ALLEY CAT 1984
Karin Mani (Billie), Robert Torti (Johnny), Michael Wayne (William "Scarface" Krug), Jay Fisher (Charles)
Directed by Edward Victor, Victor Ordonez, Al Valletta
***WARNING! This review contains images of nudity***
The Short Version: This unremarkable, unintentionally hilarious gem is an empty calorie clone of SAVAGE STREETS (1984) with a dash of VIGILANTE (1983) sprinkled over it for good measure. Karin Mani's "take no shit" attitude and willingness to disrobe is the film's major saving grace. As far as revenge movies go, ALLEY CAT is found at the bottom of the garbage can, yet it has some traces of meat on its bones. Exploitation fans and bad movie buffs will have a good time with it.
The beautiful, Karate fighting tough girl Billie Clark attracts the attention of William "Scarface" Krug; the leader of a vicious drug gang, after she beats the hell out of two of his thugs. Desiring revenge, Krug then attacks and kills her grandparents. With the police proving useless in apprehending Krug and his gang, the wild Alley Cat takes the law into her own hands to deliver her brand of vigilante justice.
Executive producer, and controversial figure Edward L. Montoro had a penchant for bandwagon movies -- whether making them, or importing them. From GRIZZLY (1976), to CONVOY BUDDIES (1976) and on to the brief release of Castellari's awful JAWS clone, GREAT WHITE (US release in 1982), Montoro seemed perfectly fine with ripping people off even if it meant getting lawsuits in the process. ALLEY CAT (1984) is among these bandwagon flicks; but while it falls in the category of the many DEATH WISH clones, it often feels like an even lower budgeted, incompetent rival to the same years SAVAGE STREETS (1984).
That's not to say ALLEY CAT doesn't have its moments. Sadly, none of these come from the films shoddy scenes of violence. Fortunately, the bulk of them come from the more than generous nude scenes -- with the stunning frame of Karin Mani being showcased on a few occasions. The gratuitousness of bare flesh extends to a few other actresses seen here, too. You can almost smell a nude scene coming at times. This is just that sort of film.
Mani is easily the best attraction of this poverty row picture. She's a spirited performer who really shines when she's talking and acting tough. There are no pearls of wisdom found within any of the clunky dialog, but Mani's spunk makes up for a lot of this.
For such a wobbly production (the picture seems to have been started and finished later), the movie runs smoothly enough, even if it is uniformly poor from start to finish. The acting is the pits and the fight choreography is mostly laughable; yet the high volume of exploitable elements manages to make it tolerable on a trashy, bad movie level.
The adorable Mani may talk shit beautifully, but she monumentally fails to convince in some of the fight scenes when you can see her in plain view. The filmmakers do an exceptional job doubling her, though. It's worth noting that Mani's character gets as many, if not more fight scenes than your average kung fu movie. Speaking of kung fu movies, fans of that genre will recognize some of the stock library tracks used here.
Robert Torti plays the love interest of the title vixen. He's naive in the role for the most part, but Mani is such a strong presence she carries both of them, and the film honestly works in the romantic arc between them. They do have some good scenes together which keeps Torti from coming off as nothing more than eye candy for whatever ladies may be watching this. The actor has since went on to a stable acting career.
The script by Robert Waters is terribly weak, but rarely ever boring because of its numerous, chuckle-generating handicaps. The film goes for a widened scope (such as sending our heroine to a women's prison twice), but fails to find focus in anything except for random fight scenes and plentiful nudity. The main villain of the piece stays absent for long stretches, and he's never a formidable presence anyways.
Michael Wayne seems to have only done one movie (with this being it), and his stab at a nasty, scarred gang leader (named Krug, of all things) is anything but terrifying. In his favor, he intermittently tries to resonate the same sort of unpredictability that marked Robert Dryer's superb scumbag from SAVAGE STREETS (not sure if it's intentional, but it feels that way), but these moments are undermined by unintentional hilarity (at least it seems to have been unintentional). He does have one great scene where he keeps shouting at one his gang members to "drive, asshole!" His final confrontation with Mani's Alley Cat is hilarious.
There are many other similar movies that tower over ALLEY CAT (1984) in terms of production values and acting; and that are better films as well. But this movie -- which seems to have had a troubled history -- has a lot to recommend it for completists of those movies, and less demanding viewers. The near 30 minute, revealing interview with Igor Kantor on the DVD is better than the movie, so take that for what it's worth. Karin Mani has presence, and she's the sole reason to give this movie a second spin; and not just because she occasionally gets naked, either.
This review is representative of the Scorpion DVD.
EVIL DEAD 2013
Jane Levy (Mia), Shiloh Fernandez (David), Lou Taylor Pucci (Eric), Jessica Lucas (Olivia), Elizabeth Blackmore (Natalie)
Directed by Fede Alvarez
The Short Version: The new EVIL DEAD can be summed up in four words -- Piss, Puke, Pus and Plasma. The photographic gymnastics and gore of Raimi's classic are paid gruesome tribute, but the scares are few and far between in the new version. Curiously, these Evil Dead do not possess the macabre countenance that made the original demons so memorable. The newer Deadites look like little more than zombies who occasionally indulge in as much self-mutilation to their own bodies as those trying to escape them do. Aside from a few quibbles and a drastic left field turn during the conclusion, Fede Alvarez has ultimately summoned a daring demon of a remake that pays a great deal of homage to its source, and takes some big chances in the process.
Five
friends converge on an isolated cabin in the woods to help one of their
circle cope with recovering from a drug addiction. They discover some bizarre artifacts in the basement including a book wrapped in barbed wire. Upon opening the grisly volume, one member of the group unleashes an evil onto the world after reading incantations found within its bloody pages.
The original EVIL DEAD is among a small contingent of devoutly worshiped horror pictures whose fans are as dedicated to it as the Deadites are to swallowing your soul. As with other remakes initially deemed unnecessary like DAWN OF THE DEAD (2004) and THE TEXAS CHAINSAW MASSACRE (2003), there was a lot riding on how well received this particular do-over would be. First time director Fede Alvarez won original director Raimi's approval, and for the most part channels much of what made the first film so special.
By that I mean two things -- the gore and the ambiance. Both of those exceed the first film mostly in that the original was a "Do It Yourself" kit in moviemaking while the new one had everything all planned out -- such as a budget that would cover over two dozen old-style horror pictures of a similar vintage.
The gore goes far beyond the porn level of "money shot" with all sorts of viscous fluids ejaculating in an orgiastic miasma of plasmic ecstasy once the halfway point is reached. It's really quite staggering, and also in that most of it appears to have been accomplished through practical means as opposed to all that computer generated nonsense folks seem so enamored by these days.
Scenes of gore have been enjoying a similar, if arguably bigger renaissance today than their legion that splattered across silver screens back in the 1980s. And like that decade, the sight of a severed head here, a dismembered limb there, it's all become a bit monotonous and mundane all over again. For the EVIL DEAD movies, you can't have them without the gore. It's the life's blood of the films, and Alvarez and his crew have served up a sanguinary spectacle of the highest order. Curiously, the Deadites do almost as much damage to themselves as their intended victims do while trying to escape them. Also, the human characters seem all to eager to sever their own limbs at times, which is both cartoonish and disgusting all at the same time.
The other thing EVIL DEAD 2013 does extremely well is its atmosphere. When the film isn't soaked in blood and puke, it's saturated in a dense, muddy aura replete with the thickest fog you've ever seen. It's easily the most Gothic horror film in decades to not take place in a period setting, or to have 'A Hammer Films Production' appear during the opening credits. The cabin itself looks so destitute and bereft of life, it should in all probability be condemned.
There are also two things about the new picture that aren't entirely successful, at least in this reviewers eyes -- the Deadites and a massive alteration that occurs during the last reel.
The demonic denizens of hell that gorge themselves on the souls of humans were infinitely more terrifying in the original film. They had white-scorched eyeballs, gutteral drawls and the creepiest grins of Kandarian demon origin. In the new film, they look like your standard zombie with a brightly colored ocular highlight. The hellish voice of the demons is oddly restrained compared with Raimi's interpretation.
The dialog they utter is also very different from the original ED movies. For the newer version, we get leftover scraps of speech that would sound more at home in any of the dubbed imports that cloned THE EXORCIST (1973) during the 1970s. The new Deadites just aren't scary, and when they say things like, "Come down here so I can suck your fucking cock", it doesn't instill anything resembling fear.
The 'Rape by the Forest' sequence also doesn't quite resonate the same way it did the first time around. Possibly if you're not familiar with the '81 original, it may yield more power, but otherwise, the feeling that the forest has come alive to possess its first victim is not realized to its full potential.
The other questionable part of ED 2013 is what occurs during the last 15 to 20 minutes. It's always a gamble when you do a remake of something as iconic and revered as the original EVIL DEAD. The gamble comes in how close, or how far you cater to what made the original so memorable in the first place. Director Alvarez is largely successful in homaging and tinkering with details to suit his vision. But what transpires at the end will in no way be recognizable to any fan of the series. All I will say is this -- While this new film has no actual character named Ash, we do have what amounts to an "Ash-ley".
Also, the filmmakers give us their translation of the "thing in the woods". In EVIL DEAD 2, it turned out to be an evil, giant rotten apple creature. For this version, it's something entirely different that may leave some viewers scratching their heads. How you perceive this finale is entirely subjective and will possibly play a large part in whether you love, or hate this movie.
The script (co-written by Alvarez) writes a few interesting characters, and leaves others as paper thin as a page from the Necronomicon itself. They wisely wrangle some interesting expository means of questioning their increasingly deadly plight as something non-supernatural; this adds leverage to the few characters of interest.
The one performer that comes off the best is Jane Levy as Mia. She delivers the strongest performance of the entire group -- especially after her forced entry, forestal rape. The scene between her and her brother David (Fernandez) in the bedroom wrings an incredible amount of tension prior to her full blown possession -- and no, there is no pencil through the ankle shock moment preceding her change. Her character is the crux of the plot, and the reason these five young adults have gathered at this dilapidated, and very isolated cabin in the woods.
A nasty opening prologue sets the new tale in motion where the tape recorder in the old version audibly informed us of what was going to transpire; not to mention raising the dead all at the same time. Instead of building up to that moment, the new film gives us a visceral sequence to satiate impatient viewers who need something to keep them from fidgeting in their seats till all hell breaks loose about 35-40 minutes in. This prologue visualizes (as so many new films often do) essentially what we heard on the tape recorder in the original movie.
Regarding the resurrection of the evil demonic dead, in the first film it was the discovery of the Necronomicon and Professor Knowby's recital of those few words. That sequence had a good amount of build up and terror. The revival of the grateful, soul-hungry dead hasn't the same resonance in this new rendition. Instead of a tape recorder, a guy who looks like Jesus removes the "crown of thorns" wrapped around the book and merely recites those four magical words -- "Kunda, Strata, Mantusse, Kanda". Ironically enough, this character (named Eric) is sitting at a table with a picture of Jesus holding his 10 Commandments on the wall to his right.
There are other minor details, slight alterations and additions, but these listed are the ones that stood out the most to me. The score by Roque Banos is worth mentioning, too. It's occasionally organic, rarely mimicking the original films soundtrack, and mostly stands on its own.
When it's all said and done, Fede Alvarez's vision of the EVIL DEAD is its own monster. It will likely be better appreciated by those who haven't seen the original. No doubt a vast number of devoted deadite worshipers will enjoy it, too. Its gimmick of gore will be an easy sale, and I'd wager an arm and a leg and a chainsaw that more souls will be swallowed in a future installment. Be sure to stick around for a post credits short scene that alludes to something "groovy".
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The beautiful, Karate fighting tough girl Billie Clark attracts the attention of William "Scarface" Krug; the leader of a vicious drug gang, after she beats the hell out of two of his thugs. Desiring revenge, Krug then attacks and kills her grandparents. With the police proving useless in apprehending Krug and his gang, the wild Alley Cat takes the law into her own hands to deliver her brand of vigilante justice.
Executive producer, and controversial figure Edward L. Montoro had a penchant for bandwagon movies -- whether making them, or importing them. From GRIZZLY (1976), to CONVOY BUDDIES (1976) and on to the brief release of Castellari's awful JAWS clone, GREAT WHITE (US release in 1982), Montoro seemed perfectly fine with ripping people off even if it meant getting lawsuits in the process. ALLEY CAT (1984) is among these bandwagon flicks; but while it falls in the category of the many DEATH WISH clones, it often feels like an even lower budgeted, incompetent rival to the same years SAVAGE STREETS (1984).
That's not to say ALLEY CAT doesn't have its moments. Sadly, none of these come from the films shoddy scenes of violence. Fortunately, the bulk of them come from the more than generous nude scenes -- with the stunning frame of Karin Mani being showcased on a few occasions. The gratuitousness of bare flesh extends to a few other actresses seen here, too. You can almost smell a nude scene coming at times. This is just that sort of film.
The adorable Mani may talk shit beautifully, but she monumentally fails to convince in some of the fight scenes when you can see her in plain view. The filmmakers do an exceptional job doubling her, though. It's worth noting that Mani's character gets as many, if not more fight scenes than your average kung fu movie. Speaking of kung fu movies, fans of that genre will recognize some of the stock library tracks used here.
Robert Torti plays the love interest of the title vixen. He's naive in the role for the most part, but Mani is such a strong presence she carries both of them, and the film honestly works in the romantic arc between them. They do have some good scenes together which keeps Torti from coming off as nothing more than eye candy for whatever ladies may be watching this. The actor has since went on to a stable acting career.
Michael Wayne seems to have only done one movie (with this being it), and his stab at a nasty, scarred gang leader (named Krug, of all things) is anything but terrifying. In his favor, he intermittently tries to resonate the same sort of unpredictability that marked Robert Dryer's superb scumbag from SAVAGE STREETS (not sure if it's intentional, but it feels that way), but these moments are undermined by unintentional hilarity (at least it seems to have been unintentional). He does have one great scene where he keeps shouting at one his gang members to "drive, asshole!" His final confrontation with Mani's Alley Cat is hilarious.
There are many other similar movies that tower over ALLEY CAT (1984) in terms of production values and acting; and that are better films as well. But this movie -- which seems to have had a troubled history -- has a lot to recommend it for completists of those movies, and less demanding viewers. The near 30 minute, revealing interview with Igor Kantor on the DVD is better than the movie, so take that for what it's worth. Karin Mani has presence, and she's the sole reason to give this movie a second spin; and not just because she occasionally gets naked, either.
