Breaking Her Will (Bill Zebub, 2009)
I'm a fairweather fan of Bill Zebub's movies. Black Metal: A Documentary is, arguably, the best (and most comprehensive) black metal doc extant as I write this in late 2010, and The Worst Horror Movie Ever Made is silly, stupid fun a guy can really get behind, as long as that guy is a big fan of microbudget movies. And then you get the other side of Bill Zebub, the side that makes movies like Jesus Christ Serial Rapist, Rape Is a Circle, and Breaking Her Will. I'm not necessarily picking on those because they're all fascinated with sexual violence; I'm picking on them because Bill Zebub has no idea how to film sexual violence to be uncomfortable enough.
In this episode of Bill's Obsession with Crucified Women, a nutbag (Brian Joseph Gleitz, a new member of the Zebub stable) kidnaps a lovely young thing (softcore star Jackie Stevens) and chains her up in his basement in order to rape her. He decides against this plan (for reasons I'm not going to go into here, not just because they'd get the review redlined, but it's one of those misconceptions that it makes me hate people to even think about) and instead sets about making her into a slave. Once we're past the idiocy of that decision and into the nuts-and-bolts of that process (from which the film, obviously, gets its title), it becomes... not a bad little flick, as long as you don't have anything against, you know, chaining people up in basements against their will and subjecting them to all sorts of humiliation and the like. It's like a softcore version of the roughies of the seventies, but without any, you know, actual sex or pain. Then (I assume Bill ran out of ideas), about three quarters of the way through the movie, it falls off a cliff: our sicko notes in his journal that it might be fun to have his victim believe that he is just a small player in a huge white-slavery machine. The scene that follows contains, arguably, the most ludicrous monologue ever captured on film.
It all does lead to a climax, though that shoots down the idea of Bill having run out of ideas. The movie is actually going somewhere, and while I found the movie loathsome, and I did so very specifically because of (a) that bit in the beginning I mentioned and (b) the monologue from the paragraph above, the absolute least convincing piece of brainwashing you will ever see, I have to admit, this is the first non-documentary Bill Zebub flick where I thought he one hundred percent nailed the ending. It's perfect. I'm sure there is a philosophical argument to be made that a perfect ending to a worthless movie is itself worthless, but if you grafted this ending onto a much better film (or simply remade this one with a much better director and a talented stable of actors), I think it'd work extremely well. However, it's an academic consideration, because this good ending is attached to this awful, awful movie. I would almost go so far as to call it offensive based on that opening bit, but I'm willing to give Bill Zebub the benefit of the doubt that he thinks that's how his character would think. ½