Picasso Trigger (1988)

In the pantheon of 80s exploitation cinema, Andy Sidaris’s films have earned a reputation for their over-the-top action, exotic locales, and, above all, a healthy dose of campy charm. “Bullets, Bombs, and Babes,” a term coined by fans to describe this sub-genre, has produced some cult classics, but not every entry in the series is created equal.

Sadly, Picasso Trigger from 1988 falls flat as the second sequel to the L.E.T.H.A.L. Ladies saga. This action flick attempts to weave a complex web of international espionage, but it quickly devolves into a jumbled mess. As Sidaris’s technique was inproving he seems to have blown his load here.

The biggest problem with Picasso Trigger is its convoluted narrative, which meanders aimlessly between absurd set pieces without any clear sense of purpose. The constant twists and turns make the film feel more like a puzzle that’s impossible to solve rather than an engaging thriller. Instead of building tension, the constant “gotcha” moments make the film difficult to follow.

The acting in the film is also a mixed bag, with the lead performance being particularly underwhelming. While Hope Marie Carlton shines as usual, her efforts can’t entirely salvage the uninspired dialogue and lackluster chemistry between co-stars. Dona Speir, is not quite up to Carlton’s level, however, she has improved considerably compared to the previous outing, Hard Ticket to Hawaii. Carlton and Speir’s screen is notably shorter than Hard Ticket and there are an abundance of new characters Sidaris hopes are fun on screen… that vary from lousy to unappealing.

Steve Bond is remarkably bland, failing to command the screen during the film’s more intense moments, even the ongoing gag from the series that the leading male hero figure cannot shoot a hand gun straight falls flat. Richard LePore, Patty Duffek, Cynthia Brimhall and Harold Diamond return. Rodrigo Obregón is also back, albeit with a new character. Roberta Vasquez and Kym Malin makes their first L.E.T.H.A.L. Ladies appearance here.

There are some redeeming qualities to be found in Picasso Trigger. The film’s technical aspects, including its water bike stunts and camera work, capture the low-rent blockbuster aesthetic perfectly. These moments of high-octane fun are genuinely entertaining, even if they’re few and far between. Despite the impressive stunts, a general lack of planning and attention to detail holds the film back. It feels unpolished, like a rough draft that was rushed into production before the ink was dry.

Ultimately, Picasso Trigger is for the die-hard Sidaris completionist, there’s still something to love in Picasso Trigger. But for anyone looking for the gold standard of this sub-genre, there are better entries to the series.

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