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Southern Texas. Savannah and Cooper, a young couple in love, drive through the desert in a black 70s Cadillac convertible. Unaware that they are being followed, they check into a motel at the Mexican border. When Savannah leaves to buy food, a cop sneaks into the room, pulls his gun on Cooper, accuses him of murder and tries to arrest him. But Savannah, who had become suspicious, manages to turn the tables: She surprises the cop, ties him up and frees Cooper. But just as the young lovers jump into their car, a stranger steps out of the shadows and kills Cooper at point blank... Three weeks later. Hollywood, California. In a hotel suite overlooking the Sunset Strip, a man is being water boarded by a private detective. The information he needs is: "Who killed Babyface?" When the man refuses to cooperate and shows nothing but contempt for his captor, the torture continues. Layer by layer, the truth about Cooper alias Babyface is revealed. A complex web of murder, revenge, atonement and ... Written by
German film director Ulli Lommel dedicates this abortive flick to his mentor, the well-regarded Rainer Werner Fassbinder. Though Fassbinder is probably turning somersaults in his grave at the idea of being associated with this cinematic tripe, the dedication is instructive in knowing where Lommel's head is at. Lommel, who has operated out of the US for decades, continually tries to gain some recognition in his own country as a genuine auteur. But the Germans think he is a joke. ABSOLUTE EVIL absolutely will not help his reputation, either, which has bottomed out after he aggressively directed a rash of poor horror movies, such as KILLER NURSE, DUNGEON GIRL, THE TOMB, and GREEN RIVER KILLER.
ABSOLUTE EVIL is the work of an artist who has no original ideas and so imitates what he believes will sell -- a bit of horror here, a bit of western "homage" there, and other bits and pieces of ideas from other movies. The film, which looks like every other Lommel movie and is shot on a camcorder -- is a junker of a movie that ka-clumps along in tiresome fashion, made with the conviction of people who had a large mortgage to pay off. The movie may attract you because of David Carradine's presence in an undistinguished cameo role.
In this revenge story, a young woman chases down the killers of her car mechanic father with the help of a boyfriend, who may have helped the killers.
Lommel also wrote the banal dialog that is painfully under-rehearsed by the actors, and prior to its screening at the Berlin festival, he touted this production as more substantial than the progressively awful wave started in 2004 with ZODIAC KILLER. However, even with a little extra money in the budget, Lommel defaults to his trademark poor camera-work, one-take direction, terrible acting, slow pacing, and disjointed editing. In the style of all Lommel films, footage is repeated ad naseum and to the point of distraction. Worse of all, he gets a lousy performance out of Carradine! What a sad waste this is.
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