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The film starts with the meeting of a man and woman in a night club. She allows him to invite himself back to her flat, and they share a drink. He is drugged, and wakes to find himself strapped to a dentists chair, wholly unable to move.
The film progresses through a series of vignettes of her terrorising him, but there is always an air of eroticism about it, so you are lead to believe things could become "hot". During these scenes, it becomes apparent that the two are not alone in the darkened basement that holds the chair, and it is shortly revealed that the woman has an assistant who is filming the proceedings.
After the man is subjected to anal rape, the assistant appears alone in the room, dressed in a boiler suit with woollen balaclava and sun glasses to hide her identity. It is revealed that she is in fact the main perpetrator, and has beheaded the original blonde lady.....
From this point the film takes on a distinctly sinister air, with the crimes committed against the man becoming more and more callous and more gruesomely portrayed. As each injury is inflicted, she torments him by revealing her knowledge of his background and history, and extracting from him confessions of his own violent past.
At once, the viewer is sympathetic to his suffering at the hands of this sadist, but left with the feeling also, that he has it coming for being so cruel in his own life.
He is eventually tortured to death; his tormentor being revealed as a serial killer.
The whole experience left me oddly detached. I wanted to hate her and empathise with him, but wasn't able to; the boundaries between good and bad were so badly blurred.
If you don't mind the graphic portrayal of violence in a very realistic way(including one scene when she disembowels him whilst he is still conscious and then sews his family photos back up inside)then this film might interest you.
I certainly have no need to watch it again.
Paul Walters
The film starts innocuously enough. A guy named Tevin (Tim Poole) meets a stunning French beauty, Anne Marie (Margot Steinberg) in a crowded bar. He strikes up a conversation that soon leads to the pair heading to her apartment for a nightcap and probably much more. After a bit of small talk at the apartment, the French gal offers her new boyfriend a drink to relax. The next thing Tevin knows, he's not feeling well at all and his conquest is hovering over him with concern. Flash forward through unconsciousness and Tevin finds himself waking up strapped into a dentist's chair in a very dark room. All types of unpleasant looking tools, including an innocent looking video camera, clutter the room. The French girl is here too, except she suddenly has no accent and seems to be quite upset with Tevin. This poor chap does what anyone would do in a similar situation: screams (no one can hear him), struggles futilely against his bonds, and tries to reason with his captor. All to no avail. She's not letting him go no matter what he does, although she occasionally dangles references to freedom in front of him just to torment him. What happens then is a real shocker.
Tevin's first tormentor disappears, replaced by another woman named Julia (Danielle Sanderson). This woman isn't as overtly dangerous as the first gal, at least not at first. She seems to exhibit real concern for Tevin's condition until he slowly begins to realize this is just another phase of the game. Then the tortures start, hideous tortures involving weird things like microwave ovens (didn't Paul Atreides in "Dune" undergo this test?) and things placed over the head. I won't go into detail about what Julia does to Tevin except to say the implications are decidedly unpleasant. Moreover, Julia likes to talk to Tevin, telling him how much of a jerk he is and how he deserves everything he gets. She reveals that she knows everything about his life and his job, all the bad things he's done to his family and friends. It's obvious this abduction has been planned out well in advance. This lady even has photographs of his family. As time progresses and Tevin grows weaker from the endless shocks to his system, Julia reveals what she's been doing in this little dark room for a long, long time. Can a woman be a serial killer? Apparently so in the world in which this movie is set. The conclusion, I almost hesitate to say because it should be so obvious, is not a pretty one.
"Boy Meets Girl" will probably leave a bad taste in your mouth. It's designed that way. The English film censors banned this film for over eight years due to the subject matter. I usually don't take too much stock in the British cinema police, though. Many of the films on the "video nasties" list are so tame it's laughable that any government could have defined them as subversive or too graphic. Brady's film probably does fit certain criteria, though. The dialogue, even more than the violence, is perverse and degrading. The philosophy of "Boy Meets Girl" is sickening too, a mix of the Marquis de Sade with a form of ultra feminism that any decent human being should find repellent. Brady mixes things up by switching perspectives frequently, from what the video camera in the torture chamber is showing back to film showing the whole room. Perhaps a not too subtle rumination on the public's love for violence shown in the media? Who knows, but I suspect someone like Aileen Wuornos would have loved this film.
The biggest problem I had with "Boy Meets Girl" was the picture quality on the DVD version. So much haze clouded the picture that I felt like I was watching a second-generation VHS dupe. Such a bad quality transfer is a real problem when most of the film takes place in a darkened room. Still, the movie is an interesting one even if it does feel highly derivative. Poole does a wonderful job as the terrified Tevin. Margot Steinberg and Danielle Sanderson both turn in strong performances as women willing to carry things over the edge. A nihilistic, cynical film destined to be a minor cult classic; "Boy Meets Girl" needs a decent picture transfer more than it needs a bigger distributor. Oh, trailers on the disc include one for "Flower of Flesh and Blood." That ought to tell you a bit more about what this film is like.
What a disappointment. I guess the first thing I want to point out is that this film is not scary or suspenseful or even the slightest bit psychologically disturbing. Not that it doesn't try. In fact, when one considers the basic premise of the movie (torture) and its content (scenes of torture), it becomes achingly apparent just how horribly it fails in its purpose.
You ask for particulars? The script is a meandering, self-conscious mess. Despite all the juvenile psycho-babble, "Boy Meets Girl" has absolutely no philosophy. If Brady was going for nihilism, he should have trimmed his talky script considerably.
Due to the clunky dialogue, it is hard to judge the actor's performances. There wasn't much any actor could have done to salvage this script.
The extra star is for some decent production values (for a low-budget) and for the attempt, however flawed, to do something provocative.
The extended scenes of torture grow weary. One can almost "smell" the desparation of the filmmakers and actors as they try to play a game of "one-upping" it with themselves - only to loose every round.
Anne Marie's performing surgery on Tevin - has to rank as one of the worst scenes ever filmed. Seriously. So-called "actress" Danielle Sanderson's miserable attempt at "over the top" is so underdone I almost nodded off.
Actually credit must be given to Tim Pool who agonizingly manages somehow to sustain the anguish of Tevin's terror and who manages- while strapped to a chair for most of the film's 93 minutes - to show us a broad range of emotion from initial "pissed of" through defiance, to helplessness to rage until he's utterly broken. Neither of the females come even remotely close to this level.
Some will find the subject matter disturbing (actually, everyone should) and there's a decent idea here, but this thing just sinks and has "stinker" written all over it.
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