Subject: REVIEW: BARB WIRE (1996)

From: [email-masked] (James Berardinelli)
Date: 8 May 1996 20:33:55 GMT

BARB WIRE
                       A film review by James Berardinelli
                        Copyright 1996 James Berardinelli

RATING (0 TO 10): 2.0 
Alternative Scale: * out of ****

United States, 1996
U.S. Release Date: 5/3/96 (wide)
Running Length: 1:35
MPAA Classification: R (Violence, profanity, nudity)
Theatrical Aspect Ratio: 1.85:1

Cast: Pamela Anderson Lee, Temura Morrison, Victoria Rowell, 
      Jack Noseworthy, Xander Berkeley, Udo Kier
Director: David Hogan
Producers: Brad Wyman, Mike Richardson, and Todd Moyer
Screenplay: Chuck Pfarrer and Ilene Chaiken
Cinematography: Rick Bota
Music: Michael Colombier
U.S. Distributor: Gramercy Pictures

     BARB WIRE has the cleavage of a Russ Meyer film without the jiggle.  
If someone was going to make a campy version of CASABLANCA, you'd think 
they'd at least have the decency to make it fun.  Unfortunately, other 
than a couple of very obvious, absurdly over-the-top scenes, this film 
is just plain boring.  Aside from observing Pamela Anderson Lee's 
apparent assets, the only reason to stay awake during BARB WIRE is to 
see how often it pilfers from the Bogart/Bergman classic.

     The characters and setting may be based on the Dark Horse comic 
book, but the plot is pure cyberpunk CASABLANCA.  It's 2017 (the worst 
year in the main character's life, as we're informed in a whispery 
voice-over), and the country is involved in the Second American Civil 
War.  There's only one free city left, Port Steel Harbor, and that's 
where Barb Wire (the "Rick" part, played by Pamela Anderson Lee) owns 
and operates the Hammerhead bar.  She's a declared neutral in an 
unaligned territory, accepting patronage from both the Nazi-like 
Congressional forces and the rebels trying to bring them down.  

     One day, a defecting government scientist in possession of critical 
resistance intelligence, Dr. Karina Devonshire (the "Victor Laszlo" 
part, played by Victoria Rowell), arrives at the Hammerhead in the 
company of a resistance fighter, Axel (the "Ilsa" part, played by ONCE 
WERE WARRIORS' Temura Morrison).  They need a way across the border into 
Canada, and think Barb may be able to help.  But there's a problem -- 
she and Axel were once lovers, and she's never forgiven him for 
abandoning her in Seattle.

     Most of the CASABLANCA characters are present (although half have 
undergone sex changes), and the story progresses in generally the same 
way (with a few fight scenes thrown in so that the leading lady can show 
off her athleticism, amongst other things).  It's curious that no one 
thought to credit CASABLANCA script writers Julius J. Epstein, Philip G. 
Epstein, and Howard Koch for at least "inspiring" the film.  Then again, 
for the sake of their reputations, maybe it's better this way.

     Despite being outfitted in leather and spike heels, Anderson Lee 
doesn't make for an appealing action star -- the silicon enhancements 
might have screen presence, but the star doesn't.  Okay, so she looks 
good on a motorcycle, but that's about it.  Her delivery of the 
requisite quips is awful, and her signature line ("Don't call me babe!") 
reminds one more of Kevin Kline's A FISH CALLED WANDA refrain ("Don't 
call me stupid!") than anything Clint or Arnold might ever have uttered.

     The film makers undoubtedly recognized that they were making a bad 
film.  Why else cast such an obviously-untalented actress in the lead 
role?  What they seemed to be banking on is that BARB WIRE would at 
least be fun, which it isn't.  The element of high camp that makes for 
enjoyable "good trash" isn't present.  Bad movies like this often 
generate small cult followings, and that's about the size of audience 
the picture deserves.  This BARB WIRE is rusty.

- James Berardinelli
e-mail: [email-masked]
web: http://www.cybernex.net/~berardin