A Animes War A Gie Have A Lote Of Girl Bloody Mallory – A Bloody Good Time

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Bloody Mallory – A Bloody Good Time

Tagline: Evil has a new enemy.

When I think of off-the-wall horror/comedy films, the French rarely come to mind. But that’s exactly where this guilty pleasure of a movie comes from. Featuring an international cast, Bloody Mallory aims for cult status with an eclectic mix of martial arts, manga attitude and lots of girls in brightly colored wigs.

At the dawn of the third millennium, a group of Anti-Paranormal commandos are led by Mallory (Olivia Bonamy), a beautiful monster hunter with bright red hair and an equally hot pink car. In her group is Vena Cava (Jeffrey Ribier), a large transvestite who is also an explosives specialist, and Talking Tina (Thylda Bares), a blue-haired teenager who is mute, telepathic and has an IQ of 360. When Pope Hieronymus I (Laurent Spielvogel) is kidnapped, Mallory and her gang must team up with a Vatican bodyguard, Father Carras (Adria Collado), to fight ghosts, fallen angels, succubi and a vampire of the French aristocracy named Lady Valentine (Valentina Vargas). If they succeed, the world is saved. But if they fail, an ancient prophecy will be fulfilled and humanity will disappear from the earth forever. Sound funky? Well, that’s because it is.

While I’ll certainly give screenwriters Stephane Kazandjian and Julien Magnat (who also directed) credit for the originality of the plot, much of the script is flat, uneven, and fails to elevate the film beyond simple budget fare. low. There are times when Mallory looks and sounds like really well-made porn (without the sex, of course), but it’s still hard to hate a movie that includes lines like The Popemobile is waiting below or Vena Cava and Talking Tina, stay with the Pope. It is so absurd that it has a charm of its own. What a shame that so many of the interesting ideas are never fully realized.

The look of the film, although obviously low-budget, is still one of its strongest points, and the influence of the manga is evident throughout. Right from the start, we’re treated to two very nice shots. The first is Mallory chasing after her demon husband (Julien Boisselier) with an ax (it seems she unwittingly married a demon and he wanted to sacrifice her on their wedding night), and the second is a beautifully rendered shot of skyline of Paris with gargoyles in its eyes. appears in the foreground. These two moments really set the tone early on and give viewers a taste of things to come.

The costumes are top notch, with each outfit adding to the wearer’s personality and attitude. There’s also the fact that none of the main characters match their natural hair color. From bright red to neon blue, we can once again see the heavy influence of Japanese animation on the look and feel of the film. One can’t help but wonder if the director would have cast actors with unusually large eyes if they were available.

But while mixing styles and colors can work in the visual department, it proves to be a hindrance in other areas. Just when you think the movie is going to get dark and heavy, something completely absurd happens. Then, when you start digging into Mallory’s comedic side, he throws you another curveball and changes the tone again. Director Julien Magnat described his film as a gothic comedy. I prefer to call it a mess. The lack of a consistent tone hurts the show in the long run, never allowing the audience to settle into a comfortable rhythm. While it still has its moments, I just wish they had picked a genre and stuck with it. I think they were trying to do what Buffy the Vampire Slayer or From Dusk Till Dawn did. Unfortunately, Mallory viewers will quickly realize that those movies made her much better.

A notable exception is the relationship between Mallory and her dead husband, which plays out over the course of the film. Although she axed him and left his soul in oblivion, Mallory continues to contact him through the ritual for critical information. These scenes are beautifully done and the audience can tell that this couple still cares deeply for each other despite their history of violence and betrayal. This culminates when Mallory is close to death and her ex-husband holds the key to her salvation.

The action sequences are about what you’d expect from a low-budget film, although there are some respectable special effects and computer animation. But the action is usually short and not as much as one might hope. And if you’re looking for a lot of mouthwatering, look elsewhere. Except for a few interesting moments (the exploding nun), the blood and guts are kept to a minimum.

The cast does an adequate job considering the level of film they’re in, though most seem doomed to languish in B-movies for the duration of their careers. Featured is the film’s star, Olivia Bonamy. Clad in red leather and wielding a variety of weapons, Bonamy is able to look ready for action while still maintaining a sexy undertone. She also does a respectable job in the action sequences (unlike, say, Kristy Swanson on Buffy ) and seems to be having a good time. It’s hard to gauge how much acting talent she actually has, as the film just doesn’t ask that much from the lead role. But she has strong screen presence and knockout looks, so she’s already ahead of the game.

Overall, Mallory will most likely be a disappointment to those looking for high art or a high genre film. But if you’ve lowered your expectations and just want a laugh and something to watch while eating a bag of popcorn, then this might be the movie for you.

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