Mail Order Murder: The Story Of W.A.V.E. Productions (2020)

Back in July I had Mitch from the Video Vacuum on the podcast to discuss this film, plus one of W.A.V.E. Production's films, Eaten Alive: A Tasteful Revenge. As someone who has worked in the low-budget space myself for a long time, shot on video was not an area I'd covered much, so I was excited for the opportunity. You can check out that episode, number 129 in the archives, it was a great conversation. Also, Mitch has reviewed this one on his site too.

Mail Order Murder: The Story Of W.A.V.E. Productions is a documentary about Gary Whitman's W.A.V.E. Productions, and the phenomenon around it. It looks at the history of the shot on video (SOV) movie industry, where Gary comes in, and then how he revolutionized it by creating his paid request model, where fans could pay to have Gary and his team act out the movie they wanted. These were often fetish films, that involved bondage, violence against women, etc., but it turned out there was a market for them beyond the individual fan requests. The film then interviews the women and men who made W.A.V.E. Productions happen, like Debbie D, Tina Krause, and Pamela Sutch, to give us a full sense of what it was like making films for W.A.V.E.

I really enjoyed this. It was one of the rare films where the 97-minute runtime felt too short, like I could have listened to them talk about W.A.V.E. productions for another hour. The way it captured a moment in time, and movie history--can I call it "film history" if the films aren't shot on film?--but then took it further to show how Gary Whitman and his production company became even more successful. We were seeing the first crowdsourcing model, where people at home were essentially the producers and the money behind the film. But we also see that these films wouldn't have been a success if it wasn't for the no-nonsense women from South Jersey and areas nearby like Philly who were up for anything. "Tie me up and pretend to strangle me for ten minutes? Let's do it." "Cover me in fake blood while I'm lying naked on a table, and pretend to have people eat my organs, so I have to smell old animal organs going bad in the heat? Why not." It was a great film, and my only complaint, which might be a first here on the DTVC, is that it wasn't longer.

American society loves to give Millennials a hard time, and while I'm not here to pile on them--plus depending on the date range an authority gives, I may actually be one!--one interesting thing that's happened is their sheer size compared to Gen X, or ones on the cusp like me, has allowed them to change certain narratives, one of the biggest being around Blockbuster Video. Many of them were too young to remember the mom and pop video stores that proliferated in towns like mine in the 80s and early 90s, they remember after when Blockbuster ran them all out of business, and as such, they have more of a fondness for Blockbuster that people my age and older don't have, which explains the Blockbuster nostalgia we see online. What I'm getting at though is it was through those mom and pops that SOV films were able to gain a foothold in the market. With a major chain like Blockbuster, they wouldn't want anything to do with something like that, they were looking to put dozens of new releases on their shelves--in fact, the only rare stuff they had was stuff they grabbed from the mom and pops they ran out of business. But the mom and pops needed stuff, and if a type of horror film sold, and they saw a catalog offering similar titles, it didn't matter if it was SOV, they put them on the shelves and hoped they sold too. And they did sometimes. Kids like myself might get them home and watch them during a sleepover with friends and think "this is ridiculous! Where can I find another?"--or even adults for that matter. I guess YouTube allows for something similar, but it's not quite the same as it was then, and this documentary really captures that unique moment in time.

The fan-funded element that allowed W.A.V.E. films to take off feels like a precursor to the crowdfunding approach to filmmaking we see now, but I think that too doesn't have an exact equivalent. Crowdfunding involves the filmmakers offering perks to people who donate to the funding of the movie, but ultimately the filmmakers are putting their own vision on the screen, not that of the people donating. What Gary Whitman was doing was saying give us the money, and we'll make your movie, but then beyond giving you a copy, we may also sell it so other people can see it too. And it turned out there was enough of a market. As two guys who were familiar with a lot W.A.V.E. Productions said in the documentary, it's like you get to see what other people fetishize, and it makes the films all the more fascinating. I've had a chance to watch a few of them myself, and they're something outside the normal bounds of what we consider "film," which means some of the usual value judgements we use to understand movies have to be tossed aside. And while that's not for everyone, what this documentary showed was that it was for enough people that W.A.V.E. Productions became successful. (And it should be noted, this documentary was finished with a crowdfunding campaign on Indiegogo.)

None of this happens without the women starring in the films being game for whatever comes up, and this documentary did a great job of spotlighting their efforts. It started with Clancey McCauley, and she has the ultimate "let's just go for it" attitude. She said she appreciated turning the tables on the baddies, but she had to be up for what the baddies would do to her first, and she was, which set the stage for what W.A.V.E. would be. One of my favorite stories was Laura Giglio's. She said when she auditioned, she was still living at home with her parents, and her mother wouldn't let her do a lot of the things she would've been asked to do at W.A.V.E., like nudity. When she was older and had moved out, she thought, "now that I'm no longer living at home, I can make my own decisions on these kinds of things." So she contacted Gary, and he put her in a movie right away where she ended up getting eaten. Then we have someone like a Tina Krause who has had a horror career outside of W.A.V.E. Productions, but got her start there. That these shot on video productions would be such a phenomenon that the stars would get parts in other films is a testament to how much fun they were and how much there was an audience for them; and it's also a testament to the women who starred in them that they would be that much in demand afterward.

Finally, we always leave this last paragraph as something tangentially related to the film, and this one won't be an exception. Since W.A.V.E. Productions started in the late 80s, we've had a stylistic change in English that's gotten away from periods after every letter in a multi-letter abbreviation, which makes sense, because putting the periods after every letter in "W.A.V.E." is a pain. You'll notice on my site, we say "NFL" not "N.F.L.," or "USA" and "UK" instead of "U.S.A." and "U.K." I would say this shift started when I was in college. I remember proper formatting for Anthropology papers did away with the periods between letters back then. The thing is though, W.A.V.E. Productions started in 1987, when we still did the periods, and they haven't changed--they may not be able to due to copyright issues--so I had to get used to adding the periods in again, even if it's just this one time.

And with that, let's wrap this up. You can find this on Tubi here in the States, and it's well worth it. It documents a true independent spirit, something we love at the DTVC, but an independent spirit that comes with a sense of danger, which we also love.

For more info: https://www.imdb.com/title/tt8714166

Looking for more action? Check out my new novella, Bainbridge, at Amazon in paperback or Kindle!

 

Villain (2020)

Back in July I had Will from Exploding Helicopter on the podcast to discuss Craig Fairbrass, and this was one of the films we looked at. I have to confess that before the episode, I hadn't seen a lot of Fairbrass's films, so this was a great opportunity for me, and Will was great in providing the context for Fairbrass's career and the characters he was playing.

Villain has Fairbrass as Eddie Franks, a criminal who's released from prison after ten years, and is looking to get his life on the straight and narrow. Unfortunately, if it were that simple, we wouldn't have a movie. To start, his brother Sean, who was supposed to be running their pub when he was away, has a coke habit and is now into some mobsters for a huge debt. At the same time, his estranged daughter wants nothing to do with him, and while he's repairing that relationship so he could be a part of her and his grandson's life, he finds out she's in an abusive relationship. Now to fix both situations, it looks like Franks will have to turn to crime one last time before he can finally put it all behind him and move forward. This shouldn't be a problem for someone as experienced as Eddie, right?

This was really good. I was hesitant to give it the "action" tag, because it doesn't have a lot of action; as was I hesitant to give it the "suspense" tag, because, while it has some suspense, it's not really a suspense move per se. Drama might be the best genre, but we don't have a drama tag, so I had to make the best that I could with it. And as you can tell from the cover, this was hard to market as well, because it's not really anything like you're seeing there. What we get is a solid story about a tragic figure surrounded by other tragic figures. It's more a character study than a classic English hardman flick, but what makes it so great is how much Fairbrass is up to the task. The supporting cast all turn in great performances as well, working well as satellites around Fairbrass's central figure, yet making their characters compelling in the process. It's more Indie art house flick than DTV actioner, and while it's packaged like the latter, don't let the fact that it's the former scare you away from it.

Before I move forward, just a word of warning that in the later paragraphs I will need to give away the ending, so if you want to watch this first, by all means do, then come back and see what I thought about the rest. You can find this on Prime and Pluto here in the States.

The fact that Fairbrass was able to pivot this character away from the standard British hardman role is ultimately what makes it work so well. I think that's because he's a true actor that just happens to also be very imposing in stature, not a former athlete or something like that turned actor due to his imposing stature. The other thing he does here is he leans into his age, almost playing someone even older. When he holds his grandson, he makes himself appear very grandfatherly. Look at the image of him below. That's not Pat Tate Hoovering up lines of coke and beating up stuntmen with a baseball bat, that's a man in his late 50s looking at his infant grandson and trying to reconnect with his estranged daughter. Don't get me wrong, I'm happy to see him playing Pat Tate or another standard hardman, but to see him pull this off as well as he does was fantastic, and really entertaining.

Spoiler alert, a final warning that I'm going to have to give away the ending here, so if you don't want to know what happens, don't read further and go watch the film.

This movie ends with Eddie Franks dying, but in way that you wouldn't expect. As things are unraveling around him, it's actually his daughter's abusive boyfriend who shows up on a motorbike and hoses him down with Uzi fire. For some in the IMDb comments, this was a letdown, which I get. But there was also the sense of the European tragic tradition that this is playing on, something that's more common in the UK than here in the States. Will and I discussed it a bit, and I mentioned how Mark Twain flips that tradition in Tom Sawyer, where Tom gets to attend his own funeral, instead of the hero being destroyed by his own hubris, he gets to see himself celebrated as the center of attention. Will had a good counter to that though, when he mentioned the gangster films of the 30s with stars like Cagney and Robinson, where those characters always died tragically at the end--and that tradition continues with a film like Scarface, or even Goodfellas where Henry Hill symbolically dies when he's forced to live a mundane life in witness protection. Why then is an ending like this so anathema to us Americans, where it fits better for Brits or Europeans? We want to see an Eddie Franks vanquish his enemies and avoid capture from the police, right? But maybe that's a more recent thing, the idea of the "anti-hero," Fast and Furious or Marvel movies where baddies come back to join the heroes, there is no dying by the sword that the main character lives by, only living. So to see an anti-hero like Eddie Franks not only die, but die the way he does, works so counter to that new tradition that it ruins the film for a lot of people. For me though, I appreciated it here.

The other piece I really liked was how we get the sense that Franks has it all figured out, only to find out he was wrong, and that mistake was what becomes his undoing. It's another piece that we often don't see in newer films, especially ones made here in the US. The hero almost always has it all figured out, even when it seems like he doesn't, we find out after the fact that he knew all along. Not only does this not go in that direction, but it warns us that that might be the case earlier on. Essentially, what happens is, Eddie's brother Sean isn't into the baddies for a large sum of money because, as Eddie initially thought, the baddies stole their own goods that he was supposed to transport, a classic scam baddies use to extort their couriers; but rather because the police confiscated it. The baddies warn Eddie that his brother is a "grasser," UK-speak for the US "rat," but he refuses to believe it. It's part of the hubris that leads to our hero's tragic end, but it's the kind of move many modern US films won't go for, which is too bad.

Finally, during the episode, I asked Will if anyone ever played baseball in the UK, or if baseball bats were just used in bar fights and gang fights like we see in these UK crime films, and he confirmed that it's the second thing. Here I believe Fairbrass uses a hammer to attack some guys giving him a hard time in his pub, which makes more sense, because hammers still have utilitarian uses outside of attacking people with them; but the baseball bat, if no one is playing baseball, has only one other purpose. And to be fair, it serves that purpose really well. The baseball bat has been engineered for more than a century to be able to do something as good as possible that the best players only do about 30% of the time, and that's hit a baseball being thrown at 90+ MPH, that's curving and moving around as it approaches the batter. That makes a stationary human head an easy target for that uniquely designed baseball bat, and while the UK doesn't have a great need for a bat to hit a moving fastball, there are plenty of human heads, especially in London. The question then is, where does one get a baseball bat in the UK? At a sporting goods store? Or a bar supply store? And while we also use a baseball bat as a weapon here in the US, when an assault rifle is so easy to come by, why not spend the extra money? If we did things like they do in the UK, the man rampaging through a school with just a baseball bat may hurt some kids, but someone might be able to disarm him, and you also assume the local police wouldn't be afraid to engage him either like they are when he's stalking the school halls with an assault rifle. 

And with that, let's wrap this up. As of this writing, you can get this on Prime and Pluto here in the States. I think it's well worth it. This may not fit the usual genres we cover here, and the ending may not be what you're looking for, but something that's well-shot and well-acted is all you need to get you to the church on time. And if you haven't yet, check out the podcast episode I did with Will on Craig Fairbrass. It's episode 130, from July 25th in the archives--and warning, in that episode I go off on a long tangent comparing North Jersey in the US, to Essex in England.

For more info: https://www.imdb.com/title/tt9820352

Looking for more action? Check out my new novella, Bainbridge, at Amazon in paperback or Kindle!

 

Hard Hunted (1992)

As we're trying to get all of Andy Sidaris's LETHAL Ladies films on the site, this was next on the list. I had initially seen it way back in March of '21 when I had Mitch from the Video Vacuum on the Pod to discuss Dallas Connection and the rest of these movies, so it's good to finally get it up on the site.

Hard Hunted involves a baddie named Kane--probably "Kaneshiro," but played by a new actor--who has a nuclear bomb triggering device hidden away in a mini jade sculpture. When Mika, one of our LETHAL Ladies, steals it, he sends Al Leong in a gyrocopter to get it back. Al kills Mika, but our hero, Donna Hamilton, and her partner Roberta Velasquez, get the jade and take it back to the rest of the agents in Hawai'i. Kane won't give up so easily though, and he kidnaps Hamilton, who tries to escape, but gets a nasty knock on the head that leads to a bout of amnesia. Now it's a race against time, as Velasquez, Bruce Penhall, and Cynthia Brimhall try to track her down before Kane and his baddies do. And who knows, maybe our lethal-est of LETHAL Ladies, will regain her memory. If that happens, the baddies won't know what hit them.

This might be my least favorite of these films, which doesn't mean I didn't like it, I just didn't like it as much as the others. The kidnapping and amnesia thing almost turns Speir's Donna Hamilton into more of a damsel in distress, and the part where one of the baddies convinces her that they were a couple, leading to their love scene, was uncomfortable. It may not have been a rape scene in a forced sense, but there was definitely a lack of consent there that put it along those lines. On the other hand, when Dona's character had her faculties, she was fantastic, which made it all the more frustrating when we lose it for that chunk in the middle. My favorite is when she's in the plane after she was kidnapped, and she tosses one of her captors out of the plane, then grabs a parachute and grenade. The pilot tells her "you don't have the stones," to which she says "I don't have the stones?" Then she pulls the pin and jumps out of the plane before it blows up. That's the kickass Speir we want. We also get Rodrigo Obregon back after missing him in the previous film. It's just not a LETHAL Ladies film without him, and he makes all of these better. Finally Al Leong and his gyrocopter were a great addition that added to the fun. While it may be my least favorite, it's still very entertaining.

With this film, Dona Speir now has 6 films on the site, which doesn't sound like much, but it ties her with Shannon Tweed and Jillian McWhirter for fourth most tags for a woman on the DTVC. Above her are Cynthia Rothrock, who has 42, and then a big drop down to Kathleen Kinmont at 8, and Lisa London at 7. We have one more LETHAL Ladies film that she was in, Fit to Kill, so that'll get her to 7, but after that it's slim pickin's, maybe a couple more that we could do, leaving her shy of 10. I don't know that it matters necessarily though how many she has, because the work she does in these as a female action lead, especially in the late 80s/early 90s, is most important. I'd say in comparing her to Cynthia Rothrock, this might be her Lady Dragon 2, only there Cynthia Rothrock is a more explicit damsel in distress, and her character is more overtly raped. I think with this one, the amnesia aspect might have just been a sign of a series that was running out of ideas, and they wanted to inject some intrigue into it, so this was what they came up with. As I mentioned above though, when Donna Hamilton has her faculties, she's fantastic, and gives us everything we want with her in a LETHAL Ladies film.

After Do or Die, which is the only post-Malibu Express entry in the LETHAL Ladies films to not feature Rodrigo Obregon, he's back with us now, fully scarred and eye-patched and chewing scenery. He's not the main baddie, we leave that to Geoffrey "RJ" Moore's Kane (more on him below), but what we get as sort of an intermediate baddie is fantastic. I remember in 2021 when I watched all of these films for the podcast episode with Mitch, my top actor for Letterboxd that year was Obregon, and my top director was Sidaris, a Holy Grail for a low-budget movie watcher like me--only topped in 2022 by both actor and director being Fred Williamson. For a movie series that's a lot of boobs, buttocks, and sex scenes, with shootouts and explosions mixed in, to have an actor like Obregon be one of the hallmarks is a testament to how great he is. Welcome back Mr. Obregon, we missed you.

Speaking of hallmarks, two of the hallmarks of the Fast and Furious films are one, no one ever really dies, and two, baddies become good guys in later films. Sidaris gave us the blueprint though on how that series should have done it. Ava Cadell plays an assassin in Do or Die, complete with a scene of her putting on her leather pants. She gets blown up, and that's it. Now that she's in Hard Hunted is there this whole story around how she survived the explosion and has been turned to the side of the Good Guys? No, she's just here now as new character who's part of the Good Team, helping them out by running radio station KSXY, through which she relays information to them. What about our baddie, Kane? In the previous film he was "Kaneshiro" and played by Pat Morita; now he's "Kane" and played by Geoffrey Moore. They even use footage from the previous film showing Carolyn Liu's Silk character creating the necklace that she gave Morita, and is now giving to Moore, through which the agency is able to track him. Does any of it matter to us, the fans of these films? Of course not, just like we didn't care that Erik Estrada was a baddie in Guns, and was a Good Guy as a totally different character in Do or Die. The Fast and Furious movies should've just relaxed and, instead of bringing people back from the dead, just had actors play new people. You like Jason Statham, but he was a baddie in Furious 7? Just have him play a whole new character in Fate of the Furious. It might actually be more fun for us--as these Sidaris films are more fun than the Fast and Furious films.

Finally, this is our 10th Al Leong film, which I think is a fitting one, because, while this isn't the best of his 10 films on the site, this might be his best performance. First off, I think he has more lines in this than all the other 9 combined. Second, he flies that fantastic gyrocopter, one of my favorite of all the Sidaris vehicles he uses in these films. The problem of course is, being a helicopter pilot and a baddie means he can only meet one end, and our hero Donna Hamilton was more than willing to send him there. Will from Exploding Helicopter talks about what he calls "Chekhov's Copter," which means a helicopter shows up for the sole purpose of being blown up in a later scene. In this case, we have Chekhov's Copter blown up by Chekhov's Gun, because what happens is, Al Leong is spraying our heroes with machine gun fire, hitting Bruce Penhall in the leg, forcing him to abandon his gun on the beach. Later, after our heroes have been disarmed, Donna Hamilton runs back to where the gun was left, and uses it to dispatch Mr. Leong in explosive fashion. With such fun devices being employed by Sidaris in these films, it's hard to stay angry with him for the whole Donna Hamilton amnesia thing.

And with that, let's wrap this up. This, like all the LETHAL Ladies films, are available on Tubi here in the States. While this might be my least favorite, it still has a lot of fun elements, and is worth checking out if you haven't seen it yet.

For more info: https://www.imdb.com/title/tt0104391

Looking for more action? Check out my new novella, Bainbridge, at Amazon in paperback or Kindle!

 

Executive Target (1997)

It's been a little while since we've last had PM on the site, back in February when they joined the 40 Club. With that in mind, I'd had this as one of theirs I'd been meaning to look at for a while now. Beyond the PM factor, we had one of my favorites Michael Madsen, plus DTVC Hall of Famer Matthias Hues, and greats like Keith David and Roy Scheider. In addition to us, out of the six critic reviews on IMDb, three of them are the guys at Comeuppance, Will at Exploding Helicopter, and Simon at Explosive Action, so that tells you this has to be pretty sweet.

Executive Target has Madsen as a stunt driver serving time in prison who's broken out by a terrorist group while he's being transported. The terrorist group, led by Keith David, and featuring Angie Everhart, Matthias Hues, and Robert Miano among their members, want Madsen to drive for them, and to make sure he does, they kidnap his wife (Kathy Christopherson). First he drives for them in a bank heist, and then the real fun begins: they want him to kidnap the President, none other than Roy Scheider. But Madsen has other plans, and while he does kidnap the President, he takes him to a friend's place, and together they hatch a plan to take David and his baddies down. No matter what, in PM fashion it'll be all car flips and explosions to get us there.

PM does it again. Even at 100 minutes, which would be death for many other films, for PM it's just an extra ten minutes of car flips, explosions, Madsen being too cool for school, David chewing scenery as the baddie, and Scheider being bad ass Presidential. As Simon said in his review on Explosive Action: "this is why I got into this game." Here here. They really don't make 'em like this anymore, but PM made 'em like this back then, and we have them available on streaming sites or YouTube for us to enjoy. And it's classic PM too. When we hear bank heist, we know this can't be a simple smash and grab job, and PM gives us the chase we want. Plus it's the 90s, when we see Madsen on the tin it means he's really going to be in the film, not like today where he might be in for like 10 or 20 minutes. This probably isn't even a top 20 PM flick for me, but that's how great PM was back then that this is so entertaining.

I went back to look at the previous 12 Madsen films we'd looked at to see where this ranked, and it might be the best of his we've done. We have a great performance by him in Vice, and then Final Combination aka Dead Connection is probably the other one I'd consider for the best of his we've covered, but I think that one loses itself a bit in the end, whereas this is consistently PM throughout. Recently we did Dolph's 69th film, and there was a thought of who could catch him. Madsen has the credits, but with this only being his 13th film on the site, he's now 56 behind Dolph, so even if we did one Madsen film a week for a year, he'd still be behind Dolph. The thing is though, I looked on Tubi, and he has like 90 or 100 films on there, and while some are ones we've done before, or they're not DTV flicks so they wouldn't fit on the site, there are at least 60 we could do. Back when I used to do 3 posts a week, that would be feasible, but now that I barely do 60 posts a year it's harder to pull off. Another one we could do that with is Eric Roberts, who has 180+ films on Tubi. So if we did a movie a week for each of them, it would be like a George Thorogood song, "one Madsen, one Roberts, and one beeeeer..."

This is the second time we've seen Roy Scheider play the president on the site, the other being Dolph's The Peacekeeper--and he has another in addition to that, 2000's Chain of Command, which I haven't reviewed yet. Of all the people we've had play the President on here, he might be the most Presidential. Ty and I joke on the podcast about Randall Emmett convincing Donald Trump to play a baddie in some of their movies, but this Scheider performance has me thinking Biden would be one of the best badass Presidents the way Scheider is here, as he seems very Biden-ish. Maybe the best badass ever would be Teddy Roosevelt. Eisenhower was pretty badass too. And don't sleep on George Washington. And while I'm not sure if Bill Clinton would've made a great action star, at least he could play the sax if he was taking Busey's role in a shot-by-shot remake of Bulletproof--and who wouldn't pay to hear Bill Clinton call people "butthorns"?

Usually the film's Hall of Famers are covered in the first paragraph after my initial reaction, but Matthias Hues is barely in this, and I wanted to save my PM paragraph for the penultimate one, so here we are. This is now 19 for Hues, so he's about to pass 20, which doesn't sound like a lot, but as a Hall of Famer, we'd like to get that count higher, so hitting that milestone would be important. According to the trivia, he asked Merhi to be killed off, which may explain the scant Hues we got. We had Keith David as well, this is only 9 for him, but fun to see him acting opposite Madsen, two greats getting after it. We finally tagged Angie Everhart with this being her third film on the site. I'm expecting we'll see her more though, especially with the number of DTV films she did around this time, including more PM flicks. As someone known for her great hair, in this her character has it in a ponytail for good chunks of the film, so it's almost a hair bait-and-switch, though to be fair, we can't really see her hair on the cover, so they didn't sell us on her hair going in, just had us expect it on reputation alone.

Finally, I saved the PM paragraph for last. This is our 41st PM flick we've looked at on the site. The goal is to get as many, if not all, of PM's feature films reviewed on here. According to IMDb, they list 202 titles, of which 48 are LA Heat episodes, so that leaves us with 154, minus the 41 we've already done, so 113 or so to go? That seems pretty daunting--maybe instead of a Madsen project I should do a PM flick every week. A lot of them are available either on streaming sites, or YouTube--in fact, on my YouTube page, I've created a playlist of the PM flicks I've found so far on there. I think at the very least, the action films need to be on here, and there are still a ton of those that need to be covered too. I think what watching this film does is reminds me that, while newer films are good to cover, I should never go too long without covering something from this time, especially a PM flick, because there isn't much happening today that matches what they did back then. Maybe Jesse V. Johnson or Isaac Florentine, but neither of them are doing what PM did at the scale and absurdity we see in something like this. Here's to you PM, you were one of the greatest. As I always say, you don't need the "entertainment" in their name, because when we see "PM," the "entertainment" is a given.

And with that, let's wrap this up. Right now YouTube is the best way to check this out, though Amazon has used VHS and DVD at good prices. This is pure PM, with solid Madsen, great explosions and car chases, and a fun supporting cast. Maybe they don't make 'em like this anymore, but they did back then, and we have the means to watch them now.

For more info: https://www.imdb.com/title/tt0119088

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