Turkey Shoot (1982) – Review

I don’t know how the idea of making a dystopian movie combining Mervyn Leroy’s I Am a Fugitive from a Chain Gang with Richard Connell’s short story “The Most Dangerous Game” came to pass – I’m betting alcohol was involved – but director Brian Trenchard-Smith took that very unique mixture and gave us a film that could best be described as “interesting trash.”

This movie is set in the near future where an authoritarian government rules with an iron fist and the plot follows the experiences of three inmates—Paul Anders (Steve Railsback), a political dissident and pirate radio broadcaster, Chris Walters (Olivia Hussey), an innocent shopkeeper arrested when she tried to help a rebel who was chased into her store, and Rita Daniels (Lynda Stoner) who is suspected of being a prostitute — and they are all sent to a correctional camp run by ruthless overseer Charles Thatcher (Michael Craig). The inmates are dehumanized and forced to participate in violent games and torturous activities for the amusement of their captors. And what self-respecting prison wouldn’t also include a big bastard of a “head guard” to torment our heroes?

 

“How about a nice game of cracking skulls?”

As the prisoners struggle to survive they form alliances with other inmates, including the rebellious and sleazy Dodge (John Ley) and the enigmatic “Griff” (Bill Young), who is rumoured to have escaped the camp before. This group doesn’t so much work together to escape as they do their best to stay one step ahead of their brutal oppressors, they just so happen to be thrown into the mix with one another. There isn’t much time for character development in this movie so we don’t even have time for an expected romantic relationship between Paul and Chris – he does stand guard while she takes a shower which I guess is kind of romantic – but hearts and flowers have to be set aside as it’s now time for “The Most Dangerous Game” element to kick in.

Note: This movie may take place in a dystopian future where people are forced to play brutal games but it also has elements of the “Women in Prison” subgenre, thus we get the prerequisite shower scene.

We learn that every year Thatcher invites a small group of VIPs to his “re-education camp” to participate in a deadly 12-hour hunt, where they would each select a prisoner to be human prey in a “turkey shoot” in which their defenceless quarry will be released into the nearby wilderness to be stalked and killed by each of these armed hunters. This group of killers consists of State Secretary Mallory (Noel Ferrier), who is the head of the government’s re-education program, Jennifer (Carmen Duncan), a depraved aristocrat with a love of crossbows and killing women, and finally, the gleefully sadistic Tito (Michael Petrovitch) who brings along a circus freak to make things a little more interesting. This group of One Percenters are so joyfully evil it’s almost hard not to admire them.

 

“Didn’t anyone bring a glowing orb for us to fondle?”

Stray Observations:

• The character of tyrannical warden Charles Thatcher was a not-too-subtle attack on Britain’s then Prime Minister Margaret Thatcher.
• Chris Walters is falsely accused of aiding rebels and is forced to participate as prey in a deadly 12-hour hunt, which has definite similarities to the 1987 Schwarzenegger film The Running Man.
• This is a totalitarian society where one prisoner is beaten to death simply as an example to the new prisoners, which is odd considering political dissident Paul Anders, who has escaped several such brutal camps, doesn’t get a bullet in the back of the head for being a repeated threat to the State, instead, he is just transferred to another camp. The whole “He doesn’t want me dead, he wants me broken” is a pretty lame justification.
• The sadistic Tito has an animalistic sidekick named Alph, who he claims to have found in a circus freak show, which is another weird addition to a dystopian action film.

 

“I used to work for a man named Doctor Moreau.”

Directed by Brian Trenchard-Smith, Turkey Shoot is a quintessential piece of Australian exploitation cinema, or Ozploitation if you will, that has garnered a bit of a cult following since its release back in 1982 and while the film promises a wild ride of violence, gore and political allegory there’s not much beneath its surface of its gratuitous thrills lies. It’s a film that struggles to balance its shock value with meaningful storytelling, and I will say this, the Australian setting does provide us with some beautiful locations for our characters to run through, I just wish they had as much depth as the scenery.

 

Doesn’t everything in Australia already want to kill you, who needs fascists?

Unfortunately, Turkey Shoot falls short in its narrative and the character development is subpar at best. The plot, while initially intriguing, devolves into a series of increasingly absurd set pieces that feel disconnected from any coherent thematic exploration. Our heroes are nothing more than thinly sketched caricatures, lacking the depth necessary to invest the audience in their fates and the script also relies on standard cliches, such as the villain toying with the hero instead of simply killing him. As a result, the film’s attempts at social commentary and political satire comes across as half-baked, failing to leave a lasting impact beyond the visceral spectacle.

 

Our heroes were given nice matching jumpsuits.

I will credit Brian Trenchard-Smith for his unapologetic commitment to excess, from graphic violence to gratuitous nudity, this film pulls no punches in its depiction of a society gone awry. The action sequences, though often over-the-top and campy, are executed with a certain flair that makes them undeniably entertaining. Moreover, the practical effects work, considering the film’s modest budget, adds a certain charm to the proceedings, making it a relic of its time. This is no Mad Max but it does deliver what fans of the genre were expecting to see in a film boasting this premise.

 

Does the hero mow down numerous goons? Check!

Furthermore, this film has faced criticism for its exploitative treatment of certain themes, particularly its portrayal of violence against women and while exploitation cinema often pushes boundaries, Turkey Shoot at times crosses into gratuitousness, undermining any potential commentary it may have intended to make. The film’s treatment of its female characters feels exploitative and regressive, of course, this is a product of its time but nonetheless uncomfortable to watch through a modern lens. What is bizarre for a film of this genre is that Carmen Duncan’s depraved aristocrat was given a somewhat sadistic lesbian aspect to her character but the film stopped short of giving viewers “girl-on-girl” action, which is about the only bit of restraint this film had to offer.

 

“Chris, I think this is the beginning of a beautiful friendship.”

In conclusion, Turkey Shoot occupies a peculiar place in the annals of cult cinema. While it undoubtedly has its merits as a visceral, over-the-top exploitation flick, its shortcomings in narrative coherence and thematic depth prevent it from achieving true greatness. Fans of the genre may find plenty to enjoy in its outrageous antics and B-movie charm, but those seeking a more substantial cinematic experience may be left wanting. Ultimately, Turkey Shoot is another product of its time, reflective of the excesses and limitations of 1980s exploitation cinema.