Killing Joan is best compared to The Crow, the gothic urban fantasy starring Brandon Lee. Both films see their anti-heroes return from the dead for vengeance wielding dark, vague supernatural powers against their murderers.
Killing Joan plays more like the straight to DVD sequels that the original Crow spawned. The film shows glimmers of a cult hit but succumbs to fumbling acting, clunky storytelling, clammy dialogue, and stagey action.
Genre: Action, Adventure, Crime, Hollywood-Dubbed
Director: Todd Bartoo
Writer: Todd Bartoo
Actor: Jamie Bernadette, Teo Celigo, Erik Aude
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Killing Joan MOVIE PLOT :
From Killing Joan Movie, Joan Butler is an enforcer for a local mobster who is known for ruthless tactics and wild abandon. After she reconnects with her ex-boyfriend Anthony, a local social worker, she realizes that there is more to life and decides to quit the business.
After she is double-crossed and left for dead, she resolves to take down the mob and her former boss Frank. Unfortunately, she has been given other world powers, such as the ability to travel between shadows or to command the shadows themselves. One by one, she takes them down, only to realize that there are darker forces behind Frank and his organization.
The dark forces are more powerful than anything Joan has previously faced. Slowly these dark forces attempt to subsume and corrupt Joan. Will she be able to overcome the dark forces and by effect save her own soul?
Mob enforcer Joan Butler (Jamie Bernadette) finds herself betrayed by her erstwhile employer. After being attacked she returns from the dead with otherworldly powers and sets out for revenge against those who wronged her.
FULL CAST OF Killing Joan
Jamie Bernadette, Teo Celigo, Erik Aude, David Carey Foster, Daniel Gardner, Dion Basco, Pavle Kujundzic, Casper Andreas, Katarina Leigh Waters, Erin O’Brien, Alexandra Lemus, and Danny Mika.
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Killing Joan Movie Review :
Writer/director Todd Bartoo makes the bold choice to paint his titular character as severely unsympathetic. Joan’s introduction comes when she interrupts a couple in the throws of sex; she holds a butterfly knife to the man’s neck and tells him he’d better pay his debts. Later, she shoots one of her own goons and hits a club where strippers gyrate through shafts of tinted light and sparse extras mill around. When a man turns her down she promptly goes for a woman, kissing her and, ultimately, taking her home. While these scenes are punctuated by posturing and recycled dialogue they do set the table for an entertaining exploitation film.
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