One Ranger (2023)

Back in January on episode 143 of the podcast, Ty from Comeuppance and I looked at this as part of our "Malki on the Skids" John Malkovich double-feature. The fact that it also had Thomas Jane and was directed by Jesse V. Johnson, it was a no-brainer. In addition to us, Bulletproof has covered this as well.

One Ranger has Thomas Jane affecting a Billy Bob Thornton in Sling Blade accent while rocking a mustache and cowboy hat as a Texas Ranger. When he runs afoul of Irish criminal mastermind Dean Jagger, he's called in by a British secret service to hop across the pond to help take him down. Now he's working with Agent Smith (Dominique Tipper), with Malkovich as his boss, in this foreign territory, hoping to make it work and take this baddie down. Even though the title is "One Ranger," in fact he'll need some help if he wants to get this done and go back to Texas alive.

And that's the thing, the film is called "One Ranger" based off the idea that there was a riot in Texas, and only one Ranger was sent to quell it. When the Ranger was asked if more were coming, he said "one riot, one Ranger." That would have you believe that Jane and his fellow Rangers are badass Spartan warriors that get shit done on their own. It doesn't work out that way though. First, Jane and a fellow Ranger are transporting baddie Dean Jagger, when they're ambushed, and the fellow Ranger is killed and Jane seriously wounded. You'd think if it's "one riot, one Ranger," two Rangers would be even more unstoppable--except they aren't? And then in the UK, on a couple occasions Jane gets saved by Tipper. One in particular, he's at the desk of a hotel talking to a clerk, when Tipper catches someone before they could shoot Jane from behind. So it's "one Irish terrorist baddie, one Ranger and one UK secret service agent?" If he's such a badass lone warrior type, how is he letting someone get the drop on him so easily? Beyond all that, this is a fun time, and Jane's accent is even more fun. Also, with Jesse V. Johnson, you know there's a floor to his work that means it'll at least have a certain level of quality, and that was the case here. For a free streamer on Tubi this does the trick--I just wish it had a more accurate title.

This is now 12 director credits for Jesse V. Johnson, putting him in a five-way tie for third all-time, which is 31 behind Albert Pyun for top honors, and 3 behind Fred Olen Ray for second-most. While I would've said I don't see him catching Pyun, the speed with which he's making these movies does possibly put it in play. At this point I see 11 of his that I still have to review, and then if he keeps doing two films a year--okay, actually it's not that in play, unless I do this for another ten years, which isn't outside the realm of possibility! What I have to respect with Johnson, even with a film like this that I felt had its flaws, is he always turns out a competent, solid, professional product, which is no small feat in the current DTV action climate of churn and burn. If I'm spending my 90 minutes on a Johnson film, I have a good feeling it won't be wasted, and it wasn't here.

This is now five films for Thomas Jane, but I have a feeling that number will keep growing, because he's been working more in the DTV space recently--er, rather the last 10 years or so! I think his last theatrical film was 2018's The Predator. I liked what he did with this character here, even if the accent was a bit silly, and would like to see Jesse V. Johnson use him again. Maybe not in the UK, but what about LA or New York? Those could almost be unique countries to Texas. Also Vancouver or Toronto. And Johnson was worked in Thailand before too, so maybe we could stick the character there. The other thing is, with Disney bringing back the Jon Bernthal Punisher, it would be nice to see Jane's get some films again. Maybe a direct-to-Disney+ kind of thing, 90 minutes on a short budget, add in some other Marvel characters--like Scott Adkins as Daredevil?--and I think it would be a hit. Hell, Johnson could even direct. Give me a call Kevin Feige, I'm full of ideas.

In the podcast episode, Ty and I joked about Malkovich looking at the projects his agent was giving him, and then looking at the home improvement projects his wife was asking for for their house, and marrying the two. "Oh, this movie will cover the new kitchen island" or "this is perfect to pay for the outdoor pizza oven." Viewed from that lens, it makes sense why Malkovich would make these films--and to be honest, a low-budget Jesse V. Johnson film isn't the same as a Randall Emmett thing, but he's been doing his share of that level of quality stuff too. Also, I couldn't tell if his scenes with Jane and Tipper were shot together, or if he even made the trip to Ipswich where the UK scenes were filmed, which is the kind fun element of these low-budget actioners that I always enjoy. This is only his second film on the site, but I have a feeling we'll be seeing him more, as he has more home improvement projects that need funding.

Finally, we have an appearance by Mark Griffin in this. Who's that you ask? He played a higher up in the film I Am Vengeance: Retaliation, where he had one of the best lines of all time. He was asking some fellow soldiers if they wanted to go in and help the hero, and in asking he said "fancy it?" How do you say no to that? In American English, if you used "fancy" in that context, people would think you were trying to affect a UK way of speaking, so we really can't use it like that. Another I think is "cheeky." Some, on the other hand, we've been allowed to co-opt, like "baddie," or "on the tin" for "on the [DVD] cover"--though I think the latter might be pushing it a bit. Some uses would be confusing, like "chips" for fries, though we do use it in the name of the UK dish "fish and chips" instead of calling it "fish and fries"--I think in that case, "fish and fries" sounds too pedestrian to have on a menu. In Maine where haddock is really good, they use that instead of cod for that dish, so if you're ever there and see "fish and chips" on the menu, it's worth trying--I fancy having some myself when I visit my family up there again soon.

And with that, let's wrap this up. Do I fancy One Ranger? I don't know if I'd go that far, but it's solid enough to get you to the church on time. I just wish it had a more accurate title, like "One Ranger... Plus One British Agent." Either way, you can check out for free on Tubi here in the States, which is a great way to go. And for the podcast episode, check out number 143 in the archives.

For more info: https://www.imdb.com/title/tt23037488

And my newest novel, Don's House in the Mountains, is available now on Amazon! Click the image to buy.

Vendetta (2022)

Back in October I had failed to secure a guest for an upcoming podcast, so I decided to fire up a few Bruce Willis DTV flicks on streaming sites and discuss them on a solo episode. Of the myriad options available to me, this one piqued my interest because it has one of my favorite actors, Theo Rossi, plus the idea of Thomas Jane and Mike Tyson in addition to Rossi and Willis had to be good too. But then there was that grimacing bearded white guy on the cover. That couldn't mean anything bad, could it?

Vendetta is about said bearded, grimacing white guy (Clive Standen), former special forces (aren't they always) with a beautiful wife and daughter (aren't they always) whose world comes crashing down when a gang member kills said daughter. Standen gets revenge on him in classic grimacing bearded white guy style, which draws the ire of the gang member's brother, Theo Rossi, and dad, Bruce Willis. So then they kill the wife, but don't bother finishing off Standen, who then recovers, and seeks revenge, with help from a pipe-smoking Thomas Jane. Will his revenge be worth it? And how much of a role will Mike Tyson have?

 
This thing was just a mess from the word go, which means I don't know where to start. The story was long for 96 minutes, which is saying a lot, because 96 minutes usually feels compact. Theo Rossi was great, which introduced a heavy Destro Effect, because Standen's hero was so one-note and uncompelling we just had to gravitate toward Rossi. Even in Rossi's death at the end, he's almost laughing at the movie, like "my death serves to show how pedestrian and one-note this film is." There's this part at the end where Rossi and his gang are chasing Standen and Jane, and Jane calls Mike Tyson, who runs a chop shop. Tyson's like "yeah, lure them here, we'll take them down," and he gets his gang together to confront Rossi's gang. I thought "okay, it's on then!" But it wasn't, Rossi just went in and shot them all. The Willis of course is scant, but he and Rossi are great as father and son, so much so that I wasn't upset that we only got so much Willis. I think with the cast, if it hadn't been so relentlessly paint-by-numbers, and had a hero who was more fun and engaging, it might have worked; but unfortunately it had none of that.

We last did a Willis film back in January, so almost a year ago, and that one was Precious Cargo, which was also following up a podcast episode. At that time, we didn't know he was squeezing as many of these movies as possible in because he would have to retire due to his aphasia. At that time too I'd decided to take a moratorium on reviewing them, because they were taking on this cynical, assembly line quality, especially the Emmett-Furla-Oasis ones. I think there still is that cynicism in how this one was made, but seeing Willis as a gangster again was fun--more fun than the crime boss he was in Precious Cargo I think. This is now 11 Willis films on the site, but with the podcast episode this was on, plus one I released with Ty from Comeuppance a month later, and one we have coming next month, I now have a lot of Willis in the can. I don't know if I'll get to it all over the next year, or if it's even worth giving all six of those other films reviews. I feel like there are guys out there like Fred Williamson, Cirio H. Santiago, or Robert Ginty who need more love than that, so I guess we'll see--I guess we'll always have them in the can in case I come across a week where I didn't get anything watched.

As I mentioned above, I'm a big fan of Theo Rossi. In particular, I loved him as Hernan "Shades" Alvarez in the Netflix Luke Cage series. He brings an indie actor sensibility to something like this, a feeling of like "what is he doing here?" but I think the opportunity to act opposite Bruce Willis had to be big--plus whatever paycheck for a short shooting schedule--and he really makes the most out of these scenes they had together. The problem is, when you have a baddie of the quality of Rossi, and you pair him with Willis, you need a hero that matches that, and they didn't do that here with the standard one-note grimacing bearded white guy. It felt like someone bought a great tequila, and wasted it in a margarita. The good tequila is for sipping straight, and the good baddies are for the exciting, compelling heroes, like a Dolph or a Scott Adkins.

The bearded, grimacing white guy is pretty standard--or "Standen?"--for these Willis films. If it's not a Clive Standen, then it's Jessie Metcalf, Patrick Muldoon, Chad Michael Murray--or in Fortress: Sniper's Eye, it's Metcalf and Murray. Hell, even Mark-Paul Gosselaar, who started off as an off-beat bearded white guy, couldn't escape the grimacing, brooding aspect all these guys end up being. The question is, who asked for this? Is this what people consider an "Alpha Male," like maybe the Emmett-Furla folks just gathered up a bunch of silly tweets about "Alpha Males" and Frankensteined this thing: white, bearded, trucker hat, flannel shirt, former special forces, drinks beer, has a beautiful wife and maybe a kid and a nice granite kitchen island in a McMansion, and then some Theo Rossi/Bruce Willis baddie comes along and threatens it, so they need to get extra grimace-y and defend their turf. It's so much a parody of itself that it's clownish, especially the preponderance of them in these assembly line Willis films, but here it took the silliness to another level with how one-note and uninspired Standen's character was, which made the Destro Effect with Rossi and Willis that much worse. The thing is, this movie's story sans the grimacing bearded white guy was done perfectly in Recoil with Gary Daniels, so they had the blueprint, and just didn't follow it.

Finally, to end on a good note, Thomas Jane was really good in this, and we're seeing him amass something of his own solid DTV career. This is only his fourth film on the site though, one of which was another Willis flick, Vice. One thing that would be interesting, especially now that Disney+ has been losing money with the original content TV shows, is if their studios came up with a DTV wing for all of their Marvel properties, and maybe these DTV flicks could be like the old one-shot comic books, like a one-off story where maybe a different artist and writer takes an established property on a different adventure. So maybe we get one more look at Thomas Jane as the Punisher, but he has nothing to do with the Jon Bernthal version and his place in the MCU, and maybe they give an Isaac Florentine or a Jesse V. Johnson the chance to direct it. With the work Jane's been doing in these DTV flicks, it would be great to see, and I think it would be a nice antidote to the fatigue people have been experiencing with the expansive interconnectedness of the MCU.

And with that, let's wrap this up. Unlike my inspired idea for a Thomas Jane Punisher DTV flick, this wasn't so much. Cool to see Willis and Rossi act opposite each other, but the story was too all over the place and the hero was too one-note. If you want to check it out though, it's still on Hulu.

For more info: https://www.imdb.com/title/tt14849038

And if you haven't yet, check out my new novel, Holtman Arms, at Amazon in paperback or Kindle!

Vice (2015)

 

I saw that Tubi was close to dumping this, so I figured I'd make it happen before they did. I think, but I'm not sure, that they actually extended it after I did, but either way, I'd watched it, so it's time to review it. In addition to us, our buddy Mitch at the Video Vacuum has checked it out as well, so you can go to his site to see what he thought. Now, without any further ado.

Vice has Bruce Willis as a meglomaniacal business owner who has created this resort where people can act out their worst fantasies on human-like robot people. Want to rape and kill a hot blond? Sure, we all do! What can go wrong with that? Plenty, as one of the hot blonds, Amber Childres, starts to gain some level of self-awareness, and she escapes. That leads to the involvement of police detective Thomas Jane, who has wanted to bring down Willis's resort for a long time--why would he want to do that?--and he and the escaped robot woman work together toward that end. Fortunately for both of them, Willis's contract stipulated that he couldn't shoot in multiple locations, so they know where to find him when they want to take him down.

 

This felt like a Philip K. Dickensian concept that may have wanted a bigger budget theatrical release, but ended up here in DTV. For me I think the reason why is the overall concept is pretty macabre. The idea of a resort-like location where people can act out their fantasies is one thing, but when the fantasies are violent and sadistic that's something else. "Vice" isn't an apt title, but I guess "Psycho" was already taken. From there, there are some good cat and mouse elements, and I liked Jane and Childers's performances, but we could see those elements in anything. The hook is supposed to be this PKD-ensian idea of the resort, but when it's so disturbed it's hard to get into it. "Imagine a place where you can rape and kill a woman with no repercussions!" No, I'd rather not.

This was made in 2015, and around that time Willis was becoming increasingly known for these DTV flicks where he's either not in them much, does all of his scenes in one location, doesn't do his reverse shots, and there's a sense that he's mailing it in and just collecting a paycheck. What do we do with that? The movie is casting him because his face on the tin makes it worth more to the studios and distributors, and that gets more streams and rentals--and more folks like me reviewing it for our sites, which gets it more run as well. I'll be the 39th outside review on IMDb, which gives you a sense of the ecosystem we're all working in here with these. This isn't Klaus Kinski or Ernest Borgnine working for a paycheck in a low-budget flick, but they still turn in a great performance; this is Willis trying to get in and out with the least work possible, and there's almost a sense of disdain for the material as he does it. Again, what do we make of that? Is it more fun as a novelty, or less fun because it's so cynical? The movie should have been the resort allows you to pretend to be an actor in your favorite movies, and Willis plays a robot version of himself who can't be bothered to do the scenes with a housewife, and he needs to be reprogrammed. That would have been more interesting than sick rape and murder fantasies.

 

On the other hand, Thomas Jane really brings it, and I wonder if on his side he's looking at it as "if I show up here, maybe I'll get bigger parts down the line." Or maybe he didn't have the disdain for the film overall that Willis did. It's not like he's hurting for work either, but unlike Willis who has had a bigger career to fall back on, I think Jane was expecting The Punisher to lead to the kind of franchise blockbusters that Toby McGuire got with Spider-man and Hugh Jackman got with Wolverine, and instead he ended up with Ben Affleck in Daredevil. For me, this performance shows us how much that Jane Punisher didn't work through no fault of his. Had it been more close to the comic book canon, and Jane had been allowed to be more Frank Castle, maybe we get two or three films out of it. It would be nice to revisit.

As I mentioned above, I thought Childers did well in this too, considering she was playing a part that I don't know there was any precedent for. Yes, robot having an existential crisis happens all the time, but coupled with remembering horrific events like being raped and murdered hundreds of times? And to some extent she as an actor is having to do the same thing in this role: she's playing the standard DTV younger pretty woman, usually clad in black leather or something similar, there to appease the planned male demographic this was intended for, and in her performance she has to say "I'm more than that, you can't just swap me out for another actress and give her the same outfit and call it good," though we as the viewer have often seen a lot of these, and we have seen her part played by myriad other actresses before. That's not what matters though, who cares if we've seen the same thing hundreds of times, if she can stand out, not to us but to people looking to cast her in other things, then she isn't just any woman playing this part, and that does make her performance give the film a little more depth than these movies usually have. 

 

I think I already teased one idea for how I would have wanted the resort to be instead of a place where people can go and act out their most sadistic fantasies, the idea of being able to act out scenes with famous actors. I was trying to think what I would've wanted though for a place like that. First off, I'm married, and I think anything sexual, even if it's with a robot woman, would be cheating--and again, the idea of using a robot person for that kind of thing is off-putting. What if you had robot versions of dead musicians? Like I never got to see Eddie Money before he passed. Or my wife and I could see the Temptations with David Ruffin and Eddie Kendricks. Or Teddy Pendergrass. Imagine that, a movie where a robot who thinks he's Teddy Pendergrass discovers he's a robot, and that's the existential crisis. You could call it "Close the Door".

And with that, I think it's time to wrap this up. This is no longer on Tubi, but you can stream it with Showtime. If you don't already have Showtime, it's not worth spending money on, so I would wait for it to show up on Tubi again--and even then, I don't know how much you need to bump it up in your queue on there. We've seen this before, and the elements that try to make it different, make it a little too much for me.

For more info: https://www.imdb.com/title/tt3480796

The Punisher (2004)

I first saw this when it came out in the theater. I thought it was pretty good, until I found out its mere existence meant the Dolph Lundgren version, which is far superior, was put out of print. That made me hate this movie. I don't know that I still hate it, but I also don't like it as much as when I first saw it either.

The Punisher, though it has Frank Castle (played by Thomas Jane) as its lead character, the story is loosely based on the original, with this one taking place in Tampa, FL, with not only Castle's wife and kids being killed, but his whole extended family, and with him being an FBI agent instead of NYC cop. Anyway, after John Travolta's gang kills his family, he survives, comes back, rents an apartment that looks like a high school shop class, and exacts his revenge on Travolta in a fairly bloody way.



At the time it came out, I kind of dug this, and watching it again last night with my friends I could understand why. It's not so much the Punisher, as much as a bad action film with a character that's loosely based on the comic book character. Thomas Jane, though, doesn't work in the lead role. Most of the time his facial expressions make no sense. He kind of looks like Christopher Lambert, so imagine Lambert as the Punisher, only with more of a Southern accent than how Lambert talks. Also, I have no idea why the story was altered. Having his wife and kids murdered wasn't enough? And why did it take place in Tampa? That would be like Spiderman taking place in San Diego or something. I just got the sense that the film makers took liberties because they didn't get what the Punisher was all about. They figured they could just take an action movie, make it darker, and boom: there you go.

One of the fascinating things about the DVD is a featurette about the origin of the Punisher, where the people who created him talk about him as a comic book character. There was something similar in Catwoman, but in that one, they linked the history so it would eventually get to them discussing what they wanted to do with their version of her. Not so here. It's like they knew just how much their Punisher wasn't the comic book one, that they didn't even bother. Also, a lot of what they discussed about the Punisher that made him so great, this film didn't have. They put in weird things like a dude having his piercings ripped out and called them Dark. The conflict that made him so great was explained in one phrase in the featurette: "He'd go in and save a baby in a burning building without hesitation, but if he thinks you deserve to die, he'd kill you without hesitation as well." See, they had the burning building part down, but the conflict wasn't there, because all he was doing was avenging his family's death.



Travolta as a villain was hilarious. We just kept saying "Man Animal" whenever he spoke. I just don't know what we were buying with that. Casting of a villain is just as important as casting the lead, and when all you have is an older version of Vinnie Barbarino that kills people, it's impossible to take the film seriously. It's amazing how much Tarentino made Travolta into an A-List celebrity. Looking at his bio, in 1993 he did Look Who's Talking Now. Could you see him being cast as the villain here if he didn't have that career revival? I don't see the star of Look Who's Talking Now getting a role like that. But he's essentially that guy. One Tarentino role does not a great actor make, yet it's what Hollywood has been trying to give us in Travolta since 1994.

I had planned on discussing Rebecca Romijn here as a continuation on our look at who is the hottest female lead in a comic book movie. Laura Herring as Travolta's wife would make a great entry as well. Anyway, I decided I'm focusing too much on the hot babes, and figured some of my gay male and straight female readers would like me to dedicate a little time to who might be the hottest male comic book movie lead. Well, if Hugh Jackman was allowed to use his Australian accent, there'd be no contest, right? I do think Jane would have to be considered though. I mean, he's right at home in the Romantic Comedy lead. Does that make him a great Punisher? Probably not. I'd have to say, for me, number one best male lead in a comic book movie, if you're going on pure dreaminess, would be George Clooney as Batman. (By the way, I'd put Rebecca Romijn here as a tie for second with Eve Mendes in Ghost Rider, both behind Jennifer Connelly in Hulk as hottest female comic book movie leads).



I'm a huge John Pinette fan. His stand-up is hilarious. This is the second film of his here we've reviewed, the other being Dennis Rodman's Simon Sez. The problem with his role here was he was relegated to playing the part of Donkey Lips from Salute Your Shorts. What a waste. Let him improvise some scenes, let him do some rants about people browsing in line ahead of him, or how the people at the Chinese buffet tell him "You go now!" As an aside, I'm pretty sure I saw Pinette at Disney World like fifteen years ago. My mom was trying to get me to video tape my younger siblings talking to Mary Poppins, and I was like "But that's John Pinette!"

There's one The Punisher out there, and it's got Dolph Lundgren as the lead role. This is is the film that should be out of print. This is the film that was sautéed in wrong sauce. This is the film that didn't get the point of the Punisher. Yet, because it's constantly aired on FX, this is the film people think of when someone says The Punisher's on, which is a shame.

For more info: http://www.imdb.com/title/tt0330793/

Nemesis (1993)

This has been a long time coming. Nemesis is one of those movies the DTVC was made for, and it's one of those movies that should've probably been one of my first ever posts. But back then I didn't have a copy of the movie. I finally got around to ordering it on Amazon, and the front end of it was cracked, and it didn't look like it would play. I watched The Circuit 2 just in case I couldn't make it work, so I'd have another Gruner film to review in this spot. But alas, we made it, and here it is. Also, this is the maiden voyage of my video capture software which will allow me to grab images off VHS. Not great, but the video wasn't great, so given the circumstances, pretty good.

Nemesis takes place in 2027. In it Gruner plays a cop tracking terrorists, who's ambushed and pretty much dies. He's reborn with cybernetic parts, and Tim Thomerson sends him after an old cyborg flame of his to get some data from her. If he doesn't do it, a bomb in his heart will detonate and he'll be donezo. But things aren't what they seem in 2027, and Gruner doesn't know who's good and who's bad. He doesn't even know if he's human anymore, or what being human even means. Luckily for us, he recovers from this existentialist nightmare in time to kick some major ass.



I'm not sure if, other than maybe Stone Cold, there's been a more requested film on the DTVC. And the demand for it has only gone up since I've made a concerted effort to get more Gruner here. I actually realized when I watched it last night, that I'd seen it before. For some reason I thought Nemesis was something else. The film came out in 1993, and I probably watched it somewhere around then, so that's 15 or 16 years ago. It's crazy to think that.

This is a decent film. It's essentially a futuristic western, which is cool. The action and fighting are decent, with plenty of sweet explosions and gun play. There were tons of silly elements too, like the idea of Japan and The US merging, or that we'd annex Mexico and turn it into New America. And I have no clue what New Rio de Janeiro is. Did the Brazilians become a colonial empire in the future? Maybe all the soccer players and MMA fighters broke off and started their own country on an island in the Bahamas. The truth is, that kind of silliness makes the movie for me as much as the action does.



Gruner's great here. This is the fourth film of his we've reviewed, and I think it's right up there with The Circuit. Maybe just a bit behind it. But I can't argue with anyone who likes this better. Especially when one takes into account the mullet he has in one scene that looks like Adrian Paul in a Scottish Highlands flashback sequence. Amazing. As it stands right now I'm looking at Gruner and Gary Daniels as inductees for the 2009 class of the DTVC Hall of Fame. With the response I've gotten from readers about both actors, I think that'll go over well. Look for The Circuit 2 in the next 8 posts or so as his next film.

The last Pyun film we did was Cyborg, back on post 251 (it was supposed to be 250, but I miscounted, and Beer for my Horses with Toby Keith was 250), so it's been a whopping fifty entries since his last review. That's crazy, and I don't know how that happened, because he has quite a bit out there that still needs to be covered. I may do Alien From LA next, just because it would be interesting to see the non-MST3K version. As far as this film goes, I think going up and down the list of Pyun films, I put this right behind Cyborg, and maybe make it even with Omega Doom. I really like Omega Doom as a Yojimbo remake. This film really has those elements I like too: that kind of western/samurai movie set in the future. I'm excited to see what Tales of an Ancient Empire ends up looking like.



This is quite the ensemble cast. You have Pyun mainstays Tim Thomerson, Vincent Klyn, and Thom Mathews. Then there's DTVC faves Cary-Hiroyuki Tagawa and Brion James. Then there's a cameo from Branscombe Richmond of Renegade fame. A young Thomas Jane plays Billy, and I must say he's more believable as Billy than he was as the Punisher. Sven-Ole Thorsen has one of the most memorable scenes, when he's blown away by an old lady. Finally, Marjean Holden has a part, and I don't remember seeing her. If you don't know who she is, then you've never seen the Beastmaster TV show, and it's possible you might be better for that. If there's one thing Pyun does well, he loads his films with talent.

This is a difficult find. You can either try Amazon and get it used on VHS, or search the bargain bins in your area and hope you strike gold. It's definitely a necessary watch, and it'll be worth it once you finally do track it down. Why this isn't available on DVD anymore and easier to come by is beyond me.

For more info: http://www.imdb.com/title/tt0107668/