OCTOBER 24 VHS MOVIE REVIEW : BURY ME AN ANGEL (1972)
Roger Corman’s New World Pictures give the women something to get excited about in Bury Me An Angel, directed by Barbara Peeters, in which another motorcycle biker flick comes to viewers but this time told from the perspective of a woman. Out story begins with our main character, Dag, played by Dixie Peabody, whom is at a party full of drugs, alcohol, and debauchery. She is with her brother, Dennis (Dennis Peabody) whom I thought was her boyfriend by the way they interacted and as they leave the party and head inside (the party is in the garage of their home), there is a knock on the door and as Dennis answers the door he is greeted by a shotgun blast to the head. Bye, Bye Dennis!
Well, that was quite an interesting way to start off the movie. The way in which the death was shot was kind of trippy and unique, full of spiraling edits and quick cuts of various angles of the bloody side of the face that was hit with the shotgun blast. Frankly, I would have thought Dennis’ whole head would have been blown apart with bits of brain scattered here and there, but this is a biker flick and not a gory horror film-so it was what it was. We then fast-forward to the present and are painted a depressing and disturbing picture of Dag, whose past comes up in vivid flashback fashion every day and is triggered by nothing at all. She is haunted by the murder of her brother and seeks vengeance on his behalf.
Dag, along with two of her buddies Jonsie and Bernie, go on a road trip on their motorcycles in order to seek out and avenge her brother’s death. Dag first stops by Preacher (David Atkins) to get a little bit of info on the man that took her brother, Dennis’s, life. Preacher informs Dag that his full name is Peaceful Preacher and that her brother was killed for stealing his murderer’s bike and that he probably is heading towards Canada. Through some investigation which consisted of stopping at a few bars and diners along the way, getting drunk, and started bar brawls with the locals, the trio find out where he is working at and where he is crashing at.
Along the way, they meet up with what seems to be a “witch” (or so she says) and the witch (played by Angel Colbert and whose voice was done by Joan Gerber) makes the some grass soup (marijuana) and then tells Dag what her problems are. Op, the witch’s name, informs Dag that she is highly psychic and would make a good witch if she could just let go of her anger. She explains to Dag that her shotgun is very phallic. Thanks for the Freudian interpretation of the gun, Op. Well, Dag and the others think she is full of bullshit and do not like what she has to say and go into this hilarious rant of verbal assaults on Op letting loose the funniest line of dialogue in the whole film,
“You’re a goddamn phony like every other crystal ball queer!”
By no means is Bury Me An Angel an awesome biker film, but it is fairly unique for telling a story from a female perspective. I am sure all the feminists out there will appreciate the strong female character within Dag, but not some of the gratuitous nudity and loose sexual morals about her, and they just might wretchedly vomit when the films somewhat foreseeable shocker of an ending comes to a close. The film also happens to be referenced in Tarantino’s Kill Bill: Vol. 2.
I felt that the film dragged on in some areas, had scenes of bike riding that really were just for the purpose of killing time and giving the movie a few more minutes here and there. The running time for the film was only 89 minutes and sort of played out like a hippie music video, full of pretty cool hippie rock or what may be considered classic or stoner rock these days, but Richard Hieronymus (responsible for the music in another biker flick by Corman with “angel” in the title (Angels As Hard As They Come) and it was really creative and overall decent. I enjoyed watching the filler scenes of scenic bike riding, but maybe that is just my fondness for motorcycles and their culture. There also was a short role for Gary Littlejohn in the film as a bike shop proprietor whom you may have recognized as playing the role of Axe in Angels As Hard As They Come.
One scene that almost seemed completely out of place was a scene that takes place at an elementary school. Dag, Jonsie, and Bernie are looking for the whereabouts of our killer and they find out he was doing odd jobs at this school. The three head in to the school, are giving fair-warning by two children sitting outside the school that shotguns are frowned upon in the school and that they should not bring them inside, and continue into the principal’s office, freaking out the nerdy secretary and pumping the principal for info, which his even nerdier ass gives to Dag more than willingly. The scene just seemed very corny and out of place in the film. It was highly amusing, though.
Bury Me An Angel may not have been one of the better biker films in the genre to come out in the ’70s, but it is one that was directed and written by a female and stands out with its central female lead. Most of the biker films I have seen from the ’70s have women portrayed as objects and possessions of the male bikers, especially the ones depicting outlaw motorcycle gangs or clubs. This film was kind of a contrast and bit of fresh air to the genre. It definitely is worth a watch for that sole reason, especially if one just enjoys scenic shots of bike-riding set to cool music.
This is on the 2nd disc of four in Roger Corman’s Best of the B’s box set, put out by Infinity Entertainment and Hollywood Select Video.
OCTOBER 24 VHS MOVIE REVIEW : BURY ME AN ANGEL (1972)
Directors: Joe Viola, Harvey Berman, Barbara Peters, John Ireland, Edward Sampson, Bruce D. Clark, Jack Hill, Richard Harbinger
Infinity Entertainment Group
Having dominated the drive-in for decades, Roger Corman clearly knew what his audiences wanted. Highlighting a small section of the King of the B’s career, seven Corman classics have been collected in a set designed to cater to those with the need for speed. Bookended by nostalgic drive-in intermission reels and concession ads, HOT BIKES, COOL CARS & BAD BABES features four discs (two films per single sided disc save for T-BIRD GANG which is presented solo) that aim to relive and revive the good old days when cars were fast, women were faster and nobody wore a seat belts!
ANGELS HARD AS THEY COME (runtime 86 minutes): After scheduling a drug deal and avoiding a police sting, three Hell’s Angels hit the open road headed south. Stopping for gas, the trio run into another gang, The Dragons, who have been camping out in a nearby ghost town as unwanted guests of a wandering commune of hippies. Enticed by the prospect of weed, women and “Rocky Mountain Kool-Aid”, the three bikers, lead by Long John (Scott Glenn, THE RIGHT STUFF), follow their new friends back to the abandoned town for a night of heavy drinking and reckless racing. As day turns to night both biker and hippie seem to be getting along fine with one another but when a number of the Dragons try to gang rape a fair headed hippy chick (played by Gilda Texter, probably best known for riding her bike in the buff in VANISHING POINT), Long John is forced to step in and defend her honor. The ensuing scuffle leaves the poor girl stabbed and The General (Charles Dierkop, THE SWEET RIDE), leader of The Dragons, pissed! Seems the blade that found its way into the flower child was meant for him, and since none of his loyal men would dare to endeavor in such a foolhardy assassination, The General has Long John and his brothers sequestered and brought before a jury of their peers as prime suspects in the failed murder attempt.
Directed by Joe Viola (THE HOT BOX), from a script he co-written with Jonathan Demme (CAGED HEAT), ANGELS was purportedly originally patterned after Akira Kurosawa’s RASHOMON. I can see where the stabbing incident could be taken in such a direction, with multiple view points of the biker brawl being brought before the Dragon court in order to uncover exactly who was trying to plant a knife in The General’s skull. As it stands, ANGELS encompasses almost every element one would expect from a biker flick. Racing, rape, reprisals, random dune buggies; it’s all here and for the most part it works. Scott Glen broods with the best of them and Charles Dierkop clearly revels in chewing every scene he can get his hands on. Incredibly subdued as head hippy Henry, ANGELS also features a young Gary Busey in one of his first film roles.
THE WILD RIDE (runtime listed as 63 minutes but is actually 59 minutes): Jack Nicholson is Johnny, a juvenile delinquent who likes to live fast and drive faster. After forcing a police officer off the road, causing the copper serious bodily harm, Johnny high tails it to the local sock hop where he is shocked to learn that his best friend Dave (Robert Bean, CREATURE FROM THE HAUNTED SEA) wishes to put the rebel rousing behind him. Seems his new girl Nancy (Georgianne Carter, NIGHT OF THE BLOOD BEAST) doesn’t like him hanging around with such unruly riff raff as Johnny and his crew. Johnny however is not about to let some lame chick who doesn’t understand his scene step in and take his best bro away. No sir, as far as Johnny is concerned, if Nancy can’t see things his way then she best be hittin’ the bricks, you dig?
I don’t know if it was intentional or even noticeable upon its original drive-in run but the homoerotic tension between Johnny and Dave is palpable. Jack is visually hurt by the prospect of his BFF turning his back on his crew, and for a skirt no less. Without question the main attractions here is Nicholson and while he is clearly much older than the character he is suppose to be portraying, his performance is so spot on that it becomes the driving force of the picture. Despite running just under an hour, RIDE feels more like a stroll but an enjoyable one highlighted by an early performance from Nicholson who would continue to work for Corman, both in front of and behind the camera for several years to come.
BURY ME AN ANGEL (runtime 85 minutes): After watching her brother's face get blown off by a shotgun, Dag (Dixie Peabody, NIGHT CALL NURSES) decides to drop the world and seek her revenge. Tailed by her best buds Bernie (Clyde Ventura, ‘GATOR BAIT) and Jonsie (Terry Mace), Dag hits the open road in a desperate race to catch up to her brother's assailant. Making their way from town to town, the trio stops periodically to inquire about any strangers that might have passed through ahead of them but find only trouble at every turn. Dag and the boys eventually catch up to their prey, stumbling through a small town where the murderous biker has found employment at the local high school. While waiting for her brother's killer to return to work, Dag finds herself the object of affection for local artist Ken (Dan Haggerty, THE LIFE AND TIMES OF GRIZZLY ADAMS). The two hit it off and get it on in record time but Dag’s emotional baggage gets the better of her, sending her into a hallucinogenic rage that can only be calmed with the spilling of blood.
Kicking off disc two of this four disc set, BURY ME AN ANGEL’s tone is decidedly bleak and somber. Or at least it starts out that way. Shown repeatedly through flashbacks and hallucinations, the murder of Dag’s brother jump starts the picture with graphic and effective detail. The fatal head shot haunting Dag throughout her journey, constantly adding to her thirst for revenge. Any growing sense of impending retribution is however ground to a screeching halt by a silly bar fight at the film's half- way point. The scene, which is punctuated by musical cues straight out of the “Batman” television series, is completely out of character and weakens the punch initially landed by the film's opening. Sadly, the picture never fully recovers from the whimsical bar brawl, which is a shame as the brother/sister revenge premise showed potential.
Directed by Barbara Peters (HUMANOIDS FROM THE DEEP), BURY ME AN ANGEL’s one sheet is, like so many other biker flicks of its era, a work of art suitable for framing. Hyped by the headline, “SHE TOOK ON THE WHOLE GANG”(which isn’t true, she’s only after the one guy) the poster's pitch continues, “A howling hellcat humping a hot steel hog on a roaring rampage of revenge.” Now THAT’s a tagline! Touting an illustration of Dag befitting a Bill Ward cartoon, the poster is, like so many other biker flicks of its era, more pleasing to the eye than the film it promotes.
THE FAST AND THE FURIOUS (runtime listed as 83 minutes but is actually 72 minutes): After breaking out of jail where he was being held on suspicion of murder, Frank Webster (John Ireland) stops for a cup of coffee at a roadside diner but instead of a moments rest finds only headache and more trouble. When a portly trucker attempts a citizens arrest, Frank is forced to knock the would be good Samaritan on his back side and flee, taking fellow patron Connie (Dorothy Malone, MAN OF A THOUSAND FACES) with him as a hostage. Stealing Connie’s Jaguar, Frank and his new friend put pedal to the metal as they make a run for the border. Attempting to stay one step ahead of the cops, Frank decides to enter an international car race as a means of crossing over into Mexico. The duo arrives at the starting line only to discover that women drivers have been banned due to the dangerous nature of the border crossing race. Left with little other choice, Frank takes Connie’s place as driver, but with no training or experience finds himself more reliant on his unwilling partner than ever before.
One of Corman’s earliest cinematic ventures, THE FAST AND THE FURIOUS was co-directed by lead John Ireland whose acting credits range from ALL THE KING’S MEN and SPARTACUS to SATAN'S CHEERLEADERS and SUNDOWN: THE VAMPIRE IN RETREAT. The film, which shares nothing save for its title with the Vin Diesel pictures of the same name, is well written and at time, rather clever. There are a few scenes that might have you scratching your head – if you’re ever locked in a wooden shack, setting the place on fire is probably not the best means of escape – but as a whole the picture offers much to enjoy. Scenes of actual racing are given their time to shine but they clearly take a back seat to the drama and budding romance between Frank and Connie, who is played quite competently by Dorothy Malone. A particularly tough broad, it’s easy to see what Frank sees in Connie, besides being in the right place at the wrong time. A no nonsense, straight to the point gal, without Connie’s wits and tactful demeanor, it’s doubtful Frank would have made it across the county line, let alone get a shot at crossing the border.
NAKED ANGELS (83 minutes): Fresh out of prison and hell-bent on revenge, bad ass biker Mother (Michael Greene) meets up with his old gang and wastes no time in ordering them for deployment. Driving from L.A. to Las Vegas, The Angels hit the highway determined to track down and kill the rival gang responsible for Mother’s federally forced vacation. When their route proves to be too exhausting, Mother, who is not about to let anything or anyone stop him from settling the score, finds himself at odds with his crew. His bull-headed drive eventually gets him kicked out of his own gang, but nothing, not dehydration, hallucinations or a hundred miles of desert, is going to stop him from getting payback.
Co-written by Marc Siegler (GALAXY OF TERROR), NAKED, ANGELS is 80% guys riding around in the desert and 20% weak melodrama. That’s not to say that the picture didn’t grow on me a little but after 45 minutes of guys riding around, stopping only to fix their bikes, which they fall off of constantly, you start to wonder just where exactly is this whole story going. Much like BURY ME AN ANGEL, NAKED ANGELS' marketing materials prove to be far superior to the film itself. The picture's one-sheet does, for the most part, deliver on its promises as the film does features a young gal with "PROPERTY OF THE ANGELS" tattooed (written with a Sharpie) on her ass. The film's original soundtrack, released on Frank Zappa’s Straight label, not only showcases a groovy score by Jeff Simmons but does an amazing job of portraying the gritty and brutal biker lifestyle all in a single image. The LP cover features a snap shot taken from a scene in which Mother is encouraging his gang to run a train on his old lady Marlene, who is played by Jennifer Gan (WOMEN IN CAGES). Sadly the film itself simply does not deliver on the promise of such powerful promotional images.
THE WINNER aka PIT STOP (runtime 90 minutes): Thrown in jail after getting caught drag racing, devil may care delinquent Rick Bowman (Richard Davalos, EAST OF EDEN) finds himself with a new lease on life after being sprung from detention by racing sponsor Grant Willard (Brian Donlevy in his final role). A witness to his last race, Mr. Willard thinks Rick may have what it takes to run the figure eight, a track which doubles over on itself. The prospect of racing on a track that has an intersection does not initially appeal to Rick but knocking the current reign champ, Hawk Sidney (Sid Haig, COFFY) down a few pegs certainly does. After his first race ends poorly, Rick takes a job as a junk yard mechanic as a means of earning enough extra scratch to pay off his debts and supe up another car to race. Ricks skill as a driver and mechanic, as well as his boneheaded determination begin to get him noticed around the yard by both his peers and by Hawk's girl Jolene (Beverly Washburn, SPIDER BABY). Rick eventually beats Hawk to become the new number one driver, a concept that Hawk has a hard time coming to terms with. Hawk will however prove to be the least of Rick’s troubles, as his eye turns from Jolene to racing super stud Ed McLeod's wife, Ellen (Ellen Burstyn, billed as Ellen McRae).
By far my favorite film of this collection, THE WINNER is an incredibly entertaining picture. I have yet to watch a Jack Hill film that I didn’t enjoy so perhaps I’m a little biased but I really did have a lot fun with this one. Sid Haig is in top form as the conceited figure eight racer Hawk. Completely taking over each and every one of his scenes, Sid plays Hawk a bit over the top but in way that wholly suits the character. Beverly Washburn is cute as button as Jolene and Ellen Burstyn is quietly seductive as McLeod's spouse. Written and directed by Hill, the film's racing footage helps to distinguish itself from its peers by providing a rough documentary feel that puts you in the middle of the action. I’ve lived in NASCAR country for most of my life, but have never been a fan of racing. Honestly, I couldn’t care less. But watching the cars rip through the figure eight, narrowly clipping each other as the track wraps around and over on itself all but demanded my full attention.
Occupying the fourth disc of this collection all by its lonesome, T-BIRD GANG (runtime 65 minutes) feels a bit out place in that it has nothing to do with bikes and very little to do with cars, save for that its heavy drives a T-Bird. When his father is killed in an attempted robbery, Frank Simmons (John Brinkley, A BUCKET OF BLOOD) aggress to go undercover in order to undermine and dismantle the crew responsible for his old man's untimely demise. Using the alias Frank Minor, Simmons latches himself onto a gang run by Alex Hendricks (Ed Nelson, THE BRAIN EATERS), a seemingly distinguished young chap who has himself quite the set up. After successfully helping Alex with a heist, Frank informs the police of his boss’s next move. Alex’s muscle Raymond (Tony Miller, ATTACK OF THE CRAB MONSTERS) however smells a rat and in attempt to out Frank, calls off the job in hopes of catching the young man in a compromising situation. Predictable and formulaic, T-BIRD GANG's highlight is a title card asking for your patience while the reels are changed.
While NAKED ANGELS and BURY ME AN ANGEL make their DVD debuts with this set, all seven films included have been available for home viewing before, either via VHS, DVD or both. ANGELS HARD AS THEY COME was released on VHS by Embassy Home Entertainment twice using alternate covers and later on DVD by Brentwood and St. Clair Vision. THE WILD RIDE saw a VHS release through Silver Screen Gems “Biker and Bad Girls Gems” line, before eventually finding it’s way onto DVD through Brentwood in 2001 and Alpha in 2005. BURY ME AN ANGEL was released on VHS in 1985, through New World Video with a cover that featured an illustration of Dag in a variety of titillating situations, of which only half actually appear in the movie. The front cover of the NAKED ANGELS VHS release, via Continental Video, likewise features a titillating illustrated image. One that puts Jennifer Gan’s cross cut leather pants front and center. THE FAST AND THE FURIOUS saw DVD releases from both Alpha and Brentwood in the early 2000’s as did T-BIRD GANG.
And now for the bad news. All seven films are presented fullframe with each feature baring its own chapter selection menu and opening synopsis title card. Each film is accompanied by an affixed “Hollywood Select Video” watermark located in the lower right corner. The watermark, while annoying, does tend to blend into its surroundings, thanks in part to the transfers themselves which are shoddy to say the least. Most appear to be culled from video sources, most notably NAKED ANGELS and BURY ME AN ANGEL, both of which suffer from tape rolls, blurry detail and washed out coloring. BURY ME AN ANGEL also features a glitch that sends the disc back to the main menu once it reaches the Chapter 2 stop. Night scenes throughout the collection are a murky, dark mess. Scratches, hairs, lines, spots, think of a blemish and you will probably find it here with the exception of THE WINNER which is in surprisingly good shape. Black and white cinematography for THE WINNER looks crisp, as does detail however the image does appear squished. Anchor Bay released THE WINNER under its alternate title PIT STOP back in 2000, although good luck finding it as this original release has long been out of print (the transfer here looks to be ported from that very disc, and its anamorphic image pushed to fullframe!). Audio is in the same sinking boat as its visual counterpart, with some prints showcasing more pops and crackles than a packet of Strawberry Pop Rocks.
Trailers for HELL’S BELLES, PIT STOP, TOMB OF LIGEIA, MASQUE OF RED DEATH, THE MAN WITH THE X-RAY EYES, THE TRIP, NIGHT CALL NURSES, THE STUDENT NURSES and THE YOUNG NURSES are scattered throughout the collection and fair far better than the features they are supplementing (the majority of the these likely ported from their official DVD releases). Vintage drive-in concession ads and intermission bumpers can also be found on each disc and while fun to experience, they are hard to enjoy given their heavy pixilation.
While I love the idea behind this collection, its execution leaves much to be desired. Bringing drive-in fare to the DVD format is a noble cause that I support whole heartily, but if the only print source you can find is a water damaged VHS tape that’s been sitting in your garage gathering dust for the last 20 years, at the very least post a warning on your packaging. Give your consumers a heads up. Stating “Digitally Remastered” simply isn’t enough information. You need to be more specific like, “Digitally Remastered, from the finest 3rd generation bootlegs we could find”. (Jason McElreath)
OCTOBER 24 VHS MOVIE REVIEW : BURY ME AN ANGEL (1972)
SHE TOOK ON THE WHOLE GANG! A howling hellcat humping a hot steel hog on a roaring rampage of revenge!
- Original poster blurb for Bury Me An Angel
An irresistible ad line. That, plus video box art that seems to promise that this motorcycle actioner will be both sexy and provide some kickass action. On the cover, we see the heroine (holding a shotgun) wearing some extremely short cut-off jeans, and her shirt is tied up at the front, showing a good deal of her lower torso. To one side, we see the same woman (dressed in the same garments) giving some redneck sheriff a karate kick in the face. Seeing the box, and remembering the original ad line (though reduced on the box to SHE TOOK ON THE WHOLE GANG), I grabbed this movie off the shelf, expecting to get some good gritty action and sex. But after watching all of Bury Me An Angel, I was disappointed. I didn't hate this movie, but not only didn't I get mostly what I was promised, I didn't get enough of it. Actually, what I was given did interest and entertain me occasionally, but the problem there was I didn't get enough of this stuff either.
Let's start with what the movie actually promises. That skimpy outfit that I described in the previous paragraph? Well, heroine Dag Brandy (Peabody) never wears anything like that outfit, either in style or skimpiness. That karate kick she delivers on the cover? Dag doesn't do any martial arts in this movie, and the redneck sheriff she meets is a wimp who squeaks, "What the cornbread hell is going on?" before walking away. There is a fight at a (you guessed it) bar, but the moves in the fight are just replications of the typical swing-the-pool-cue and the smash-bottle-over-the-head moves, only they are both ineptly choreographed and directed in the dullest manner you can think of. And SHE TOOK ON THE WHOLE GANG? Well, I guess you could say that she takes on a whole "gang" - if you consider one person a "gang"! At the beginning of the movie, Dag sees her brother shotgunned in the face by some unknown punk, who then takes flight. After agonizing over his death (which cues several replays of a close-up of the blast her brother takes in the face both here and elsewhere in the movie,) Dag goes on a cross-state motorcycle hunt with her friends Bernie (Clyde Ventura) and Jonesy (Mace), and together they are determined to take on this whole "gang"!
Not terribly original, I know. But not only is the central character actually played by a woman here, but the movie was written and directed by a woman. Peeters (who directed several movies for New World Pictures, including the cult classic Humanoids From The Deep) puts some scenes in this movie that you wouldn't find in other biker movies. There's a scene when Dag's mother talks to a friend of hers, and wonders out loud if somehow the killing was her fault. ("Did I do wrong raising them?") Another scene has Dag's mother, knowing that her unstoppable daughter is going out to avenge her brother's death, actually has a civilized talk with her daughter in a hopeless attempt to stop her. What's interesting is that Dag wasn't instantly determined to track down her brother's killer. She's stunned for the first few days, and thinks about the situation carefully. We even see her privately weep, lying in bed and remembering cherished moments with her brother. And when she finally makes the decision to go after her brother's killer, she isn't suddenly tough and strong-minded. When she tells Jonesy and Bernie that she's going off, and they can join her if she likes, it's clear that she's still nervous, and would like company and support. And the little we see of the killer is different as well. From the little that we see of the killer at the beginning and ending of the movie, it's made clear that he is nowhere like a typical villain in a biker movie - this villain is actually pretty believable in what he does and says.
I liked seeing that stuff. Indeed, the first 20 or so minutes is like this, and it seemed like Bury Me An Angel would be an entertaining biker epic. But Peeters doesn't seem to know how to fill in what's between moments of interest like that. For one thing, there's no real evolving story line; the movie is mainly a collection of vignettes concerning the trio's encounters with various oddball characters whenever they stop for a breather. None of this stuff does anything for the plot, and neither is it very exciting. Mostly it's just inane chatter, with almost no action or sex anywhere in sight. Peeters can't even make the sight of Dag on a motorbike exciting, since Dag never seems to travel more than 40 m.p.h., and this footage of her and her friends zooming at this speed goes on forever.
There are a few points of interest along the trip. Peabody, in her first movie, is a little awkward in her performance, both in reciting dialogue and moving in a scene. However, her tall frame and her posturing have real presence; I think that in time, she could have become a cult star like Pam Grier. Peabody only made one more movie (Night Call Nurses) before she suddenly disappeared - what happened to her? For that matter, what happened to Peeters? The movie also has an early appearance by Dan Haggerty (in his slim and drug-free days), and he too makes a presence in a role that is more or less an extended cameo. Though the instrumental parts of the score repeat a few specific bars of music over and over ad nauseum, the rock-n-roll songs (performed by the group East-West Pipeline) are fabulous, particularly the song, "Let It Be" (no relation to the Beatles' song of the same name) - anyone got the soundtrack album? And though this movie looks a little dark, it overall has decent production values, and looks more expensive than other productions Roger Corman produced in this era.
Bury Me An Angel is not the worst biker movie every made, but it just doesn't have enough to show us. It's not really painful at any time to watch, though it gets very close at times. It's an almost pointless movie that will make people get impatient with it as it goes along, even to the point where viewers would welcome some gratuitous violence and sex. I'm not sexist, but if Peeters wasn't able to give us enough original and interesting material, I think this movie would have been better if Peeters had the help of a seasoned male director on this movie. Her co-director would have known where to tighten the pace and where to throw in sex and violence, while Peeters could have concentrated on the character side of the movie. It would have been an instant cult classic, I'm sure.