In the wake of Robert Rodriguez’s lo-fi sleeper El Mariachi and the bigger-budgeted hit Desperado, the Mexican movie industry was somewhat reinvigorated to make more films in a similar vein, with much cheaper effects, more exploitive set pieces and far bloodier product.

One of these forgotten flick is the mostly shoddy El Mariachi Narcotraficante (or The Drug-Trafficking Mariachi) in 1999. As to be expected, it’s really not that great, but better than a lot of straight-to-video dreck back in the day.

Over the pre-millennium Videonics title cards, a young man (the middle-aged Sebastian Ligarde) and his pretty pathetic mariachi band are trying to play for a shitty club owner who, in a fit of rage, unloads on him and makes a run for it.

The mariachi’s home life isn’t much better, as his wife is kind of a bitch and he dotes on his mom who, melodramatically, has heart problems as she cries on her bed. Man, does this guy need a change of scenery or what?

Meanwhile, a slick “narco” character makes an official drop, presumably over large quantities of drugs. Making a deal, they are ambushed by the husky, plainclothes cop (the husky, plainclothes Jorge Rey) over oil barrels with his .357, squibs-a-popping.

Eventually, the Narco and the Mariachi cross paths — apparently, they are old friends — and, in a torrent of bullets, they go on the run and combine forces. Initially, they are successful. But after the Narco is gunned down and his mom is kidnapped, the Mariachi goes on a mission with, of all weapons, simulated swordplay.

After all parties are summarily executed, the surviving Mariachi has a good time with laughs and love with his mom as a freeze frame ends the whole movie.

With these narco-set 1990-something crime films taking the place of the sexy comedies of the 1980s, the macho façade that most of the protagonists project are here — and more than erect, with their steel guns (and flaccid dialogue) taking up most of the screen.

Sure, the direction is more “push a button” than anything else, with the film’s moneymaking intentions right there on its mariachi-ed sleeve. To be fair, it tries to be something different than a typical narco film, even if it doesn’t work much of the time.

In other words, unlike like Rodriguez’s flicks, El Mariachi Narcotraficante was a bad action movie with entertainingly good intentions. So, that’s something, right? —Louis Fowler

Get it at Amazon.

Unlike the umpteen matinee-style pulp adventures whipped into production by Raiders of the Lost Ark’s runaway success, Jane and the Lost City had genuine pulp origins: as a newspaper comic. Norman Pett’s strip ran for more than 25 years in the UK’s Daily Mirror; Terry Marcel’s feature adaptation ran for, oh, 93 minutes on precious few theater screens.

Although built with a World War II plot, this cheeky British film’s first order of business is staying true to its source material: the accidental undressing of its plucky, pulchritudinous heroine, Jane (Kirsten Hughes). Half a dozen times in oft-ridiculous ways (one via capuchin monkey), Jane’s clothes are torn from her body, leaving her near-starkers, if not for the same pair of silk knickers and bra to match — somewhat remarkable for a PG-rated picture. It’s a childish sight gag and yet, goo-goo gaga. When I first saw it at age 16, I confess a lot of fast-forwarding involved.

On orders from Churchill (Richard Huggett, Slipstream), Jane accompanies a military colonel (Robin Bailey, Screamtime) and his derby-hatted servant (Graham Stark, Bloodbath at the House of Death) to beat the Nazis to locate the titular African jungle, riddled with diamonds and double entendres. Aiding them is toothy good guy Jungle Jack Buck (Flash Gordon himself, Sam J. Jones). Attempting to kill them are SS ballbuster Lola Pagola (Octopussy herself, Maud Adams) and her leopard beret-wearing henchman (comedian Jasper Carrott, The Secret Policeman’s Other Ball). Replete with Perils of Pauline energy, none of it is to be taken seriously.

Jane and the Lost City boasts the same production team as Hawk the Slayer, not that you’d notice. That 1980 fantasy is hardly gold, but it has action, whereas the frothy Jane is all reaction. Here, our heroes survive a plane crash, roaring rapids and an erupting volcano — just don’t expect to see any of that onscreen. Marcel appears to be working with a bottom line as thrifty as the threading of his leading lady’s dress. In that racy spirit, however, the sexy Hughes is her own special effect.

The mediocre New World Pictures affair is a study of contrasts: deliberately old-fashioned yet hopelessly out of touch; at once charmingly innocent and undeniably horny. You won’t love it, but you might not mind it. —Rod Lott

Get it at Amazon.

Thanks to the People’s Republic of China, Kingkong Is Coming Back! And copyright lawyers are nowhere in sight! 

That’s right: Kingkong, one word, as if that qualifies as ethical and saves the keisters of all involved parties from the threat of litigation. Still, this so-called “giant” gorilla isn’t large enough to hold anyone in the palm of his hand. Imagine a primate the size of Harambe after going without Mounjaro shots for six months, including year-end holidays. Also, his face gives “durrrrrr.”

Story? I mean, I guess. A mineral exploration team in the mountains is ordered by their bald, bad benefactor to stop searching for mines and capture the ape. Or else their families will pay … in blood. (This movie should pay … in steep tariffs.)

You might predict ’kong (not Kong) will save our scientists. You will not predict the movie’s other freak of nature: a veritable Tarzan Boy raised in the wild. Clad in long hair and short loincloth, he moves and flies and flits and spins and scales like he’s Crouching Tiger, Hidden Encino Man. The kid also punches and kicks CGI wolves that cast highly unnatural shadows. 

From Youku, China’s equivalent of The Asylum, Kingkong Is Coming Back is cheaper than cheaply made, with poorly layered effects that scream “rush job” (or “加急工作!” per the Google machine). Although sitting at 63 minutes, they are a punishing 63 minutes, capped by an anti-ending that’s written like a transition into an actual ending. Take the title’s passive voice as a sign of the action’s quality. —Rod Lott

Meet The Charisma Killers. Are they assassins by trade? They are.

Do they have cool names like Rope, Psycho and One-Hit Hustle? They do.

Is “Never have kids!” one of the group’s rules? It is.

Are they killers with charisma? Or killers of charisma? The jury’s still out!

Their de facto Professor X is an old man (Vernon Wells, The Road Warrior) who runs the team from his living room. Dying of brain cancer, he gives his seven charges one final assignment, worth $40 million: Kill the city’s incoming sleazeball police captain (Chris Moss, Sex Court: The Movie) at the forthcoming inauguration. Heck, while they’re at it, mow down anyone in attendance: “He who kills the most wins.”

Multihyphenate moviemaker Michael Matteo Rossi’s The Charisma Killers has too many killers. It doesn’t help that the only female members (Wild Things: Foursome’s Marnette Patterson and Dawn’s Jackie Moore), both blonde and leggy, look near-identical. Rather than move forward with what he spends 20 minutes establishing, Rossi (Misogynist) bides time by venturing off in several side stories, each as thin as the Twizzlers consumed by the meatheadiest of the group. Like a TV series pilot, we’re introduced to even more characters — like Kingpin vixen Vanessa Angel as the captain’s wife or Instagram eye candy Antje Utgaard in sexy swimwear — who have, at best, next to nothing to do.

Then we reach the home stretch: the new captain’s Big Public Event. Commendably delirious, this worth-the-watch sequence shows our professionals murderers making good on doing bad. We’re talking dozens of deaths, with more rounds whizzing through the air than at an explosion at the Pillsbury factory. A portion of these last 15 minutes provide a lot of rat-a-tat-tat after a lack of razzamatazz. —Rod Lott

Get it at Amazon.

Several films and TV shows from the 1980s depicted punks as no-good scofflaws terrorizing God-fearing communities. From CHiPs to Police Academy 2 to Death Wish 3, these punks aren’t just misfits jaded at society — they are hardened criminals who will readily hold a switchblade to a helpless granny’s throat and rob her blind. However, venerable trash purveyors Troma may have taken evil punks to the most extreme end of the spectrum by casting them as surfing neo-Nazis in the 1987 exploitation classic Surf Nazis Must Die.

“Sometime in the future,” a massive earthquake ravages the California coast, leaving it vulnerable to roving gangs of surfers, including the Surf Nazis (they’re actually called this in the movie). Sources such as Wikipedia, IMDb and Letterboxd focus, by way of plot, on Eleanor “Mama” Washington (Gail Neely), a Black woman whose son is killed by the Surf Nazis in a hate crime; she breaks out of her retirement home to exact revenge.

While this is certainly the most concrete plot element the film has to offer, the bulk of Surf Nazis Must Die belongs to the punks themselves. We watch in a kind of voyeuristic way how they live — which entails roasting tiny pigs on the beach and lots of slow-mo surfing montages set to a pulsing synth score, not to mention the hate killings and general mockery of law and order. We even see that one of them, Smeg (Tom Shell), actually lives with his mom in the suburbs. In fact, that’s all these Nazis are, in the end: teenagers obsessed with the Third Reich.

Given all this attention devoted to the racist characters, one might assume the filmmakers — director Peter George and writer Jon Ayre — want us to sympathize with them and possibly even feel a little bad for them when, true to the film’s title, they get what’s coming to them. But no, in the end, they’re murderous scum Nazi punks, and we’re rooting for “Mama” to exact her vengeance. Those seeking a sober examination of neo-Nazism among California’s youth need look elsewhere. Surf Nazis Must Die embraces its exploitative nature completely, unashamed and uncaring if it offends.

And boy, does it offend. —Christopher Shultz

Get it at Amazon.