Ross Hagen home movie has a deranged transvestite knocking off centrefold models at a photographer's isolated ranch. Next big thing (Sims) is lured to the ranch to advance her career, but her disapproving boyfriend (Cummins) follows her and ends up part of the ensuing madness.
Shot on video, Hagen has spared no expense with his pyrotechnic displays, use of blank ammunition and fake tan, while the stunts are unlimited and the cast attractive and diverse. Troy Donahue has a few pointless scenes as Hagen's pastel-coloured polo shirt wearing assistant, while Hoke Howell has a virtual cameo as a PI investigating the strange disappearances of models. Some audiences might recognise Tracy Dali and Dona Speir from other, eh, publications although their roles are strictly ancillary (Speir has a prominent role in the first two scenes then abruptly disappears without explanation). As for Hagen's performance as the offbeat snapper, he looks professional if tired, but really comes to life in the final act, nursery rhymes and all. A performance not to be missed.
There's a couple of humorous moments where Cummins learns to fight and teaches a male model to ride his motor-cycle, but it's still pretty flimsy with an awful lot of time spent with Sims (vaguely reminiscent of a young Elisabeth Shue) and Cummins arguing, then making up, then arguing again etc etc. The film ambles to 80 minutes which gives you an idea of how much action, or lack thereof, is contained in the movie. No issue with Ross Hagen wanting to show that movie-making is accessible to almost any budget, just wish he had a better concept before he embarked on this glorified home movie.
Shot on video, Hagen has spared no expense with his pyrotechnic displays, use of blank ammunition and fake tan, while the stunts are unlimited and the cast attractive and diverse. Troy Donahue has a few pointless scenes as Hagen's pastel-coloured polo shirt wearing assistant, while Hoke Howell has a virtual cameo as a PI investigating the strange disappearances of models. Some audiences might recognise Tracy Dali and Dona Speir from other, eh, publications although their roles are strictly ancillary (Speir has a prominent role in the first two scenes then abruptly disappears without explanation). As for Hagen's performance as the offbeat snapper, he looks professional if tired, but really comes to life in the final act, nursery rhymes and all. A performance not to be missed.
There's a couple of humorous moments where Cummins learns to fight and teaches a male model to ride his motor-cycle, but it's still pretty flimsy with an awful lot of time spent with Sims (vaguely reminiscent of a young Elisabeth Shue) and Cummins arguing, then making up, then arguing again etc etc. The film ambles to 80 minutes which gives you an idea of how much action, or lack thereof, is contained in the movie. No issue with Ross Hagen wanting to show that movie-making is accessible to almost any budget, just wish he had a better concept before he embarked on this glorified home movie.