The Last Riders (1991)

For our PM review this month, we have this biker film starring Erik Estrada, along with William Smith, and a small early appearance by Mimi Lesseos. Those are the things I know about the film going in, it's what we get that we weren't expecting that make PM films so much fun! In addition to us, Chris the Brain at Bulletproof and the guys at Comeuppance have covered this as well.

The Last Riders has Erik Estrada as the co-head of a biker gang (along with Angelo Tiffe), who, in trying to retrieve some stole drug money, kills the thieves, only to discover one of them is a dirty cop. Dirty or no, the full weight of the LAPD is coming for him, so he needs to give up his gang colors and go on the run. The first place he runs to is old buddy William Smith, who owns a garage in a small town in southern Nevada. He's happy to have Estrada work there and live in a trailer outside of town, and Estrada's happy to settle down, especially when a single mother (Kathrin Middleton) and her daughter (Minnie Madden) show up and need car repairs. But as he starts his new life, it wouldn't be a PM flick if his old life didn't come back to haunt him.

And boy does it come back to haunt him, which makes for an interesting movie story-wise. In most PM "hero's family is killed and now he's out for action-packed deadly revenge" movies, the family gets bumped off in the first act, and we don't get to know them too well, we just take it for granted that bumping off someone's family's bad, and then from there the hero starts the revenge process in the second act, and gives the baddie their ultimate comeuppance in the third act. Here, the first act is retrieving the drug money, and the second act is him falling in love with Middleton's character and starting a life with her, before she and her daughter are gunned down in the trailer. It's almost like the filmmakers were enjoying watching Estrada and Middleton's characters fall in love, and someone was like "hey guys, we need to get to the revenge part of this, the movie's almost over!" It creates that tonality issue we'd see a lot in early PM, where if you're watching this as a one-off in the early 90s because you found it on cable or at your local video store, you're probably not impressed, but in the context of a bunch of these you're excited to go along for the bonkers PM Entertainment ride. We also get some of the names we've come to know and love, like Cole S. McKay on stunts, Joseph Merhi directing, and Rick Pepin's cinematography. In that sense, you probably need to watch some of the better of these PM films before you get stuck in on this one, and even then, it's low on the list for me; but lower on the list PM is still not a bad way to kill 90 minutes if you're a PM Entertainment fan.

We're now at 58 PM flicks on the site, and what's interesting about this one, is it's their 22nd movie and came out in 1991, but feels like an earlier spine number joint from 1989 when they were still getting the hang of what PM would eventually be--which I guess isn't so crazy an idea when you consider 1989 and 1991 are only a couple years apart, there could be that overlap as they were still figuring out what worked best. And I'm not sure what the best PM moment in this was for me. Maybe when Estrada blows up the trailer with his deceased wife and step-daughter's bodies inside, while he and a tearful William Smith look on. No calling the cops, I imagine the Middleton's ex-husband would like to know what happened to his daughter, even if he was the jerkoff Middleton said he was, but nope, in the world of PM, the fiery funeral is all you need. From there, as he's getting his revenge, the bartender at their biker bar tells him she has feelings for him, and hey, he's back on the market now, even if the remaining embers of his dead wife and step-daughter's bodies are still smoldering near Lake Mead, why not go for it? And I guess that's what I think when I see another PM flick on Tubi, "come on, Matt, why not go for it?", because these things only work in the world of PM--and I don't even know if they work there either, or it's more the fact that they don't work that's so much fun.

One of the more fun aspects of the film was the band at the biker bar that performed over a couple of the montages. They were called The Sheilas, and their sound was in the mold of Pat Benatar's stuff, which is plenty fine for me. Even more fun, the first song featured a flautist. We're not strangers to the flute here at the DTVC, plenty of 80s exploitation films shot in the Philippines made ample use of the flute, perhaps because Italian directors thought jungles and flutes went together like peanut butter and chocolate, but we never actually saw the flautist getting after it like we do here. I never thought of it before, but yeah, a flute solo is exactly the music I need when I'm watching a shot of a biker gang back-angle parking their hogs against the curb. Now, if you're thinking flute music, Jethro Tull probably comes to mind, but can I throw out another name for you? Jazz flautist Ragan Whiteside is one of the best out there, in particular check out her cover of Little River Band's "Reminiscing," great stuff.

Corey Doctorow came up with the term "Enshittification" to describe how tech companies lock users in and then make their products as shitty as possible while extracting as much money out of them as they can. He's said on multiple appearances that he's okay with the term being used beyond the tech space, so I'm going to point out how this movie shows us the ways that so many things we took for granted in the early 90s have been enshittified now. Start with Las Vegas. In the early 90s it was a place where people with not a lot of money could go and have a fun time. Remember the Roseanne episode where she and Dan went with Tom Arnold and Sandra Bernhardt, and Roseanne got drunk and heckled Wayne Newton because she thought he was an impersonator? They ain't goin' to Vegas now, and even when I went in 2013 I could see it changing, nothing was cheap like it was in the early 90s, and in the 10+ years since, it's only gotten worse, as they'd rather cater to whales like Dana White compensating for inadequacies with six-figure blackjack hands than working-class stiffs looking to escape their troubles for a few days. From there, look at Estrada's job as a mechanic. The first thing William Smith would ask him today is, "how good are you with a computer?" And is Smith going to be able to pay him enough to support his new wife and step-daughter, even if they're living in a trailer by Lake Mead? Even Estrada going to the grocery store, it was like "oh man, the grocery store experience was so much nicer back then!" No memberships, no fugazi sales, Pepsi and ConAgra didn't own everything, Estrada paid a living wage so he can buy food, the grocery store workers paid a living wage too. Things aren't only worse now than they were in 1991, they're worse now by design, and have been for a while.

Finally, what the hell are we doing in that picture above? The cap, the mustache, the T-shirt, even the little cigar, and this guy is hanging out at a biker bar no less! You can't recreate this guy today, he'd either be dripping in irony, or imitated by a younger person who's still not generating the look organically. These weren't just decisions that were made in the morning as this man was leaving the house, these were completely legitimate decisions that no one he encountered that day would've looked askance at. And could there have been another beer that he'd be drinking other than Miller Lite? He's not quite what I would call a Cocaine Dad, which is a term I used for guys my dad's age who were born in the late 40s/early 50s, but when the late 80s/early 90s came, couldn't come to terms with the fact that they were getting older, so they pushed beyond their relevance and tried to look the part of someone ten years younger than them--and while they may not have all partaken in some nose candy, you wouldn't have put it past them either. This guy above has no use for terms like "relevance," he's completely authentic--I mean look at him, he's genuinely into the flautist performing her solo, even if he won't remember it tomorrow. Here's to you that guy in the picture above, you're one of the greats.

And with that, let's wrap this up. You can currently stream this on Tubi. As I said above, I think you'll get more enjoyment out of this after you've seen a lot of the better PM films first, but as a free streamer it does the trick.

For more info: https://www.imdb.com/title/tt0102275

And check out my newest novel, Mark in Sales, on Amazon in paperback and Kindle.

Pushed to the Limit (1992)

I was looking to get some more Mimi Lesseos on the site, and Tubi kept suggesting this one to me, so I figured why not make it happen. In addition to us, Matt Spector at Bulletproof, Mitch at the Video Vacuum, and David Wain at The Schlock Pit have covered this too.

Pushed to the Limit stars Lesseos (who also wrote and produced) as Magnificent Mimi, a star wrestler whose brother (Greg Ostrin) is killed and husband (Michael M. Foley) is seriously wounded by gangster Harry Lee (Eidan Hanzei). To get revenge, she has her husband's sensei Vern (Verrel Reed) train her to fight in Lee's Kumite--that's right, we got a Kumite baby! Only this is more of an evergreen, nightly Kumite, as opposed to a yearly tournament, at least as far as I can tell. Anyway, Lee's champion fighter, Inga, after a successful career as a dancer in Russell Mulcahy-directed 80s music videos, is having trouble finding work in the 90s, so she's changed careers and is now breaking ladies' backs and necks in the ring--though she's kept her make-up from those old videos. Will Mimi defeat Inga and Lee, and bring down Lee's criminal empire?

This definitely borders on what the guys at Comeuppance would call a "That Movie," and by that they mean a Samurai Cop or a Miami Connection. A lot of bad dialog, scenes that don't seem to fit, and an opening credit sequence that looks like The Pod People on MST3K. The difference I think though is Lesseos is a great lead, which keeps the schlock, low-budget elements fun, but also elevates this slightly above those other "That Movies." Another element the guys at Comeuppance always talk about is the Punchfighter, and this Kumite has all of those elements, only in addition to people holding wads of cash, we also have these elderly extended reach claw-like devices that they used to give and take money from the upper levels of the fighting arena. How they kept track of who bet on who is beyond me, I just liked the idea of those devices for myself so I wouldn't need to get on a chair to reach the upper shelves of my cabinets. There are elements of the movie that don't work though. It takes us about a half-hour until we even get mention of a Kumite, and before that, we get introduced to a bunch of Mimi's family members who play no role in the film and only serve to confuse us. Some of the darker sequences are hard to follow, and some of the fights were kind of all over the place and hard to get a consistent look at, which could be headache inducing if you're watching this on a tablet like I was. When the fights were shot well though, they were a fun mix of traditional martial arts with professional wrestling moves, and Lesseos really carried off the fights she was in. Also, I loved the Kumite set, it was like something out of a Fred Olen Ray sci-fi exploitation flick, and the juxtaposition of that kind of T n' A with the fighters here in hot Lycra spandex, but kicking ass and taking names, turned that exploitation on its ear. I think for most of the people reading this, you're going to have a fun time, especially if you're streaming for free, or if you find it cheap in the wild on VHS.

"She's a woman on the 90s." She certainly is, and the movie does a great job of positioning Lesseo's character as a modern woman trying to carve out her own career, versus Inga, an 80s throwback with her hair and make-up, trying to fight the calendar. This is the first of four films Lesseos made between 1992 and 1995, the third of which, Streets of Rage, we've also covered on the site, and while I didn't like this one as much as that one, Lesseos has a great presence and is enjoyable to watch. It made me wonder why she only did these four, and in looking at The Schlock Pit review, David Wain mentioned that she tried to make her movies on her own, which might explain it. For funding on this one, it said she had a $600,000 outside investment, and then funded the rest herself, in part through extreme wrestling matches she did in Japan. She said when she tried to go the more traditional route, filmmakers just wanted her fighting in her bikini, which I get would be annoying for her--only now we see with her new cover for this film, she's in a bikini. It's a shame though, because Lesseos should've had like 20 movies from the early 90s to the early 2000s, just a bunch of films like this where she's beating the crap out of people with the occasional scene interspersed with her training or out at a fancy dinner. I get a shady producer wanting to see her in a bikini, and I also get why she would've said no to that, but we as an audience are the ones who missed out.

We've seen our share of Kumites here at the DTVC. There were the Bloodsport sequels, where we had "The Next Kumite" in part 2, what I'd call "the Reboot Kumite" run by John Rhys-Davies in part 3, and then our first look at a "Dark Kumite," run by Ben Franklin in a prison in part 4. We also had a "Lady Kumite" with Lady Bloodfight, starring Amy Johnston. And then recently, on episode 202 of the DTVC Podcast, Ty and I looked at The Last Kumite, which I took "last" to be not so much "final," but rather "the most recent," because I feel like as long as there are action movies, we'll always have Kumites. This independent Kumite run by the baddie is a mix of the "Lady Kumite"--even though there are men's fights too, so it's like there's a men's and women's division--and the "Dark Kumite," because it is pretty dark. It's also a "Nightly Kumite," which is something we haven't seen yet, usually Kumites are yearly affairs. In my Bloodsport 3 post I suggested a Bloodsport 5 be a Colombian Kumite, where the hero has to fight King from Tekken. I was trying to think of others. What about a "Christmas Kumite"? Like it's a mix between a Hallmark Christmas movie and a Kumite? We could even use Amy Johnston as a young woman who left her hometown, made it big in the city, then returned home for Christmas, only to get roped into the local Kumite, plus find out she really loves her old high school boyfriend, played by any number of lantern-jawed Canadian actors. We could have Wincott hosting it for the full Canadian effect. I think you're picking up what I'm putting down.

You may (or may not) have noticed a new tag, "Chinatown." I decided to start tagging them, after we saw the LA one again. We only have 7 tagged, and of those 7, LA has come up a few times. Other Chinatowns include New York, Tokyo, Melbourne, Australia, and Manila in the Philippines. Hopefully we'll see more--plus I may have more that I haven't reviews found, I only did a search for the term "Chinatown" on my blog. We also had another McDonald's, now 13. I believe we've seen this one before too, it's the one on the Vegas Strip, which Lesseos passes while getting a ride in a limo to a dance gig she has there. I recently had McDonald's while I was at Union Station in DC waiting for my train back to Philly. I told myself I wasn't going to do it, but I couldn't help myself as I passed by, and needed to get a couple double cheeseburgers. It is interesting to think, with 13 posts, that almost 1% of all the films I've reviewed on the site have had a McDonald's in them.

Finally, look at how our baddie is holding his glass of champagne. What are you doing? You're making it warm holding it like that! Do you like warm champagne? He should be holding it by the stem of the glass, instead of the bowl, because the warmth of our hands warms the champagne if we old it like that. What's the point of even keeping it on ice in that bucket, if he's just going to warm it in his hand? I'm getting sick at the thought of warm champagne just looking at that. If you've seen this film before, you might be reading this rant and thinking "Matt, you're upset at how the baddie is holding his champagne, but you're okay with the completely out of nowhere way he suggested he and Lesseos go out to dinner in the previous scene?" That is a great point, in the scene before this, Lesseos finds out her friend is fighting Inga in Lee's Kumite, so she pleads with Lee to cancel the bout, only to have Lee say "let's discuss this over dinner." Wait what? Why? But I guess we needed this scene to establish just how bad our baddie is--I mean, it doesn't get more villainous than enjoying warm champagne!

And with that, let's wrap this up. You can currently stream this on Tubi and Plex here in the States. Lesseos delivers another fun 90s actions. It's rough in spots, and very low-budget, but it'll get you where you need to go, which I think is worth the stream.

For more info: https://www.imdb.com/title/tt0110918 

And if you haven't yet, check out my newest book, Nadia and Aidan, at Amazon in paperback or Kindle!

Streets of Rage (1993)

I don't know how I made it 1100+ posts here on the site, and this is the first Mimi Lesseos movie we've covered. Okay, actually that's not entirely true, because she was in Final Impact, the PM Lamas flick we reviewed a couple years ago; but this is the first Lesseos starring film we've done. In addition to us, Ty and Brett at Comeuppance have covered this, along with Bulletproof Action and Daily Grindhouse, so you can go to their sites and see what they thought.

Streets of Rage has nothing to with the too sweet Sega Genesis 90s side-scroller, but rather follows Lesseos as Melody Sails, an intrepid fact-checker who wants to be a reporter, who also happens to be a former special forces soldier in the Army. In trying to dig up a story, she comes into contact with some local homeless kids, one of whom finds the local lady of the night (girl of the night is more apt considering how young she is) that gave him money from time to time dead in an alley. Sails thinks something's up, so she digs deeper, and finds that there's a local pimp exploiting these kids. That pimp won't like it when Lesseos gets a hold of him.

This is an interesting one, because it's very low-budget. Like the credits look like something from a 90s company's orientation video, and the film settles into its extreme low-budget-ness from there. Lesseos is fantastic as an action lead, the problem is, she's not really allowed to be an action lead due to the material (which was written by Lesseos). It's almost like she didn't know how to split the difference between action film and hard-hitting drama, so we were left with long periods of no action, which I think hurts us because that's why we're coming to this movie, to see her kick some ass. With an 85-minute runtime, we should have some kind of action every 10 minutes or so, and the message of these poor forgotten kids on the street should be embedded inside of that. Still, all those issues aside, Lesseos as a lead makes this a lot of fun, and from a 90s action film standpoint, I think this is worth a go. 

Again, this is our first time really covering a Lesseos film, but I think in watching this I see why. This should have been a full showcase of who Lesseos is as a martial artist and action lead, and it never fully did that for us. We didn't get a lot of fight scenes, and there were a couple where she was wearing a skirt and heels, which made them look a bit awkward as she couldn't pull off the moves as well as she'd have wanted. By the same token, we see the talent there, right from the first fight where she beats up two guys hassling one of the kids, which makes us want more. Done right--and I don't mean on a higher budget, but done with more consistent action scenes--this could have been the one that makes Lesseos on that level of some of the best 90s DTV stars. That leather jumpsuit she wears at the end should have been an iconic part of an iconic actioner, but ultimately the legacy of this film is what it could have been, as opposed to what it was, and I think unfortunately the same is true for Lesseos.

For review purposes I tend to watch the credits, just in case a name pops up (like Art Camacho, who's been in almost everything in early 90s DTV action), and one name I caught was Joseph Merhi, the "M" of PM Entertainment, in the "thanks" section. In addition to Final Impact, Lesseos was also in the PM flick The Last Riders, so that may be where the connection comes from, but I looked at her other films on IMDb and didn't see her thanking him in any others. One comp to Mimi Lesseos is Ronald Marchini, as they both went the route of making their own productions, but I wonder with Lesseos if it was more out of necessity. There are about 134 PM feature films listed on IMDb, and there aren't that many that have female leads; beyond that, there aren't many that don't have leads, male or female, who weren't established names. That makes me think maybe Merhi told Lesseos to establish her name first, and then he'd put her in some PM films. If that's the case, I think that's a major missed opportunity, as Lesseos teamed with Art Camacho and Spiro Razatos could have given us some all-time great stuff.

One interesting element about the script Lesseos wrote, is she developed her lead as someone who needed to discover her self-worth, despite the fact that she was a decorated veteran and special forces soldier. She's trying to make it as a reporter, and she's in a relationship with one of her coworkers, who is stringing her along. As the film goes on, she gets better suitors and can dump that coworker, but she's also gaining more self-confidence beyond what she can do as a fighter. I think she was trying to show a vulnerability we often don't see in action leads, and I liked that. The question is, how do you incorporate that into an action movie without diminishing the action quotient? I remember the film Colombiana did it well, but that was Zoe Saldana in a film written by Luc Besson and directed by Olivier Megaton. That's the kind of level this film was going for, and I appreciate that they were going for it, but as we saw here, it's tough to pull off.

 

Finally, I wanted to quickly touch on the old Sega game of the same name. It's crazy to think that game came out 30 years ago now. If any game could've spawned a great movie, it was that one. The thing is though, I would've said the same thing about Double Dragon, but the movie we got for that in the mid-90s wasn't all that great--though it had some great Dacascos. I imagine a Streets of Rage adaptation in the 90s would've killed everything good about that franchise too. I saw on Wikipedia that there's an adaptation in the works, but I feel like that's too late now. We needed a 90s straight ahead actioner with people like Jeff Wincott, Gary Daniels--and Mimi Lesseos. She would've been a great Blaze, right? Total missed opportunity there, no movie adaptation, no Mimi Lesseos in the no adaptation, and instead, while this Streets of Rage is a fun outing, we're just left with what ifs. One thing that is nice about the 2020s though: I can stream this movie for free on Tubi, and if I want to get nostalgic for the video game, I can watch someone playing it on YouTube.

And with that, let's wrap this up. As I just mentioned, this can be streamed for free on Tubi, and I think as an action fan it's worth it. This may not be the best, but Lesseos brings some solid martial arts in spots, which makes this an overall fun 90s actioner.

For more info: https://www.imdb.com/title/tt0111302

And if you haven't yet, check out my new novel, A Girl and a Gun, at Amazon in paperback or Kindle!

 

 

 

 

Final Impact (1992)

I had always thought I'd reviewed this one before, but when I was putting together my Gary Daniels list on Letterboxd, I realized that that not only wasn't the case, but I hadn't even seen it. It was something I needed to rectify as soon as possible, which I'm doing now. In addition to me, this has also been covered by Comeuppance Reviews, Movies in the Attic, the Video Vacuum, and Fist of the B-List, so you can check out their sites to see what they all think. Also, if you haven't already, check us out on Letterbox. We have lists on movies we want to see, ones we have queued up to review, and lists like the Gary Daniels and Dolph Lundgren lists.

Final Impact is a PM Entertainment flick with Lamas as an old fighter who loses a big match and opens a strip club/fighting ring after. When the Ohio State Champ, Michael Worth, shows up and wants him to train him, Lamas thinks this kid has what it takes to beat Jake, the guy that took him down years ago.

This is what I'm talking about right here. Maybe it could have used more fighting, but beyond that it's just a fun PM Entertainment flick. Lamas is great in the lead, Worth does his part as the young upstart, and Kinmont holds the whole thing together. At the same time, there's plenty of stuff you can get a kick out of, like Lamas's fight with Jake at the Neon Graveyard in Las Vegas; or even the idea of the oil wrestling/strip club/karate club that Lamas runs, which, to be honest would actually be kind of a cool idea if it weren't for the state boxing commissions and the fact that people could die if they got a bad concussion in one of the fights. Now I'm meandering and it's only the third paragraph.

We haven't seen DTVC Hall of Famer Lorenzo Lamas since 2012, and I don't know about you, but I've missed him. I was going through some of the old posts, and at one time he was second to Dolph with the most. While he's still one of only 6 actors in the 30 Club, he's now only tied with Rothrock for the fifth most. I think for an indication of why, we can go back to the last film of his we'd done, Mexican Gold aka Return of the Outlaws. He's all over the cover and barely in the film. And we were finding that a lot. Couple that with the fact that there were movies like this out there of his that I'd thought I'd already done--The Swordsman and its sequel Gladiator Cop also come to mind--and you can see how he stalled while someone like his co-star in this, Gary Daniels, blew past him and into the 40 Club with Dolph. Recently I was on the Jacked Up Review Show podcast with Cam Sully, and I put Lamas 10th on my list of top DTV stars, behind Adkins at 9. It's possible I need to rethink that, that I may have been hasty in having Adkins jump him so soon.

Speaking of Gary Daniels, he only has a small role in this, but when you combine it with smaller fighter roles by another Hall of Famer, Art Camacho, and PM Mainstay Ian Jacklin, the three together work as a kind of PM fighter showcase that was really fun to see. While this is going to go down as a tag for Daniels and Camacho, like I did with Rothrock in the Saber Raine review, it won't count as a film for them, so I won't push any films they've done with bigger parts down my queue. I was going to say that in the past that kept me from doing more films with Daniels in the lead, because I didn't want to do too much Daniels all at once, but the truth is he has the second most tags after Dolph, and Camacho has the third most, so it doesn't really matter. As long as I can find the films, I can do the reviews.

As I mentioned above, Kathleen Kinmont's part was the emotional glue that held things together, especially with Worth and Lamas. Nowadays we applaud someone who can take a low-budget script shot on the quick and do more with it--look at Vivica A. Fox's success with David DeCoteau's "Wrong" movies. I think when we look back at Kinmont's PM career, we find she was just as professional and maybe even endured more--her lovemaking scene with Wings Hauser in Art of Dying comes to mind, and I can see Fox or another actress saying "that's not happening." Coming back to her PM Entertainment films after my hiatus, I think she's one of their unsung heroes, and hopefully as more of these films become available to the various streaming services out there, her contributions will be better recognized.

Finally, with this movie, PM will have 35 reviewed on here, putting them only a few away from Cannon as a movie house--Millennium has even more at 61, but I'm not sure where to put them. For PM to pass Cannon in tags would be a huge feat though. It may also mean I need to consider adding in Pepin and Merhi to the Hall of Fame, considering I already have Golan-Globus and Roger Corman in there. It's a testament to what PM meant to the DTV action world in the late 80s/early-to-mid 90s, and how a site like this wouldn't have been possible without them.

But the site is here, so it's time to wrap up. Right now this is on Tubi and Prime. It looks like a full-screen transfer, which isn't the worst thing in the world--you get to remember what it was like before widescreen TVs. If you want, I still have an old 13" TV kicking around if you really want to have the full experience.

For more info: https://www.imdb.com/title/tt0104267