Directed by:
Henry SaineCinematography:
David Michael ConleyComposer:
Greg EdmonsonCast:
Matthew Marsden, Kristanna Loken, Christian Pitre, Abraham Benrubi, Gary Busey, Kevin McNally, Alexa PenaVega, Chasty Ballesteros, Mindy Robinson (more)Plots(1)
Twenty years since the outbreak of a global corporate war that has left society in tatters. Rising from the ashes of this destruction is the Council of Nine, determined on instructing a new law and order for this post-apocalyptic wasteland. To avenge the corporations' reckless destruction, the Council issues death warrants for all white collar criminals. Their hunters: the Bounty Killers. From amateur savage to graceful assassin, the Bounty Killers compete for body count, fame and a fat stack of cash. Their mission: end the plague of corporate greed, exterminate the CEOs and deliver retribution to the poor survivors of the apocalypse. (Anchor Bay Films)
(more)Reviews (3)
Christian Pitre is a beautiful woman and watching her as the huntress was an a delight for the eyes, but otherwise this is a rather cheesy, Mad Max wannabe B-movie. I commend the plenty of gore and brisk pacing. Just for fans of similar films. 60%
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It’s a brutal load of hogwash, but I must say that the filmmaking is stylish. I had fun and that doesn’t usually happen with these sorts of movies. Macho style of the highest degree. I’m surprised that Tarantino or Rodriguez didn’t have something to do with it.
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“Oh God, it tastes like boobies.” What a fitting quote from a film that is essentially something entirely ordinary, yet offers so much pleasure. The reason this title stands out from dozens of other spectacularly trashy Z-movies consists in its comic-book source material, which combines a rewarding post-apocalyptic setting with absurd exaggeration. The narrative is built on the premise of a world in which all-powerful corporations have caused a global collapse, after which bounties are issued for the big bosses, bringing out headhunters-turned-celebrities, who care as much about the expressiveness of their arsenals as they do about their image. In practice, this means that a group of guys with yellow ties in cubicles get their asses kicked by heroes who are actually cosplaying as various characters from pop culture (from allusions to fetishistic nurse uniforms, westerns, Mad Max and southern rednecks to burlesque and punk). Besides the stylisation of the characters, the source work saves the film by offering a colourful world full of exaggerated details, which the filmmakers faithfully adapt without shying away from even the craziest ones, such as motorcycles serving the purpose of a team of horses. Thanks to the fact that some completely new aspect of the film’s universe is introduced with practically every sequence, Bounty Killer never gets in a rut like other cheap trash flicks with a gallery of worn-out pseudo-stars pointing fake guns at each other, onto which flashes of the leads are grafted in post-production.
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