Tag: Crime Flick

The Guy from Harlem

You know how in movies, sometimes, there will be another movie shown on a television in the background, or one of the characters will be watching it? It’s common for these prop movies to be old public domain flicks, or, if the director is feeling particularly ambitious, something cobbled together just for that movie. Think Angels with Filthy Souls from Home Alone. That wasn’t a real old noir flick that Kevin was watching on the TV. It was a fake, a part of the scenery, a piece of cinematic cliché meant to set the mood.

Today’s shitty movie, The Guy from Harlem, has that same kind of feel. It feels like a deliberate attempt to fake a bad 1970s blaxploitation flick. The print that’s available for streaming, as of this writing, is a transfer from a badly worn 35mm print. Pops and scratches abound, the color is as washed as I’ve ever seen in an old film, and there are many, many missing frames. It feels readymade as a movie within a movie, only it was a legitimate production. Barely. Continue reading “The Guy from Harlem”

Future Zone

John Tucker (David Carradine), the toughest and deadliest C.O.P. (Civilian Operated Police) is back in action, in Future Zone, the 1990 sequel to Future Force. This movie does away with explaining the lore, so some background from the first film is in order.

In the near future crime has become so rampant that government operated police forces have been disbanded, replaced by a civilian equivalent that has more in common with old west bounty hunters than proper law enforcement. These COPs (this movie drops the ‘S’ from the acronym) carry six shooters and dress like bikers. Tucker is the biggest badass of them all, blithely informing criminals that they have the right to die, just before he shoots them in the chest. He also has a power glove that shoots rays of lightning from its fingers. But, like the first film, it’s such a deus ex machina that writer/director David A. Prior keeps it mostly out of sight. Continue reading “Future Zone”

The French Sex Murders, aka Casa d’appuntamento

The French Sex Murders, the giallo from director Ferdinando Merighi, opens with a foot chase up the steps of the Eiffel Tower. Plainclothes police are chasing a fleeing suspect, who then leaps to his death, his identity hidden from the viewer. A detective, Inspector Fontaine (Robert Sacchi), peers over the railing, and reminisces about how this case, now closed, began on the first night of Carnival.

Antoine Gottvalles (Peter Martell) is an unsavory sort. He’s shifty and nervous, and has sticky fingers, stealing jewels and gold from a church. He celebrates his ill-gotten gains by visiting a house of ill-repute, run by Madame Colette (Anita Ekberg). Gottvalles made the mistake of falling in love with one of the girls, Francine (Barbara Bouchet), who, in turn, made the mistake of returning, and then spurning, said love. Enraged, Gottvalles slaps Francine around, and the next audiences see of him, he is leaving the house in a hurry. Soon after, a writer, Randall (Renato Romano), discovers Francine’s body, bludgeoned to death with a table lamp. Continue reading “The French Sex Murders, aka Casa d’appuntamento”

The Silencer (1992)

Here at Missile Test, we like a shitty movie that has ambitions. We appreciate when an auteur has a vision that far outstrips either resources or filmmaking ability. The result can be a film that flies off the rails, one that is a total head scratcher, or one that sits somewhere in between, sloshing back and forth between watchable absurdity, and unwatchable stupidity. Such is the case with The Silencer, the 1992 film from writer Scott Kraft, and writer/director Amy Goldstein.

Lynette Walden plays Angelica, a badass early ’90s chick who would have found a ready home in Twin Peaks. She dresses all in black, smokes cigarettes non-stop, rides motorcycles, and, oh yeah, is a contract assassin. Continue reading “The Silencer (1992)”

The Last Boy Scout

Some film historian could write a book about The Last Boy Scout, the outrageous action flick from 1991. It’s a film legendary for its troubled production, with no less than four Hollywood egos clashing while it was made.

There was screenwriter Shane Black, who had been paid almost two million bucks for the script; director Tony Scott, who was in the midst of his peak as a blockbuster filmmaker; star Bruce Willis, who was in need of a hit after Hudson Hawk underperformed and The Bonfire of the Vanities absolutely bombed; and producer Joel Silver, part of whose legend involves massive amounts of cocaine. Silver was such a pain in the neck that when Scott later directed True Romance, he based the character of Lee Donowitz on Silver. Reportedly, Silver was not pleased. Continue reading “The Last Boy Scout”

Cop (1988)

Cop 1988 movie posterNormally, if there were a trailer available on YouTube, it would be posted here, but not this time. The trailer for Cop spoils the ending. We can’t have that.

What a gloriously stupid movie. I knew heading in that any movie produced by, and starring, James Woods as a lone-wolf detective hunting a serial killer would be an adventure. Cop is more than that, however. It is an absolute howler. It is amongst the most over-indulgent Hollywood vanity projects I’ve ever seen, from an actor who doesn’t know the first thing about nuance.

The highlights:

  • Woods, playing Sgt. Lloyd Hopkins, stakes out a suspected armed robber with his supervisor, Lt. Dutch Peltz, played by Charles Durning. The suspect pulls up to the curb with his date, Hopkins and Dutch confront him, and Hopkins blows the suspect away after he pulls a pistol on Dutch. That’s fine. But then, Hopkins takes the date from the car, who is ambivalent about the whole thing, and leaves the scene to drive her home because she has a nice rack. It’s implied he sleeps with her. I guess that means it was a good shoot.
  • Hopkins tracks down a former actress turned call girl (Randi Brooks), following up a lead on the serial killings, and, wouldn’t you know it? They have sex in the kitchen while bacon is sizzling in a pan nearby. This happens the very scene after Hopkins’ wife leaves him and takes the kid.
  • Hopkins goes to the residence of feminist poet and bookstore owner Kathleen McCarthy (Lesley Ann Warren) to follow up another lead. He’s as gruff and pigheaded as one would expect any clichéd cop from an ’80s film to be, but McCarthy doesn’t seem to care all that much. You see, she’s a feminist only because the right man has never come along to sweep her off of her feet. Lo and behold, that could be Hopkins. He talks her into a date, and later a trip to the bedroom, because he’s the first man who’s been man enough to do so.
  • Hopkins follows another lead to the home of an LA County Sheriff’s Deputy (Charles Haid) who happens to be running male prostitutes. Hopkins then kills the deputy after the deputy goes for a shotgun, but he never faces any repercussions for this, despite having broken into the deputy’s home without a warrant, while also being under suspension from the LAPD.

Continue reading “Cop (1988)”

Martial Law (1990)

Chad McQueen is Sean ‘Martial Law’ Thompson, and Cynthia Rothrock is vice squad officer Billie Blake. They kick ass, take names, and cohabitate in Martial Law, the 1990 direct-to-video action flick from screenwriter Richard Brandes and director Steve Cohen.

Viewers may remember McQueen as the Kobra Kai with the dyed blond hair in the original Karate Kid. It turns out, the man wasn’t faking it. He has some karate skill, and turned it towards a fairly decent career in shitty movies. And, if one doesn’t know who Cynthia Rothrock is, one is still in the fledgling stage of shitty movie fandom. Continue reading “Martial Law (1990)”

On the Edge (2002)

Dakota Smith (Fred Williamson) is back in yet another sequel to b-thriller Night Vision. This flick was intriguing to the shitty movie fan in me because it’s a step forward when it comes to casting, compared to other films in the series. Besides Williamson, who also produced and directed, On the Edge features blaxploitation and/or football legends Jim Brown, Bernie Casey, and Ron O’Neal. Gary Busey returns to play a different bad guy than the one he played in the second Dakota Smith flick, Down ’n Dirty, while Ice-T appears as a slimy nightclub owner and smalltime hood. What a cast. Continue reading “On the Edge (2002)”

Down ’n Dirty

Down 'n Dirty movie posterMovie fans might be surprised that besides being a former pro football player, 1970s blaxploitation film icon, and all-around b-movie legend, Fred Williamson has 21 producing and directing credits to his name as of this writing (sometimes it’s the same movie, sometimes it’s not). The movies in his producing and directing lists aren’t all that good, but his presence alone raises the cachet.

Williamson directed, produced, and starred in Down ’n Dirty, from a screenplay by Aubrey K. Rattan. It’s a throwback movie. Despite being released in 2000, the script could easily have been used for a film in the 1970s. The only things that would be anachronistic are the cars, fashions, and the use of cellphones. Other than that, the film fits right in with a decades-old model.

Williamson stars as police detective Dakota Smith, reprising the character he played in Night Vision, from 1997. He’s the last honest man left on the force, and after his partner is murdered, Smith goes on a tear, discovering that the department is rife with corruption. He takes it upon himself to bring all those involved — cop and criminal — to justice, and he does so with a big gun. No kidding. In a nod to Dirty Harry, Williamson spouts this bit of tortured dialogue: Continue reading “Down ’n Dirty”

The Demolitionist

When I set out on this crusade to raise awareness of the merits of shitty movies, I never expected to write about two films in a row featuring Richard Grieco, but here we are. He’s not the star of today’s film. Rather, he is the most electric member of the cast. So sorry, Nicole Eggert.

From 1995 comes The Demolitionist, the directorial debut from longtime special effects makeup artist Robert Kurtzman. It’s a Robocop ripoff. There’s not much more to it than that. It is also an ambitious flick, with a decent title, some outrageous performances, and a hot lead who tries her best. Continue reading “The Demolitionist”