Of course, in time I realized that they were making movies that would pander to a specific demographic in order to make wads of cash, and honestly, there is nothing more American than that. I also realized that in many respects their carefree, tax-shelter exploitation movies were not only imaginative and interesting, but in many ways more creative and interesting than many American films during an era that thrived on exploitation.
Carly Kendall (Diana Reis) is a chain-smoking video game programmer who has been using her massive black computer terminal to create her latest game "Thrillkill" for a faceless company run by a slimy French businessman Caspar (Frank Moore). Apparently while making the game, she is also hacking into global banks and snatching thousands of dollars from each one and hiding it in a secret account.
In the interest of keeping things spoiler free, I'm not going to get into too much detail about the plot, but I will say that paragraph above is genuinely the tip of the iceberg. There are so many twists and double-crosses that the only part of the film that doesn't have a twist is pretty much the last two minutes. It's pretty impressive on any level.
Bobbie: "Do you get all your dates this way or does tear gas work faster?"
Frank: "Well, tear gas is more effective, but usually they take one look at my nightstick and they come quietly."
Wait, what? If you are going for sleazy innuendo, I'm pretty sure "quietly" is not not the way girls want to be coming. I don't know, maybe I've just dated the wrong kind of girls.
After this exchange she bends to his masculine will and allows him to take her out to a hot dog place for some footlong franks, which he suggestively refers to as "teeny weenies". He says this about five times, just in case it didn't sink in the first four. Seriously dude, if you are going to use slimy come-on lines, you don't want to use the word "teeny". He also eats her dog and drinks her soda. This guy is supa fly!
Adding to the general exploitation of the '80s arcade revolution are frequent settings in which games could be seen and heard in the background. During one suspenseful scene in a bar, you can hear the 1982 William's classic "Sinistar" roar "run coward!" on the soundtrack. These scenes also have some almost subliminal edits of video game screens with games such as the 1980 Amstar classic "Phoenix". One great scene has a victim being stalked by a killer in a dark arcade. If that doesn't say '80s, nothing does.
Interestingly this is D'Andrea's single writing credit while working as an editor. While the theme of a computer game thriller bears some curious similarities to CLOAK AND DAGGER of the same year, for a first timer, the script is surprisingly well executed. It's a shame that this didn't lead to other work as a writer, I would love to see how his work evolved into future projects, in the same way that Jorge Montesi essentially remade his own SENTIMENTAL REASONS (1981) into the superior BIRDS OF PREY. Kramreither directed a few other films, including the drive-in comedy ALL IN GOOD TASTE (1983), which had an early appearance by a 23rd billed Jim Carrey, but spent his post THRILLKILL career, producing and dabbling in acting.
In the end, I am really only left with only one question: