johnnysugar
Joined Jan 2000
Welcome to the new profile
Our updates are still in development. While the previous version of the profile is no longer accessible, we're actively working on improvements, and some of the missing features will be returning soon! Stay tuned for their return. In the meantime, the Ratings Analysis is still available on our iOS and Android apps, found on the profile page. To view your Rating Distribution(s) by Year and Genre, please refer to our new Help guide.
Badges3
To learn how to earn badges, go to the badges help page.
Ratings1.5K
johnnysugar's rating
Reviews49
johnnysugar's rating
A deliciously campy combination of the wild Japanese action film "Versus", the comedic gore of the "Evil Dead" series, and the supernatural girl power of "Buffy The Vampire Slayer", "Bloody Mallory" is a stylish, self-aware, deliriously entertaining action/horror/comedy hybrid from France.
Mallory (Olivia Bonamy) is a highly-trained government agent specializing in combating the supernatural. Her back-up team consists of Talking Tina (Thylda Bares), a mute girl with telepathic abilities, and Vena Cava (Jeffrey Ribier), a drag queen with an affinity for guns and explosives. When Pope Heironymus I (Laurent Spielvogel) is kidnapped by demonic operatives, it's up to Mallory and her team to recover him and stop a nefarious plot for world domination. Joined by the kickboxing priest Father Carras (Adria Collado), the team faces off against vampires, succubi, ghouls, fallen angels, and other assorted nasties in their madcap mission.
Director and co-writer Julien Magnat has created a unique film that borrows liberally from established action and horror franchises without resorting to cheap imitation or sycophantic flattery. Mixing established folklore with his own, Magnat has managed to created a realistic yet perfectly ridiculous universe in the absolute best sense of the word. Everything is over-the-top, yet nothing is so absurd as to be boring or trite. What helps matters is the fact that Magnat is consciously aiming for a feverishly campy aesthetic and realizes just how bizarre his creation may appear.
The performances are all quite good, especially given the potential for the hammy, half-hearted B-movie acting that this film could be associated with. Bonamy is perfectly believable as Mallory, a good balance of world-weary warrior and vulnerable heroine. Valentina Vargas, appearing as Lady Valentine, is delightfully seductive and icy in equal measures. The most enjoyable performance, however, comes from Ribier as the scene-stealing Vena Cava, delivering the most amusing lines and memorable moments, all in huge platform boots and an electric blue wig.
The only downfalls in the film are fairly major, but they do not impact the enjoyment of the film as much as would be expected. Magant had an admittedly low budget, and some of the special effects (including one monster effect) are very low-tech bordering on cheesy. The fight sequences, while exciting, lack the flash and panache of similar films such as "Blade", although they usually avoid the hyper-cutting edits typical of many modern action films. Finally, many of the scenes in the first part of the film are filmed very darkly, but this is more of an objection to what is perhaps a stylistic choice and not necessarily a reflection of the overall film.
For a film with such a small pedigree, it's amazing how enjoyable it is. A B-movie with aspirations to greatness, "Bloody Mallory" doesn't fail to amuse. Highly recommended for fans of humorous, absurdist action films. 8 out of 10.
Mallory (Olivia Bonamy) is a highly-trained government agent specializing in combating the supernatural. Her back-up team consists of Talking Tina (Thylda Bares), a mute girl with telepathic abilities, and Vena Cava (Jeffrey Ribier), a drag queen with an affinity for guns and explosives. When Pope Heironymus I (Laurent Spielvogel) is kidnapped by demonic operatives, it's up to Mallory and her team to recover him and stop a nefarious plot for world domination. Joined by the kickboxing priest Father Carras (Adria Collado), the team faces off against vampires, succubi, ghouls, fallen angels, and other assorted nasties in their madcap mission.
Director and co-writer Julien Magnat has created a unique film that borrows liberally from established action and horror franchises without resorting to cheap imitation or sycophantic flattery. Mixing established folklore with his own, Magnat has managed to created a realistic yet perfectly ridiculous universe in the absolute best sense of the word. Everything is over-the-top, yet nothing is so absurd as to be boring or trite. What helps matters is the fact that Magnat is consciously aiming for a feverishly campy aesthetic and realizes just how bizarre his creation may appear.
The performances are all quite good, especially given the potential for the hammy, half-hearted B-movie acting that this film could be associated with. Bonamy is perfectly believable as Mallory, a good balance of world-weary warrior and vulnerable heroine. Valentina Vargas, appearing as Lady Valentine, is delightfully seductive and icy in equal measures. The most enjoyable performance, however, comes from Ribier as the scene-stealing Vena Cava, delivering the most amusing lines and memorable moments, all in huge platform boots and an electric blue wig.
The only downfalls in the film are fairly major, but they do not impact the enjoyment of the film as much as would be expected. Magant had an admittedly low budget, and some of the special effects (including one monster effect) are very low-tech bordering on cheesy. The fight sequences, while exciting, lack the flash and panache of similar films such as "Blade", although they usually avoid the hyper-cutting edits typical of many modern action films. Finally, many of the scenes in the first part of the film are filmed very darkly, but this is more of an objection to what is perhaps a stylistic choice and not necessarily a reflection of the overall film.
For a film with such a small pedigree, it's amazing how enjoyable it is. A B-movie with aspirations to greatness, "Bloody Mallory" doesn't fail to amuse. Highly recommended for fans of humorous, absurdist action films. 8 out of 10.
One of the most enduring and popular superheores of the modern age is Batman, and one of the most enduring and popular females in his universe is that of Catwoman. As in the comics, the character of the Catwoman has evolved thanks to the portrayal of numerous actresses, from the sexy cat-burglar on the "Batman" television show, to the tortured soul expertly played by Michelle Pfeiffer in "Batman Returns." Now, "Catwoman" has her own film. Unfortunately, it's about as appealing as a lump in the litter box.
Patience Phillips (Halle Berry) is a timid art designer at Hedare Cosmetics, answering to the imperious George Hedare (Lambert Wilson) and his icy ex-supermodel wife Laurel (Sharon Stone). Hedare is ready to release a new cosmetic line called Beau-line, which promises dire and disfiguring effects if the wearer stops using it. When Patience discovers this secret, she is killed by Hedare's goons and brought back to life by the spirit of the Catwoman. Now imbued with fantastic agility and cat-like senses, Patience sets out to stop Hedare's plans, all the while dogged by handsome detective Tom Lone (Benjamin Bratt), and having to decide if she is a hero or a criminal.
Advance reviews of the movie were dreadful, and for the most part, they're right. The movie is flawed at the most basic level, and the filmmakers have decided to reject the standard Catwoman character of Selena Kyle and make an altogether new character with the same name who is in no way related to the Batman universe. Previous screen incarnations of Catwoman relied on basic acrobatics and undeniable sex appeal to have their way. By giving this new Catwoman fantastic powers, the basic nature of the character is altered, making her just another action hero in a silly costume. She is no longer the ultimate femme fatale, the one adversary Batman could never bring himself to finish off. She's simply a fashion disaster with a whip and high kicks.
It's clear that Halle Berry wants to make an impression in her role as Catwoman. She has big stilettos to fill, from the sexy Julie Newmar to the exotic Eartha Kitt, not to mention the previously-mentioned Pfeiffer's electrifying turn. Berry relies heavily on Kitt's mannerisms and Newmar's attitude, but it's obvious that she's just copying the moves. Berry is a decent actress but lacks self-confidence, and while her heart may be in the right place, everything else in the film is working against her.
The film's director, French music video helmer Pitof, wants to make a stylish, sexy film, and he almost succeeds. There are times when the film does have a giddily campy feel, much like the "Charlie's Angels" films, but a massive amount of obvious computer-generated work distracts heavily from the seamless look Pitof strives for. Even Catwoman's whip is mostly CGI. The script is equal parts camp and action, but it's never comfortable in either and mostly comes off as ludicrous and pieced together by committee: a series of scenes that were strung together with little forethought. There are a number of embarrassing performances as well, not least of which is the normally-hilarious Alex Borstein, stuck in the role of Frumpy Best Friend. Frances Conroy and Lambert Wilson also seem to be phoning in their performances, as well.
The movie is prevented from being a total disaster by Sharon Stone. Stone's Laurel Hedare is a beautifully manipulative and ambitious woman, hateful of the world for the fact that she must age and make way for a new spokesmodel for her husband's company. Stone also seems to be the only one who realizes exactly what kind of film she signed up for and was determined to camp the hell out of it. In a sea of relatively earnest performances, Stone is a beacon of delightfully vicious melodrama that makes a painful film at least marginally watchable.
Halle Berry deserved a better film. Catwoman deserved a better film. Anyone who's ever picked up a comic book deserved a better film. Fans of Catwoman would be advised to skip this film entirely and hunt down old episodes of the "Batman" TV show or watch "Batman Returns" instead. Meow? Yeah, whatever, kitty. 3 out of 10.
Patience Phillips (Halle Berry) is a timid art designer at Hedare Cosmetics, answering to the imperious George Hedare (Lambert Wilson) and his icy ex-supermodel wife Laurel (Sharon Stone). Hedare is ready to release a new cosmetic line called Beau-line, which promises dire and disfiguring effects if the wearer stops using it. When Patience discovers this secret, she is killed by Hedare's goons and brought back to life by the spirit of the Catwoman. Now imbued with fantastic agility and cat-like senses, Patience sets out to stop Hedare's plans, all the while dogged by handsome detective Tom Lone (Benjamin Bratt), and having to decide if she is a hero or a criminal.
Advance reviews of the movie were dreadful, and for the most part, they're right. The movie is flawed at the most basic level, and the filmmakers have decided to reject the standard Catwoman character of Selena Kyle and make an altogether new character with the same name who is in no way related to the Batman universe. Previous screen incarnations of Catwoman relied on basic acrobatics and undeniable sex appeal to have their way. By giving this new Catwoman fantastic powers, the basic nature of the character is altered, making her just another action hero in a silly costume. She is no longer the ultimate femme fatale, the one adversary Batman could never bring himself to finish off. She's simply a fashion disaster with a whip and high kicks.
It's clear that Halle Berry wants to make an impression in her role as Catwoman. She has big stilettos to fill, from the sexy Julie Newmar to the exotic Eartha Kitt, not to mention the previously-mentioned Pfeiffer's electrifying turn. Berry relies heavily on Kitt's mannerisms and Newmar's attitude, but it's obvious that she's just copying the moves. Berry is a decent actress but lacks self-confidence, and while her heart may be in the right place, everything else in the film is working against her.
The film's director, French music video helmer Pitof, wants to make a stylish, sexy film, and he almost succeeds. There are times when the film does have a giddily campy feel, much like the "Charlie's Angels" films, but a massive amount of obvious computer-generated work distracts heavily from the seamless look Pitof strives for. Even Catwoman's whip is mostly CGI. The script is equal parts camp and action, but it's never comfortable in either and mostly comes off as ludicrous and pieced together by committee: a series of scenes that were strung together with little forethought. There are a number of embarrassing performances as well, not least of which is the normally-hilarious Alex Borstein, stuck in the role of Frumpy Best Friend. Frances Conroy and Lambert Wilson also seem to be phoning in their performances, as well.
The movie is prevented from being a total disaster by Sharon Stone. Stone's Laurel Hedare is a beautifully manipulative and ambitious woman, hateful of the world for the fact that she must age and make way for a new spokesmodel for her husband's company. Stone also seems to be the only one who realizes exactly what kind of film she signed up for and was determined to camp the hell out of it. In a sea of relatively earnest performances, Stone is a beacon of delightfully vicious melodrama that makes a painful film at least marginally watchable.
Halle Berry deserved a better film. Catwoman deserved a better film. Anyone who's ever picked up a comic book deserved a better film. Fans of Catwoman would be advised to skip this film entirely and hunt down old episodes of the "Batman" TV show or watch "Batman Returns" instead. Meow? Yeah, whatever, kitty. 3 out of 10.