Directed by:
Henry SaineCinematography:
David Michael ConleyComposer:
Greg EdmonsonCast:
Matthew Marsden, Kristanna Loken, Christian Pitre, Abraham Benrubi, Gary Busey, Kevin McNally, Alexa PenaVega, Chasty Ballesteros, Mindy Robinson (more)VOD (1)
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Set in a near-future where corporations have completely superseded governments and nations as the rulers of the world, the film follows the efforts of those determined to put an end to profit-driven tyranny. With corporate wars now fought with bullets and bombs, much of the Earth has been reduced to a wasteland and the poor and downtrodden live in abject poverty. However, from the ashes rise the Council of Nine, a ruling authority that promises lavish rewards for those who bring them the heads of the corporation owners and managers. Bounty hunters such as the fearsome duo Drifter (Matthew Marsden) and Mary Death (Christian Pitre) duly set out to earn themselves fame and fortune in a dangerous world. How will they fare? (Transmission Films)
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Reviews (3)
Christian Pitre is a beautiful woman and watching her as the huntress was an a delight for the eyes, but otherwise this is a rather cheesy, Mad Max wannabe B-movie. I commend the plenty of gore and brisk pacing. Just for fans of similar films. 60%
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It’s a brutal load of hogwash, but I must say that the filmmaking is stylish. I had fun and that doesn’t usually happen with these sorts of movies. Macho style of the highest degree. I’m surprised that Tarantino or Rodriguez didn’t have something to do with it.
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“Oh God, it tastes like boobies.” What a fitting quote from a film that is essentially something entirely ordinary, yet offers so much pleasure. The reason this title stands out from dozens of other spectacularly trashy Z-movies consists in its comic-book source material, which combines a rewarding post-apocalyptic setting with absurd exaggeration. The narrative is built on the premise of a world in which all-powerful corporations have caused a global collapse, after which bounties are issued for the big bosses, bringing out headhunters-turned-celebrities, who care as much about the expressiveness of their arsenals as they do about their image. In practice, this means that a group of guys with yellow ties in cubicles get their asses kicked by heroes who are actually cosplaying as various characters from pop culture (from allusions to fetishistic nurse uniforms, westerns, Mad Max and southern rednecks to burlesque and punk). Besides the stylisation of the characters, the source work saves the film by offering a colourful world full of exaggerated details, which the filmmakers faithfully adapt without shying away from even the craziest ones, such as motorcycles serving the purpose of a team of horses. Thanks to the fact that some completely new aspect of the film’s universe is introduced with practically every sequence, Bounty Killer never gets in a rut like other cheap trash flicks with a gallery of worn-out pseudo-stars pointing fake guns at each other, onto which flashes of the leads are grafted in post-production.
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