In a filmography full of unusual films, Killing Car stands out as one of Jean Rollin's strangest feature films. It's oddly paced, cheaply made, and poorly acted but like so many of the director's films, it has that certain something that makes it more interesting than it really has any right to be.

The movie follows an unnamed Asian beauty (played by Tiki Tsang) who steals a Buick and then drives around and shoots people. The film jumps back and forth between Paris and New York City and it repeats the same plot vignette over and over again while a pair of cops trail her. When she isn't shooting people, Tiki goes for a boat ride and gyrates at a dance club.

Also know under the alternate title of La Femme Dangereuse, the film was started in the eighties, shelved, then finished in the early nineties. That said, it definitely feels like an eighties film with its fairly garish color scheme and tacky Flashdance inspired outfits and hairstyles.

Performance wise, Killing Car is pretty low-rent. To her credit, Tiki Tsang, whose performance here is almost entirely free of dialogue (its' easy to think of the Female Convict Scorpion films or even Ms .45, a film that Killing Car borrows its cover art from), does have an interesting and palpable screen presence. She cruises through the film with an awkward grace and a restrained sex appeal. It's hard to say that she looks the part when the part she plays is so randomly defined, but for fairly inexplicable reasons she is well cast here. Sadly, she's really the only part of the cast that works. The guys who play the cops are dull, the rest of the supporting cast phone it in and no one appears to be particularly inspired. While in many ways this works against the film, in an act of strange coincidence is sort of reinforces the bizarre atmosphere (which appears to have been created quite by accident).

Rollin is far from inept. He's a ridiculously talented directed and has made some almost perfect dream like horror films and some pretty wonderful porno too. The man has a very deliberate style and it's almost always more important than the substance. Fewer films on his resume demonstrate that more aptly than this one, but here the style isn't strong enough to overcome that lack of substance and many parts of the film just flat out do not make sense. Yet, Killing Car absolutely has its moments. Tiki's dance scene is certainly appealing (with its sequins and backdrop it looks like it was taken off of a Cramps album cover) and some of the moderately gruesome murders don't so much pack a punch but at least supply a light slap. There are some fantastic compositions and memorable scenes here and Tiki makes quite a sexually menacing impression when she stands in front of her car. The problem is that you have to reach pretty deep into the picture to find these moments and if you aren't an established fan of the man's work before you sit down with this one, you probably won't know what to look for.

The finale, as it is with most Rollin films, ends the film on a rather bleak note and the fleeting but obvious moments of sex and violence all help to paint the film with the director's trademarks, but you have to wonder if his heart was in it.