City Limits (Aaron Lipstadt, 1984)

Even though this is yet another film that is supposedly set in the future, it technically takes place in the past. Um, I think that makes sense. Nevertheless, despite the wonky timeline, City Limits still manages to capture the unwashed disquietude of a world rife with unopened cans of cat food and fingerless gloves as far as the eye can see. How, you might be asking yourself, does it manage to do this? It's simple, really. Costume designer Merril Greene was obviously given free reign when it came time to design the various outre outfits worn by The Clippers and The DA's. And, no, I'm not talking about the NBA franchise, nor am I talking about a group of funkily attired trial lawyers. Believe or not, The Clippers and The DA's are two of L.A.'s toughest bike gangs. Actually, I think they're L.A.'s only bike gangs (they basically run the entire city). Of course, there's not much for them to rule over nowadays... you know, since a mysterious plague wiped out almost the entire population. Needless to say, with no links to the past, the citizens living in this post-apocalyptic paradise have developed their own unorthodox sense of style.

Now, if, say, The Clippers or The DA's were to walk down the street during the pre-apocalypse, they would probably be laughed at (or worse, be accused of being hipsters). However, since the people who would have been doing the majority of the laughing are all dead, it means that Rae Dawn Chong can wear a white fedora with a pink cape covered in black polka dots without having to worry about being judged by the self-appointed fashion police.

If this world sounds too good to be true. Don't worry. The fine folks at Sunya Inc. want to change all that. In a normal movie, Sunya would be the heroes, and bikers the villains. But in a bizarre twist, especially for a movie from the mid-1980's (a period when Charles Bronson/Chuck Norris/Sly Stalone-style vigilantism was all the rage), City Limits implies that the biker way of life is the way of life worth preserving.

Sure, Sunya will tell you that all they want to do is turn the lights on and bring back other essential services to the city. And who in their right mind would be against that? Yeah, but can Rae Dawn Chong still wear flannel shirts with studded collars? (Um, I don't think she wears anything like that in this movie.) Okay, maybe she doesn't wear a flannel shirt with a studded collar. But at least she can if she wants to. When Sunya take over, you can pretty much forget about mixing and matching.

How do I know this? Trust me, if the leader of a powerful, quasi-fascist organization looks like Norbert Weisser, you can pretty much kiss your freedom goodbye.

Oh, crap. It just dawned on me that Mick (Darrell Larson), the leader of The Clippers, sort of looks like Norbert Weisser, who, if I haven't mentioned already, plays Bolo, Sunya's most Germanic honcho. Either way, judging by Norbert's actions, it's clear that Sunya are not to be trusted.
    

Born in the desert and raised by James Earl Jones (his parents died during the plague), Lee (John Stockwell) has grown tired of living in the country, and yearns to go the city. Hopping on his motorbike, Lee rides to L.A. with the hope of joining The Clippers.

Now, this may come across as a tad dickish, but any review for City Limits that fails to give props to Mitchell Froom's score should be discounted immediately. Seriously, it's that good. Sure, it sounds a lot like Mr. Froom's Café Flesh score. But as almost everyone knows, the Café Flesh score is one of the greatest scores of all-time. In other words, you could view City Limits as the real Café Flesh 2 (no offense to the late great Antonio Passolini - a.k.a. Johnny Jump-Up). Except instead of being about Sex Negatives looking for post-nuke thrills at a club run by Tantala Ray, it's about... Come to think of it, the plots of the two films are eerily similar. Of course, no one expels seminal fluid on anyone in City Limits. Which is a shame, as I was hoping to see James Earl Jones blast his CNN-bank rolled seed all over Pamela Ludwig's alabaster backside.

Don't look at me that way. It's clear to anyone with eyes that James Earl Jones and Pamela Ludwig (Over the Edge) do more than bond over model airplanes in this movie.

Anyway, after being initiated, Lee is accepted into The Clipper fold. Oh, wait. It would seem that Ray (Danny De La Paz), the leader of The DA's, wants Lee dead. You see, one of The DA's was killed during the chase involving Lee. So, Ray wants restitution.

Instead handing Lee over, Whitey (John Diehl), or maybe it was Sammy (Don Keith Opper)... Whoever it was, trial by combat is put forth as a possible solution. I liked how the idea comes from issue #43 of Insect Man, a comic book that serves as a sort of bible in this film's universe. In a way, it reminded me of how the Earth book "Chicago Mobs of the Twenties" shaped the residents of Sigma Iotia II in the Star Trek episode, "A Piece of the Action."

The cool thing about the trial by combat sequence is that Jennifer Balgobin (Dr. Calgari and Repo Man) is the one The DA's  choose to fight Lee. Any time I can add a Jennifer Balgobin movie to my list of Jennifer Balgobin movies that I've seen is a reason to celebrate. Watch out, Out of Bounds, you're next!

If you look closely, you can spot Jennifer Balgobin busting out some sweet ninja moves during the climatic battle scene as well.

The reason there's a climatic battle scene is because The Clippers refuse to cooperate with Sunya. Managing somehow to convince Ray and The DA's that working with Sunya is in their best interest, the corporation, lead by Robby Benson, seem to be having trouble convincing The Clippers.

When asking nicely gets them nowhere, Sunya resort to acts of violence. It's at around this time that Wickings (Kim Cattrall), an idealist Sunya employee, realizes that the company she works for is super-nefarious. Of course, by the time she figures this out, it's too late.

With the majority of their members either dead or being subjected to Sunya sponsored re-education seminars, The Clippers find themselves with their backs against the wall. Will these freedom-loving, motorcycle-riding, flamboyantly-dressed samurai ass-clowns be able to retake their half of the city from a heavily armed group of jumpsuit-wearing fascists? Probably. I mean, sure, the odds are not exactly in their favour. But I bet they got a few tricks up their puffy sleeve.

The most puzzling question has to be: Why did Mystery Science Theater 3000 feature this movie on their show? I thought they only watched bad movies, and City Limits is not even close to being a bad movie. Weird. At any rate, if you like films like, Café Flesh, Punk Vacation, Roller Blade and Shredder Orpheus, you should give this film a whirl.

Over the Edge (Jonathan Kaplan, 1979)

Extracurricular activities—you know, that time consuming comfort we all take for granted. Well, for some strange reason, they've yet to be made available to the young people of a newly established suburb called New Granada, the bland local where the majority of the unstructured delinquency takes place in the coarsely beautiful Over the Edge, a venturesome look at youth-based ennui in a stagnant society. An authentic and straightforward examination of what it must have been like to live in a world where staring mindlessly at screens all day wasn't option, the film, directed by Jonathan Kaplan (Truck Turner) and featuring gorgeous photography by Andrew Davis (The Fugitive), crackles with a freewheeling aimlessness. Sure, there are television screens to look at, but the underage characters that populate this burgeoning realm don't seem all that interested in the vegetational arts. And I must confess, seeing the kids in this movie roaming wild and unfettered through the streets of this lame town was quite invigorating. Following the apathetic adventures of Carl (Michael Kramer) and Richie (Matt Dillon), two 14 year-old troublemakers who rip the system on a daily basis, the film makes a lofty attempt to show what can happen to a quiet suburb when the interests of young people are completely disregarded. With the exception of a biosphere-esque rec centre run by a cute idealist (Julia Pomeroy), there's nothing much going on in terms of lawful amusement for the under fifteen crowd.

As you would expect, Carl, Richie, and their drug abusing pal Claude (the super-terrific Tom Fergus), drift purposelessly from one unmanageable situation to another, while always on the lookout for the aptly named Doberman (Harry Northup), an overzealous police officer who has a severe disdain for rapscallions, scallywags and scoundrels.

On the parental front, Carl's dad (Andy Romano), the owner of a struggling car dealership, is trying to attract investors to the sleepy suburb, especially the one's who are interested in buying a large plot of land, which of course is located across from the youth's beloved rec centre. Convinced that no one will commit millions of dollars to a town that has hundreds of unruly adolescents running rampant, the elders try to shield the potential investors from the minor rabble. This plan backfires and sets in motion some mildly tragic events that will change New Granada forever.

It's not all drug addled partying and property damage, while all this wanton teen angst is transpiring, young love is blossoming. First locking gazes while attending a mandatory screening of a propaganda film besmirching the destructive beauty that is vandalism, the off-kilter romance that slowly forms between Carl and Cory (Pamela Ludwig) was a delightful counter-punch to all the macho posturing that takes place in Over the Edge. I also liked how the act of Cory almost killing Carl is what brought them closer together–before the accidental snuffing they were just in the flirtation stage of their relationship. Nothing says true love like being shot at while dancing to Cheap Trick in the upstairs bedroom of an uncompleted townhouse on the outskirts of nowhere.

A staunch supporter of teenage vandalism, and hooliganism in general, I found myself nodding along in steadfast agreement while each act of impish rascality was being implemented. The fact that the girls, an unfairly neglected group when it comes to nonsensical criminality, were deeply involved the anarchistic bravado that goes on in this film caused me to nod even harder.

Going much further than Pump Up the Volume and Heathers did in terms of incendiary fanfare, Over the Edge lives up to its title in a big way during its final third. An orgy of underage ferocity and premeditated devilment, a stoic Carl leads his crazed mob of frisky juniors on a senseless yet politically relevant mission to destroy the very fabric of New Grenadian society.

The image of Michael Kramer's Carl, his profound shortness adding to the age-centric believability of his character (teens in movies are usually too tall), serenely standing as chaos reigns around him was the film's defining moment. Second in that regard would have to be the sight of Matt Dillon acting tough in a mid-riff revealing t-shirt. Nah, that's actually third or forth.

The second is the scene where the angelic Pamela Ludwig leaves Carl's hideout and slowly walks into the creeping nightfall emerging daylight. I loved how she waved goodbye twice; briefly extending what was already a touching moment.

Normally content with lying on his bed while blasting the popular rock music of the day on his headphones, Carl comes to the conclusion that he's spent enough time hiding in shadows, and goes about getting his voice heard by utilizing the uncompromising bluntness that only a rowdy throng can provide. It's an inspirational message that proves what kind of greatness humanity can achieve whenever they decide to stop looking at screens, go outside, and confront the world.

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