Kill or Be Killed (1976)

Quite possibly the most confusing and random film ever made.

A Nazi, Baron von Rudloff (Norman Coombes) was humiliated before his beloved Führer during the war when his German team of karate masters were defeated by the Japanese team of Miyagi (Raymond Ho-Tong). Now several decades on von Rudloff has built a castle in the South African desert (which looks like he built it out of styrofoam) and a private army. Now he wants to hold a rematch of the karate contest...

He bribes Miyagi to bring a new team of the best karate masters (none of which are from Japan weirdly) while von Rudloff's henchman Chico (Danie du Plessis) recruits other best karate masters for the Nazi's new team. One chosen is Steve (James Ryan) but he doesn't want much to do with von Rudloff's crazy plan and makes off. Unfortunately Steve's girlfriend Olga (Charlotte Michelle) is kidnapped forcing Steve to take part in the bizarre karate contest...

A very strange film full of random plot tangents and just sheer weirdness. This film definitely feels like one where filming in some scenes began with a half-written script (or even none at all). Some of the fighting scenes are not that bad at all and the film is, of course, unintentionally hilarious. And just so so odd.

The Walking Target (1960)

A decent Noir-ish crime drama about an ex-con who is still after his money.

Nick (Ron Foster) comes out of prison after a five year stretch for armed robbery, however as the loot he stole was never recovered everyone is on Nick's tail. The press, the police and some gangsters who want the loot for themselves. Nick hooks up with his old flame Susan (Merry Anders), not knowing that she has already moved on but it keeping up appearances for the money.

Where is the money though? It seems he left it hidden in the car of his old partner's widow Gail (Joan Evans). He turns up to see Gail to get the money but can she persuade him to give it up and go straight for good?

Taut, tough and straight forward crime drama with some good performances. Not the most original storyline but very competent in all areas.

Suds (1920)

Rags to riches to rags romantic tale, but set in a laundry so at least the rags are clean.

Amanda (Mary Pickford) works in a rather rough laundry but has a romantic imagination. She spins a yarn to her fellow workers that her fiancé is Sir Horace (Albert Austin) who she met when he bought his shirt to the laundry (which is true he did) but his father objected to her and threw her out of their castle (which isn't true). She insists that one day Sir Horace will return for her. Meanwhile, Amanda saves a horse from the glue factory, this results in her becoming homeless but her kindness results in the horse being saved and being taken to live at a rich man's estate.

Horace finally returns to the laundry for his shirt, Amanda asks him to pretend they are a couple, spurning the love of laundry cart driver Ben (Harold Goodwin). Horace isn't too keen on her after all, leaving Amanda (and Ben) distraught. But is this the end of the romance?

A fun film with some interesting effects and film techniques. A decent story with some welcome whimsy.

The Rebel Set (1959)

Beatnik weirdness doesn't quite distract from a solid crime drama.

John (Gregg Palmer) is a wannabe actor, part of the gang at a nearby Beat Generation hangout. He is recruited by mastermind beard Tucker (Edward Platt) for a daring raid on an armoured car in Chicago to steal a cool million bucks. That would pay for a lot of beard stroking and bad poetry.

John, using the cover of going for an acting trial, is forced to take his wife Jeanne (Kathleen Crowley) with him on the train. The heist goes off without a hitch but the trouble starts later on when the crooks start wanting more than their fair share in the loot...

If you can get past the ridiculous Beat Club scenes, including a loud mouth square being thrown out for interrupting some ham spouting bad poetry, this is a pretty good crime film which makes the best use of a minute budget. 

Mad Max (1979)

The start of the legend, the icon.

It is the near future (so basically the 1980s) and Australia is falling into anarchy with gangs of motorbike riding thugs roaming the land. Only the ultra violent remnants of the police force exemplified by Max (Mel Gibson) stand between civilisation and barbarians exemplified by the likes of Toecutter (Hugh Keays-Byrne)...

However, Max wants out. He is bought off by a new V8 nitro boosted Ford Falcon XB GT (surely one of the coolest cars in movie history) but finally he heads off with his wife Jessie (Joanne Samuel) and child into the countryside. But they don't discover peace there, only Toecutter and his gang. After Max suffers a terrible loss, he returns to the garage and gets in his Falcon... only revenge on his mind.

A fantastic film, just the start of the iconic Mad Max series (and many imitators of varying quality). A hard violent film set in a dystopian wasteland. The road scenes are exhilarating. But this was just the start.