Bill MacMahon (Mark Poppleton) is the patriartch of the richest family of a small town in the Southern US - and he has set his mind on getting his hands on the house and land of widow Marsha Kane (Camille Keaton), and thinking the woman will only take little persuasion to accept his (admittedly ok) offer, he sends over his sons - hothead Wayne (Scott Peeler), his loyal sidekick Billy (Christopher James Forrest) and more level-headed Derrek (Eric Dooley) - to put a little fright in the past-her-prime woman. Only, she doesn't respond to the boys' initial attempts at bullying, even reports it to the police, despite knowing that Deputy Pyle (Victor Jones) is on old man MacMahon's payroll. Of course, that hurts the ego of Wayne, so he issues an ultimatum to Marsha, and the next night swings by her place with his brothers, all packing, just in case. But Marsha has been preparing herself for this, and takes a shot at them through the door with her shotgun, hitting Billy in the chest. The two others try to find an alternative way into her house to surprise her, but she has got everything covered, and before long, she has shot off Derrek's hand and has unarmed Wayne and put a gun to his head. Complications arise though when Marsha's daughter Helen (Karen Konzen) arrives, and Derrek is quick to take her hostage. So the cards are totally reshuffled, but Helen has some fight in her, Marsha's not ready to give up - and it soon becomes clear that this situation cannot be resolved without one party being completely annihilated ...

Now the premise of Cry for the Bad Man is of course a staple of the western genre - just that there's very little in this film to remind one of a good old western, and I'm not just talking about the modern settings here. Instead, Cry for the Bad Man goes full swing horror of the home invasion variety, and does so by giving Camille Keaton, poster woman of female revenge since I Spit on Your Grave, one of her best roles in probably a long time. And she really gives her all, proving with ease that she's still capable of holding her own in a violent action thriller. But that the film works as well as it does is also thanks to a stringent script that gets the most out of its well-hung premise, and a directorial effort that keeps the tension high beginning to end, knows when to build suspense, when to use sudden shocks, and doesn't shy away when things get nasty. A pretty cool movie, really!

review © by Mike Haberfelner

 

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