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STREETS
Rating: 
USA. 1990.
Director Katt Shea Ruben, Screenplay Andy Ruben & Katt Shea Ruben, Producer Andy Ruben, Photography Phedon Papamichael, Music Aaron Davis, Makeup Effects Scott Coulter, Production Design Virginia Lee. Production Company Concorde.
Cast:
Christina Applegate (Dawn), David Mendenhall (Sy), Eb Lattimer (Lumley), Patrick Richwood (Bob), Alan Stock (Allan)
Plot: Dawn, a teenage street hooker working along Venice Beach, is attacked by one of her clients but is saved by a guy her own age passing by. The guy introduces himself as Sy, a fellow runaway who has come to L.A. to pursue his fortune in rock music. She takes him to stay where she lives in an abandoned culvert and the two later become lovers. However, her attacker is a psychopathic motorcycle cop who comes back, determined to kill both of them.
Streets comes from former Roger Corman starlet turned director Katt Shea Ruben. Katt Sheas films, which include the likes of Stripped to Kill (1987), Dance of the Damned (1988), Poison Ivy (1992) and The Rage: Carrie 2 (1999), are occasionally more interesting than the run of the mill in that they are exploitation films that contain a gritty social realism the characters in her films are strippers and teenage runaways. It is almost as though Ruben wants to make one type of film to portray the hard realism of the lives of her characters while the genre she works amongst demands psychos and sexploitation elements.
Streets is an interesting little film. It portrays the lives of teen runaways living on the streets. Ruben shows the lifestyle with neither approval nor disapproval. It contains a good performance from Christina Applegate, the bimbo sex symbol of tvs Married ... With Children (1987-97), who plays with a convincing hard-bitten realism. Considering the bimbo cult surrounding her, one always wondered if the part of Kelly Bundy was acting for Applegate or not, but this proves she is capable of serious work. Katt Shea Ruben, writing with her then husband Andy, delivers some occasionally snappy dialogue, although the film is not tightly paced enough as a whole. It is serviceable but not that memorable. In the end, despite an assiduous attempt to portray its situation neutrally, it holds an underlying conservative message. The psycho is written in as an adjunct to the mean streets and at the end, for David Mendenhalls character, home is seen as the traditional place of the heart where everything is safe where the point that should be made for most teenage runaways, the reason they are there is because that is exactly what home is not for them.
Copyright Richard Scheib 1999-2012
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