripping promotes invention and athleticism, not lechery.

Eye Of The Eagle (1988) Standard, anonymous action as a U.S. army officer and Cec Verrell's photo-journalist track down an army unit gone rogue in Vietnam. The listless narrative never coalesces and characters are sketches, amid the relentless barrage of bullets and explosions.

Nam Angels (1988) Born out of a wild concept that sends Hell Angels and their bikes to Vietnam, the resulting story and characters don't deliver on the insanity. The Philippine army are on hand to blow everything up and there's plenty of scenery chewing and macho posturing.

Stripped To Kill 2 (1989) Director Katt Shea takes the original and amps the content, creating a fever-dream of a plot, visuals suffused with thick colors and elaborate strip sequences that strive for art and athleticism. Once more there's an authentic sense of female togetherness amid the bloody mayhem.

Eye Of The Eagle II: Inside the Enemy (1989) A sequel in name only, more of a love story / thriller, as Todd Field's soldier tries to rescue his Vietnamese girlfriend. Director Carl Franklin is more interested in character and emotion, with action subdued. An interesting diversion.