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In Redwood County, the dancer Gina is attacked and her boyfriend is killed by a maniac in a motel. Gina is attended by Sergeant Burns and Lieutenant Krebs insists in giving a lift to her when she leaves the hospital. However, he kidnaps Gina and arrests her in a cell in the basement of his isolated house. The deranged policeman has a serious trauma from his childhood with dancers of night-clubs and establishes rules and punctuations for Gina while she is imprisoned. Meanwhile, Lieutenant Krebs is stalked by a local, Ruthie, who has a crush on him and wants to promote his amateurish puppet show with the character Deputy Rock, his alter-ego. Sgt. Burns is trying to find a clue where the missing Gina may be.Written by
Claudio Carvalho, Rio de Janeiro, Brazil
When Sgt. Burns is showing a police mugshot of Joe Cody to Lt. Krebs, the words "Sacremento City Police" appear across the photograph instead of the correct spelling of "Sacramento City Police" See more »
This Canadian 'maniac cop'-type thriller inaugurates a lengthy series of movies that I plan to watch throughout this month in tribute to its hell-raising star, the late Dennis Hopper. His co-star here is the equally notorious Italian starlet Asia Argento who, portraying a stripper that instills dubiously redemptive tendencies in Hopper, shows that she still has trouble in shedding her heavy accent which needs to be excused by making her an émigré. The presence of these two (who appeared together again a year later in George A. Romero's LAND OF THE DEAD) would have been enough to entice me to watch this modest effort somewhere along the line but, thankfully, the screenplay adds a few interesting touches to the overly-familiar COLLECTOR scenario.
In fact, Hopper has a sideline in puppeteering which he exploits by touring schools in an anti-drug campaign (which, knowing Hopper's highly-publicized drug-fueled antics of the past, makes for the ultimate irony); to further complicate matters, one of the teachers (Helen Shaver) has a big crush on him and wants to manage his 'career' and turn him into a household word!; Hopper's junior partner starts getting in too deep into Argento's disappearance and, inevitably, getting on Hopper's nerves; and, finally, an escaped serial killer who has been hunting down Argento's 'colleagues'.
Unfortunately, director Paul Lynch's (of the original PROM NIGHT fame) thoroughly uninspired handling deadens most of the impact that these subplots might have had and it is left to the two lead actors – but mostly Hopper (whose mania is predictably explained as being caused by a religious-fanatic-of-a-cop dad), since Argento's predicament limits her movements (although she still gets to do a pole dance over the opening credits sequence and have a couple of gratuitous showers along the way!) – to keep non-discriminating viewers watching.
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