Lovely But Deadly

Just like you may drive by a multi-car crash pile up on the highway and you witness first hand the carnage, fire and overwhelming smoke clouds, you just can't take your eyes off of the scene. So does the film Lovely But Deadly wreak of a Grade B film but you will find yourself glued to how corny this film really is.

This is a perfect Drive-In cinema special with continuous corny dialogue and characters names like Lovely, Javelin, Mantis, Gommorah, and Cricket.

Oh, and the film is also filled to the brim with chick fights and plenty of action by the film starlet Mary Ann 'Lovely' Lovitt (Lucinda Dooling) kicking the macho men's butts. One hilarious fight scene takes place around the 25 minute mark between Mary Ann 'Lovely' Lovitt and three (3) male thugs dressed in fencing gear with swords. This choreographed fight scene appears to me as if Miss Lovely moves step by step on a "numbers map" slowly stepping from numbers 1 through 1,000. She tries hard to make this scene look realistic and so do the three thugs and maybe just maybe the film editors forgot to remove the "Slow Motion" edit during this perilous fight scene.

All in all the film may fail miserably as Mary Ann 'Lovely' Lovitt fights the good fight to put the bad drug dealers behind bars who were responsible for her brothers drug overdose induced death. Having said that the film tries Sooooooo hard to be taken seriously that you just won't be able to look away.

For that reason I rate this film a 5 out of 10 IMDb rating.

I fear that this was what passed for Hollywood trying to be 'feminist' in 1981, and while it was a step above Charlie's Angels in that, it missed the mark by a good bit.

The movie opens with an utter looser drowning himself in the ocean while high on drugs, and oh boy, are we lucky he didn't live long enough to breed a bunch of children as stupid and whiny-faced as he was; to me, this moment was most likely to win my applause. (please don't rescue him, I thought, pretty please?)

Then his sister goes on a revenge spree toward the drug dealers (as if tuna boy hadn't decided to and chosen to and hunted down dealers and spent his own money on drugs, but whatever, let's not blame him in any way). And she kicks ass, in a vaguely pretty sort of way. Some of the other actresses are exploited more by the director, but the lead remains dressed and serious throughout.

It all hangs together within the sphere of reality in this film, which bears no resemblance at all to the reality that you and I inhabit, or that we inhabited in 1981, but I suppose in these days of 50% of movies being about superpowers, I shouldn't be complaining about this level of unreality.

I almost want to give it a third star for the character name "Mantis Manajian," which is the most original thought the screenwriters had. The extra star I did give is because the lead and her kickboxing girlfriends can kick high. Good for them.

But it's a bad, bad film.

The film starts out strong with a great scene of the female protagonist beating the crap out of a drug dealer and forcing him to OD, leading me to think this was going to be some sort of personal revenge flick. Instead, while revenge is a factor, it's a little less personal as she aims to take down the entire system and put people in jail. Ho hum, but drugs are a pretty big problem in her high school. How big? Well, gangsters are sending their thugs into the school to beat up students, cheerleaders are getting pimped out, and the drug consumption is apparently so high it needs to be brought in by boat in multiple crates on a regular basis. Or so we are led to believe, although I tend to wonder how anyone even managed to graduate in a situation like that. It grows increasingly ridiculous as the film goes on and comes completely unglued by the time it ends, but it's still fun, dumb stuff. Some decent chest meat on display and I actually liked a couple of the fight scenes--especially the beat-down at the beginning. Could have been better, but it's still good exploitation junk.

An all-white moralistic remake of "Coffy" (the 1973 Pam Grier blaxploitation classic), presenting karate-ing cheerleaders and highschool girls, evil drug dealers, a little catfight and lots of unintentional laughs. The opening credits of "Lovely But Deadly" are presented over a static shot of a high-school dance in 1981. The music, being performed and orchestrated in a 007-like style, sounds outdated, exaggerated and does not fit in the cheesy late 70s sets in the background. The sweet rotten smell of campiness instantly rushes in. "How low can they go?.../ How high can they fly?" - that's what the title song lyrics say and that's what you're starting to ask yourself. "Lovely But Deadly" is about a young lady named Mary Ann Lovett (an admittedly real cute brunette named Lucinda Dooling) and her friends just call her Lovely. In the beginning, her brother drowns in a ridiculously far fetched drug-related accident. Angry as hell, Lovely decides to stop drugs in her high school, starting with killing "Captain Magic," the only really likable character so far, who has some incredible dialogue before Lovely stuffs drugs down his throat and he dies. Dead too quick. The next bad guys will be treated to better visual effect: let's get some martial arts action into the movie. Well, Lovely and all the other girlie fighters have obviously been trained in the secret arts by just watching a half-minute-preview of some Hongkong flick. So we get to see sheer incredibly clumsy fight scenes. Well, after all "everybody was Kung Fu fighting" those days... Talking of music: There is also a Rock Band in the movie, because Lovely's cheesy boyfriend is the lead singer of a band of smartasses who, during a class and out of the blue, are performing (poorly dubbed) a truly "electrifying" love song. All in all, a genuine classic of poor white drive-in trash. Yet probably too bad to ever get some cult approach.

My review was written in July 1983 after a screening at Thunderbird Drive-In of Fort Lauderdale, Florida.

In an era when the B-grade action film market is dominated by lookalike martial arts pictures and vengeance mellers, "Lovely but Deadly" is an entertaining novelty, combining elements of both genres into a teenage wish-fulfillment format. It represents a tough sell commercially, but pic will provide pleasant diversion for both action fans and students of current trends.

Filmmaker David Sheldon has adapted the current vigilante trend in films to teen pics, with pert young brunette Lucinda Dooling toplining as a California high school student, Mary Ann Lovett (nicknamed "Lovely"), mounting a one girl campaign to wipe out the drug dealers and higherups in her community, in order to avenge her kid brother's drug-induced death.

Sheldon styles Dooling as an underage female version of James Bond (with topgrade martial arts skills to boot), a gimmick which proves to be fun since she is a normal-looking young gir rather han such macho femmes as Pam Grier, Cheri Caffaro, Monica Vitti, Cornelia Sharpe and Marilyn Chambers who have previously essayed similar roles. Also to the film's advantage is the staging of Bond-like action scenes in prosaic settings such as the school locker room. If you can't compete with $30,000,000 budgets, you can at least have fun with the format.

Cast mixes old pros (Marie Windsor as heroine's aunt, Richard Herd and John Randolph as behind the scenes heavies) with young talent with generally effective results. Dooling, in particular, overcomes the occasionally preachy anti-drugs script with her forceful, physically convincing performance. Teen genre conventions such as cheerleaders' action and several rock songs belted on camera by the anti-hero slow up the narrative, but the final action payoff on the docks which karate teacher Susan Mechsner and her class of diminutive high school girls come to Dooling's rescue from assorted thugs is priceless.

Lensing is cheap, using available light for many scenes. The musical score by Robert Ragland is in the same rousing bag as his recent "10 to Midnight" offering and features a scene-setting title song which has the tone of a Shirley Bassey-Bond theme.