So, yes, if you’ve seen a James Bond movie, you know exactly what tropes Altin Cocuk holds in store. But the film nonetheless offers distinct pleasures in the course of watching them unfold.
Nothing celebrated speed, style and technology like the James Bond films, so it made sense for Cantonese filmmakers to adapt the conventions of those films to their audience.
Suddenly the room erupts in panic as a black clad, hooded female figure makes a dramatic appearance on the landing above the dance floor. It’s The Black Rose, a Robin Hood-like cat burglar who preys on the rich for the benefit of the city’s poor and downtrodden.
There’s not much reason to mourn Kilink only killing bad guys when there are just so many bad guys on hand to kill. Strip and Kill is full of action, and I really like the move away from comic book superheroism and toward the world of espionage adventure.
At 177 minutes (nothing out of the ordinary for a Bollywood film), the film may meander a bit too much for some viewers. I thought it was great, and entertaining throughout. Even with the breaks for filler and a woman on her knees singing to Krishna, we still get a film that fills most of its running time with sneaking about, secret chambers, spying, and gun fights.
If you are unfamiliar with the peculiarities of Indian cinema, a film like Farz might take some getting used to, but once that happens, it’s at least as enjoyable as many of its European spy film brethren.
It’s just that it’s those movies, and Kendall’s portrayal within them of dick-both-public-and-private Joe Walker, that won him permanent residence in a very special secret space-age lair located deep within my heart.
I know making big guys do things like dance or tend flower gardens is a cheap and easy way to get a laugh, but it works. Plus, Brad Harris dances with such giddy abandon that you can’t help but love the scene.
Unfortunately, we only get the gist of things here, as the latter half has been, as far as anyone can tell, forever lost. Onar films did their best to fill in the gaps by summarizing the rest of the action via a series of stills and narration that take us through to the final shot of the film.
The episodic structure of the film keeps it from ever getting dull, and there’s usually not more than a minute or so before a skeleton is ripping off a woman’s top or a superhero is punching a villain’s car.