THE NEW KIDS is top-of-the-line moviemaking with a gleefully sleazy gloss.
Cunningham, director of the first FRIDAY THE 13TH and the godawful DEEP STAR SIX, really does himself proud in this Southern-set rape/revenge thriller.
Two kids, whose parents have died, start a new life at their uncle and aunt's luridly low rent carnival.
Lori Laughlin, who plays one of the kids, becomes the target of sociopathic Dutra (James Spader in his best perf ever) and his gang of disgusting miscreants because she's so damn delicious looking. Essentially, the boys want her booty and will break any law to get it.
The film succeeds so well because it embraces its exploitation elements (sex, drugs, violence, teen lust, guns, vicious dogs) with such relish and delivers on its promise unpretentiously but stylishly. It is extremely well directed and acted and moves at a peppy clip.
You really do care about the characters and the film's Lalo Schifrin score nails the drama like a whore to a floorboard,
The carnival setting is a doozy and a triumph of production design; and the film's final scene has a black, perverse feel to it that had me nodding with approval.
A classic, and I'm not going to follow that with "of it's genre" because I'm tired of reviewers singling out films like this as less noteworthy because they're nasty.
Nope, a classic piece of cinema in anybody's book and titled STRIKING BACK in some markets.
Cunningham, director of the first FRIDAY THE 13TH and the godawful DEEP STAR SIX, really does himself proud in this Southern-set rape/revenge thriller.
Two kids, whose parents have died, start a new life at their uncle and aunt's luridly low rent carnival.
Lori Laughlin, who plays one of the kids, becomes the target of sociopathic Dutra (James Spader in his best perf ever) and his gang of disgusting miscreants because she's so damn delicious looking. Essentially, the boys want her booty and will break any law to get it.
The film succeeds so well because it embraces its exploitation elements (sex, drugs, violence, teen lust, guns, vicious dogs) with such relish and delivers on its promise unpretentiously but stylishly. It is extremely well directed and acted and moves at a peppy clip.
You really do care about the characters and the film's Lalo Schifrin score nails the drama like a whore to a floorboard,
The carnival setting is a doozy and a triumph of production design; and the film's final scene has a black, perverse feel to it that had me nodding with approval.
A classic, and I'm not going to follow that with "of it's genre" because I'm tired of reviewers singling out films like this as less noteworthy because they're nasty.
Nope, a classic piece of cinema in anybody's book and titled STRIKING BACK in some markets.