With When Women Lost Their Tails, what we get is like the lyrics of a Gang of Four song acted out within the context of a slightly naughty fanfic version of The Flintstones. If nothing else, it certainly makes for unique viewing, and offers enough in terms of audacity alone to keep one watching until the end.
Dynamite Johnson is pretty much a textbook example of a filmmaker proving his exploitation acumen by making the most of both his resources and concept. “What textbook?,” I hear you ask. “Where can I get it? Will I be tested on this?” Shut up. No such book exists. But if it did, you could certainly…
A serviceable if somewhat awkward masala adventure, very much in the spirit of old exploitation films that seek to teach us the perils of assorted alternative lifestyles even as they indulge in endless scenes of said lifestyle.
Films such as Footmen, as mentioned before, would typically be shown in small churches, and would be followed by an altar call, during which those audience members who had yet to do so, shaken by what they had seen, would step forward and, just as Judy had done at the film’s conclusion, accept Jesus Christ as their lord and savior.
I was left celebrating the merits of the film while all those around me who had seen it more recently made with the ominous proclamations of, ‘You’re going to be disappointed with that one, chief.’ Impossible! I mean — seriously: magic carpet dog fights!
The underlying story — about a man discovering the world beyond the safe confines of his palace home, as well as discovering the sordid past of his otherwise heroic acting father — may take a back seat to all the chicken leg kungfu and lasers, but its presence at all makes Battle Wizard a cut above the usual fare.
The Web of Death is one of those martial arts films in Chor Yuen’s catalog that is inessential, but nonetheless enjoyable. It provides a nice break for completists like myself, who have had to suffer through far worse in their mission to watch every single one of the man’s films.