Movie Review: "Cry Havoc" (2020)
When a new Bronzi flick comes blasting its way across my field of vision, I no longer look at it merely with a species of amusement and pleasant surprise. I know what to expect from Robert Bronzi (Death Kiss, Once Upon a Time in Deadwood); now I’m looking for development and a new arc. I’m not entirely sure if I totally got that with writer/director Rene Perez’s latest homage to the Canon Films style, but stay with me here- that’s by no means a black and white statement.
An ambitious young reporter named Ellen (Emily Sweet, Castle Freak remake) is looking to make her career by interviewing one of the FBI’s Ten Most Wanted- a mysterious serial killer known only as The Voyeur (‘80s bad-boy Richard Tyson; Kindergarten Cop, Three O’Clock High). The Voyeur produces snuff films that double as art (depending on your perspective) where he lures unsuspecting young actresses to their deaths at the hand of a massive, menacing, utterly psychopathic masked monster known as Havoc (J.D. Angstadt; Playing With Dolls series). It’s the ultimate in deadly reality television, and Ellen is determined to understand The Voyeur. Unfortunately, she’s the next contestant, and her only hope may be The Detective (Robert Bronzi). His daughter (Spring Inés Peña; The Rider) is among the missing girls, and nothing will stop him from saving her.
Cry Havoc is an interesting beast to try and tackle. Writer/director Rene Perez’s eye for breathtaking locales and knack for emulating that signature Canon Films style is as keen as ever. He makes a damn good looking film in many regards. The issue comes in the form of the connective tissue that holds the two films together.
Make no mistake about it, Cry Havoc is two separate films- the story of Ellen and The Voyeur (a balls-out gorefest with an intriguing hook) and the story of The Detective (a classic Bronzi revenge and recovery flick). They do meet once Ellen and The Detective come together in an attempt to make their mutual goals work, but they never feel all that together. The tonal difference between the gleeful splatter of the scenes with Havoc and The Detective’s hell-bent mission to save his estranged daughter and redeem himself is jarring. It’s made a bit more frustrating by the fact that both are pretty well done.
Bronzi continues to progress as an onscreen presence. He’s become a genuine action star, from the improved physique and fighting prowess to the now almost-extinct accent. Sure, the bad guys are about as skilled with a gun as Storm Troopers, but that’s not Bronzi’s fault! This is supposed to ape the vintage cheese of a Canon Films actioner, remember? In any case, Robert Bronzi takes it another step further in his progression to the top of the exploitation genre. It’s hard not to be a fan of his work. Also, “Keep talking ‘til I understand!” is my new favorite Bronzi line!
The character of Havoc is a visually strong one who absolutely doesn’t fuck around with his kills or his love of randomly shirtless victims. He’s essentially a giant child with no control over his blood lust; J.D. Angstadt channels a bit of Kane Hodder and mixes it with a near innocence. The presentation on Havoc is first-rate, and the gore factor on his kills will make you smile. The slow, crunchy jaw rip in the opening scene is worth the price of admission alone.
I’ve not seen the entire filmography of Rene Perez, but he clearly does what he does with a great degree of passion and a sense of fun. The recurring character of Havoc is one I’d tune back in for again. Yes, Cry Havoc does feel like two disparate elements trying to find a way to mix in the same periodic table, but you will be entertained and it won’t look cheap (even if Richard Tyson is still as hypnotically wooden as he was in 1988).
Cry Havoc slashes on streaming platforms on May 5th, 2020
Grade:
3.0 out of 5.0 stars
