Bounty Killer

In its post-apocalyptic setting of 2042, what remains of our country is a barren wasteland where death warrants are issued for white-collar criminals (somehow, there are still plenty) and bounty hunters compete madly for them, racking up quite a body count.

Speaking of rack, “the greatest killer the world had ever known” happens to be one of these bounty hunters and happens to be a woman. Her name is Mary Death (the stunning Christian Pitre) and she does her thing while clad in a ponytail, white garters and a go-go-skirt with boots and generous cleavage to match. Any feminist intentions on the part of the screenwriting trio arguably are canceled out by their naming the in-film bar the Thirsty Beaver. 

 

Their thin story involves Mary competing against a drifter named Drifter (Matthew Marsden, Resident Evil: Extinction) who, naturally, will become her love interest as they band against such threats as gypsies who look like Juggalos. One-time Okie Gary Busey shows up just long enough to get killed. 

Reminiscent of “Howlin’ for You,” that Black Keys video I was pissed to learn was not a genuine movie trailer, Bounty Killer is a feather-light film of heavy-metal machinery and Mad Max auto-mageddon, in which nothing is to be taken seriously. Although a relative neophyte to the industry, Pitre more than holds her own among this cinematic circus of unapologetic mayhem.

About the only thing bringing it down is director Henry Saine’s decision to cast Barak Hardley (Evidence) as the comic relief in a film that basically is comic relief. Hardley’s hardly working style of smug, self-aggrandizing humor sunk Saine’s previous film, The Last Lovecraft: Relic of Cthulhu, and he comes close to doing the same here.   —Rod Lott

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Rod Lott

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