Executive producers, Nancy Hope, Chi-sun Chu. Line producer, Mark Hope. Camera (color), Gary Graver; editor, Graver; additional editing, Larry Maddox; music, Gardner Cole; production design, Cory Arzoumanian; sound, Ultra-Stereo; associate producer, David S. Fralick; assistant director, Richard Gabai. Reviewed at Cannes Film Festival (market), May 13, 1994. Running time: 98 MIN.
Drew Fontaine … Margot Hope
Master Sun … James Hong
Mercedes Lee … Catherine Dao
Also with: David Shark, Arthur Roberts, Harry Mok, Kevin Fry.
The tease factor runs high in “Femme Fontaine: Killer Babe for the C.I.A.,” a Troma pickup that gives new meaning to the phrase tongue-in-cheek. Showcase for the well-packaged talents of Margot Hope, who also directed, wrote and produced, is a passable time-waster for the freeze-frame crowd.
Plot of sorts has Hope as an agency assassin who’s more concerned with tracing her missing father, a spy who disappeared in South America in 1986. Trail leads her to an L.A. porno producer who’s laundering money for a Chinatown gangster (Catherine Dao) and then, via her tai chi master (James Hong), to a neo-Nazi org fomenting Aryan supremacy on the streets of California.
Hope, who’s stronger on wardrobe than athletic ability, keeps the stew of soft-core t&a and low-thrills action moving along, and the cast of assorted muscleheads and starlets look like they had fun dressing up.
Hong adds a touch of sanity to the proceedings, and Dao overacts wildly as an incompetent Dragon Lady.
Apart from a lazy, disco-beat score by Gardner Cole, production values are mostly superior to regular Troma-produced fare.