By-TorX-1

Given that this film ran for years in certain London cinemas, I'm intrigued as to what spectators were expecting (and I can only assume that many were mightily disappointed). While the US's Deep Throat constructed a skeletal plot on which to hang its extreme sexual action, Come Play with Me does the reverse: it is plot heavy on its focus on two forgers on the run (and how the government attempts to counter the flood of their fake notes into the UK), pursued by London gangsters to a failing Scottish Spa, run by Irene Handel. Like many 1970s sex films, this one features many veteran British actors (Alfie Bass, Henry McGee, Bob Todd, and Ronald Fraser), but it also boasts (fairly lengthy) musical numbers and general farce-like scenarios (and an awful recurring song on the soundtrack). However, such nonsense is punctuated by the periodic appearances of scantily-clad or disrobed 'nurses,' all of whom are (for some reason - it is not that clear why they go along with it) charged with revitalising the spa. In this regard, there are sex scenes, but nothing that much beyond the likes of the Confessions films (bar one or two scenes), and compared to its American counterparts, Come Play with Me is pretty tame (which again fails to explain its four-year run in one London cinema - clearly the hype machine was well operated). The writing is weak (and features a strange subplot focused on the government official, Podsnap, that goes nowhere as he tries (in disguise) to track down the forgers). In terms of performances, they are hammy (such as actor/director George Harrison Marks in a bizarre wig and fake teeth), or just on an amateur level (although Alfie Bass is good, but he always was), and if the draw of Mary Millington is the magnet to seek out this film, prepare to be disappointed, as she is not in many scenes. So, a curio from a curious cinematic British age, but its reputation far exceeds its delivery.

Panama is a 1980s set political action film that has a truly epic opening credits sequence, in that it seems to last for about ten minutes in its listing of production companies and seemingly never-ending list of producers. Sadly, the ensuing film is not as epic, as it sees Cole Hauser's operative Becker sent by Mel Gibson to broker a deal to purchase a Soviet helicopter for some rebels, while involved with corrupt military types, drug dealers, and some romance. However, while this all sounds promising, the film is a mess, with a number of padded scenes and a narrative that becomes increasingly convoluted, which is a pity as the central idea is interesting and Hauser is an effective protagonist. As for Mel Gibson, well, he is not in the film very much, but he does bring his effortless gravitas to the proceedings and provides an episodic voiceover that holds things together as best as can be. In terms of setting, scenes of news reportage of Panama's history give a sense of time and place, but the film never really feels like it is taking place in 1989. Furthermore, Hauser does not progressively evolve throughout the film into Huckleberry Finn, which is a shame.