“Lisbeth Salander vs. Elf”

That would have been a more appealing title. Although the incredibly generic one here reflects the incredibly generic plot, which sinks this, despite the efforts of a well above-average cast. CIA agent Alice Racine (Rapace) has, at her own request, been assigned to the backwater of an East London community, after blaming herself for failing to stop a bombing in Paris. She’s called out of her semi-retirement to interrogate a terrorist courier, believed to be carrying a message about an imminent biological attack on a US target in London. She cracks the subject and hands over most of the intel, only to discover the recipients are not the agency employees they claimed to be, and will kill her as soon as they get what they need. She goes on the run, unsure of who she can still trust: her mentor (Douglas), the MI-5 boss (Collette), or a burglar she encounters who happens to be a former British commando (Bloom). Can she stop the attack before it’s carried out?

Yeah, if you ever wanted to see The Girl With The Dragon Tattoo go hand-to-hand against Legolas, this film is for you. Anyone else? Probably not so much. It’s the kind of striking boilerplate spy vs. spy shenanigans we’ve seen a lot of lately. This reminded me particularly of Survivor, with Rapace standing in for Milla Jovovich, though to be honest, neither film makes much impression – and what they do, isn’t necessarily good. For example here, I spotted what the target was going to be as soon as it was mentioned, and a laughably long time before the movie’s characters were able to work it out. I hope American’s real intelligence assets are considerably smarter than the ones depicted in this film. The way in which Bloom’s character, Jack Alcott, is shoehorned into proceedings is no less clunky, and the story overall has no flow, lurching through the components to its finale (obviously not endorsed by the NFL, given the non-specific names used!).

The positives here are mostly from the performances, with the exception of Bloom, who seems woefully mis-cast – though it may partly be my difficulty in taking anyone with a man-bun seriously. Rapace gives a good account of herself, kicking ass with terse efficiency, particularly when escaping from the hotel room where she’s carrying out the interrogation. Collette, previously known to us from United States of Tara, turns out to be as good with a British accent as she is with an American one, especially considering she’s neither (Australian). There’s also John Malkovich as the CIA boss, and he’s watchable as ever, albeit underused. Seems like the Czech Republic largely stood in for London, which may help explain the limited sense of place, and Apted’s direction is little better here than in one of the more underwhelming Bond flicks of recent times, The World is Not Enough. Rapace needs to keep looking for the right vehicle, one which will make use of her undeniable talents.

Dir: Michael Apted
Star: Noomi Rapace, Orlando Bloom, Toni Collette, Michael Douglas

Undead Pool

“Buffy the Zombie Slayer goes for a dip.”

I strongly prefer the alternative name (as given in the credits below, though in some territories this was also known as Inglorious Zombie Hunters) – it’s one of the finest exploitation titles of all time, both describing exactly what the film is about, while simultaneously reeling in the potential viewer. Certainly beats something which sounds more like an Asylum “mockbuster” version of a certain, snarky Marvel superhero. If the product itself doesn’t quite live up to it’s own name, this mostly a case of, really, how could it?

New transfer student Aki (Handa) has the misfortune to arrive at the school on inoculation day, and ditches class to the stress of her new situation, so doesn’t get her jab. This turns out to be extremely fortunate, as the supposed “vaccine” turns out to be the plot of an evil scientist, and those injected with it – both students and teachers, the latter receiving a particularly strong version – turn into flesh-eating zombies. Despite Aki’s strong aversion to water, she finds some allies in the shape of Sayaka (Hidaka) and her colleagues on the girls’ swimming squad, because it turns out the chlorine in the pool negates the effects of the compound. It’s up to them to defend themselves from the hordes, and also resolve the murky nature of Aki’s previous history, which turns out to be not entirely disconnected from current events. Oh, yeah: there might be some lesbian canoodling as well. Just so you know.

The zombie aspects in particular are well-executed: energetically messy, with plenty of blood and a sense of self-deprecation that helps to counter-balance negates the obviously low-budget approach, most apparent in the rubbery nature of the severed limbs, flying through the air. It’s as if the film is saying, “Yeah, we know we’re cheap, come along for the ride anyway.” It helps that the zombies retain some of their pre-infection character, rather than being just mindless flesh-eaters. For example, there is the maths professor who continues to mumble about a problem involving apples, while wielding an inexplicably razor-sharp yard-stick around. Mind you, this is a school which leaves chainsaws lying around, and than there’s also Aki’s spiked swim-fins [which looks and acts like the iron fan beloved of martial arts flicks]

There is, as you’d expect, copious fan service – though the title does at least explain the swimsuits, which are likely less gratuitous here than in, say, D.O.A. This is probably the least interesting aspect, and I was reminded of Fred Olen Ray’s comment that nudity is the cheapest special effect. The finale, where Aki reveals one particularly startling special talent, likely doesn’t stand up to scrutiny either: quite how she acquired the skill is never adequately explained. While there was still enough here to keep me entertained, this mild recommendation should come with a caveat that I’m significantly more tolerant of low-budget goofiness than most people.

Dir: Kōji Kawano
Star: Sasa Handa, Yuria Hidaka, Hiromitsu Kiba, Mizuka Arai, More
a.k.a. Attack Girls’ Swim Team vs. the Undead

Underworld: Blood Wars

“Game of Vampires”

At this point, five movies into the franchise, it probably becomes churlish to complain about the aspects that have sustained the series thus far. You’re watching an epic war, waged down the centuries, between vampires and werewolves. It is, literally, non-sense. This, however, is separate and independent from any entertainment value, and despite some issues, this is perhaps the best in the series since the original [some may argue for the third entry, but that appears to have strayed in from a different franchise entirely, containing only peanut-allergy level traces of Selene].

Wisely, it begins with a “previously on Underworld” synopsis: it has been four years since the last installment, and neither Chris nor I could remember much of it without checking Wikipedia. Brief précis: Eve, the daughter of Selene (Beckinsale), is the key to determining who wins the vampire-lycan war; Selene has abandoned Eve and wiped her own memories to avoid being used to track her down. Now, moving into the current edition: word of this doesn’t appear to have reached the powers that be. For both her own team, under Thomas (Charles Dance, occupying the “British thespian” role previously occupied by Bill Nighy), and the rising werewolf overlord, Marcus (Menzies), want to use her to their own ends. After a bit of slaughter and betrayal, Eve and Thomas’s son, David (James) are forced north, to seek refuge in the last vampire coven, with Marcus and his pack in hot pursuit.

By this stage, Selene is clearly a character that gives precisely zero fucks. She’s lost her family, her one true love and her daughter in earlier installments, and the bastards still won’t leave her alone. By the end of this one, she has made some gains, in the shape of slutty blonde highlights and powers resulting from one too many sessions playing Mortal Kombat. I find myself endorsing both of these. It’s apparent the writers here are also big Game of Thrones fans: the Northern vampires are a cross between the Night’s Watch and Daenerys Targaryen. The whole back-stabbing familial stuff is cut from that cloth as well, and Dance isn’t the only Thrones face to show up. No, not Peter Dinklage, though the idea of him as a were-corgi appeals greatly.

It comes in at a remarkably brisk 91 minutes, a pace from which certain other movies could learn [I’m looking at you – and my watch – Rogue One], and there’s not much slack. Nor, admittedly, is there much of a complete plot: the ending opens more doors than it closes, particularly with regard to Selene’s new abilities. There are some elements that appear more style than substance, such as the heroine drinking her own blood to remember things. Wouldn’t it be easier to… ah, just remember things? I can only imagine a vampire going, “Now, I know there was something I had to do today. What was it?” [gnaws on wrist] “Oh, yeah: take the garbage out. Anyone got a Band-Aid?” It’s on much safer ground sticking to the hack-and-stabbage, though we could have done with some better lighting there. Disclaimer: we watched the 2D version, theatrically. Your mileage may vary in more dimensions, or at home.

On the plus side, we get a couple of bonus strong female characters. Lara Pulver makes a good impression as the scheming vampire, and Clementine Nicholson does a fine imitation of a low-rent Emilia Clarke, playing the Nordic Coven’s leading warrior, Lena (maybe another GoT nod in that name?). On the downside, the CGI werewolves still look awful, particularly during their transformations, and there’s another (sigh) vampire-werewolf romance, which works out as well as they always do i.e. not very. You’d think people would have learned by now. Then again, this is a universe where Kate Beckinsale is basically the same as she was in 2003 when the first film came out, and is still capable of kicking ass while being easy on the eye.

Interestingly, this entry was directed by a woman. Foerster makes her feature debut, though she has helmed episodes of Outlander, a show set just a few miles from where I grew up in Scotland. Sorry, that’s not relevant to anything – what probably is, is that Menzies played that series’s main villain. Foerster also did second-unit work on Aeon Flux and was director of photography on White House Down, so has action experience. Hard to say if this makes any particular difference to the tone here, but I generally  support more women directors in our genre, as they can potentially offer an alternative perspective. Here, though, it’s simply another entry in the franchise. If it’s unlikely to lure in or convert any new fans, those who appreciated the previous four entries are probably not going to come away feeling short-changed.

Dir: Anna Foerster
Star: Kate Beckinsale, Theo James, Tobias Menzies, Lara Pulver


“Tumblr in action-movies”

unsulliedIf you’re looking for unsubtle social commentary, you’re in the right place, because this take on The Most Dangerous Game ticks off the trifecta of -isms:

  • Sexism: men abusing women
  • Classism: the 1% versus the 99%
  • Racism: the main protagonist is black, all the antagonists are white.

Heroine Reagan (Gray) is a track star on her way to a college meet, when her car breaks down in a remote area of Louisiana. Unfortunately for her, this leads her into the grasp of Noah Evans (Joiner, looking very much like Brad Pitt’s stunt double) and Mason Hicks (Gaudison), two stockbrokers with a fondness for kidnapping and hunting down young women. They have the deep pockets to ensure that just about everyone in the local area looks the other way, so Reagan is on her own. However, might her athletic ability make her survival changes rather better than the previous victims?

I was kinda hoping this might be some kind of Game of Thrones spin-off – if you don’t watch the show, the title is shared with one of the fiercest warrior armies there. Unfortunately, Reagan’s main skill is, as you might surmise from the synopsis, running away rather than combat, so there’s a lot of jogging here. And swimming, too, for some reason. You also get copious flashbacks of back-story, since Reagan’s sister mysteriously vanished some time previously. You don’t exactly need to be a psychic to figure out where that plot-thread is going to lead, in a remarkable piece of happenstance which will likely stretch disbelief for even the most credulous of viewers.

Director Rice is actually a former NFL defensive end, which I think is a first. I’ve seen a few go on to be actors, such as Fred Williamson and O.J. Simpson, but not direct. Save for a couple of flashy “Go Pro”-esque shots, he takes a workmanlike approach in his debut feature, which is likely wise. Gray is proficient enough too, putting over strength and resolve which is appealing. The problems here are largely in a script which concentrates on the duller aspects, to the exclusion of potentially more interesting ones, such as the apparent way the hunters have bought the connivance of the entire town. Yet even this doesn’t make sense, with them randomly killing someone who appears to be entirely on their side. Because they’re bad people, that’s why. Hey, they’re bored and rich, young white men. What else would you expect?

That may be the core here: an almost total lack of motivation for everyone in the cast, from the moment Reagan blithely decides to get in her abductors’ truck – minutes after cautiously spurning a single man who tries to help. Thereafter, the film relies too much on mutual idiocy. For every moment where Reagan, say, decides to start a fire for no particular reason, there’s one where a captor doesn’t bother to tie her up. The number of times I rolled my eyes was likely exceeeded only by the number of derisive snorts.

Dir: Simeon Rice
Star: Murray Gray, Rusty Joiner, James Gaudioso, Erin Boyes

Unholy Rollers

“The Adventures of Grandmistress Karen on the Wheels of Steel”

unholyWinner of Most Unexpected Credit goes to this roller-derby exploitation flick, out of cheapie producers American International, because the opening credit proclaim, “Supervising Editor – Martin Scorsese.” Yep. THAT Scorsese, the year before anyone much noticed him with Mean Streets, worked on what would now be called a “mockbuster” – Scorsese later describing it in Scorsese on Scorsese as “the rip-off of the Racquel Welch movie about roller-derbys, Kansas City Bombers“. However, it ended up trailing in to cinemas in Bombers‘ wake and, according to its editor, “was destroyed.” That’s a shame, as there’s a nicely gritty feel to this, which rings true. It certainly acknowledges that the action and fights in roller-derby may be staged, but – as we’ve seen in the local roller-derby scene – the inter-personal dramas are entirely real. It also reminded me of the independent pro wrestling world, of which we’ve had some experience, promoter Mr. Stern (Quinn) harping on about showmanship, perpetually aware of the need to give his audience what they want.

And, what they want is Karen Walker (Jennings), who quits her job in a canning plant after one too many bouts of sexual harassment, and tries out for the Los Angeles Avengers. Making the team, her no-holds barred approach to competition wins over the fans, much to the disdain of current audience favourite, Mickey Martinez (Rees). Karen’s rise is, correctly, perceived as a threat by Mickey – though only has herself to blame, having led the rest of the team in humiliating the rookie at a bar, after she rebuffs Mickey’s sexual advances. Karen is rescued by the captain of the Avengers’ male squad, Nick (Warela), and they begin a torrid, hot-cold affair, in part due to Nick’s marital status. As the tension between Karen and Mickey grows, Stern senses an opportunity, and transfers the veteran to the Avengers’ hated rivals, the San Diego Demons. setting up a show-down between the two, which touches off Karen’s fuse, in no uncertain terms.

Roger Ebert called Jennings, “the hardest, most vicious female performance in a long time,” and you can see why: there’s not much effort here to make her likeable, and that’s a good part of the appeal. She’s all spiky, defiant attitude, and any attempts to make her conform simply result in greater rebellion. Meanwhile, the cheapskate nature of the whole operation is made clear before the opening credits, with a brutalized rendition of The Star-Spangled Banner. Jennings is clearly doing a good bit of her own skating, with a lot less protection than Ellen Page had in Whip It, Throw in the funky retro-sounds of Louie and the Rockets, and you’ve got something which makes for an entertaining time, even if many of the supporting performances are basic at best, and the film doesn’t so much end, as crash headlong into the end-credits. Still, this is a case where lack of polish perhaps works for a film, as much as against it.

Dir: Vernon Zimmerman
Star: Claudia Jennings, Betty Anne Rees, Louis Quinn, Jay Warela

Undercover Girl


“A kinder, gentler era. Particularly for heroines.”

AlexisUndercoverDespite a good central idea, this founders on failing to have the courage of its convictions. The heroine’s appearances are book-ended by a boyfriend (Egan) who reckons she’d be better off in an apron than a police uniform, and colleague Mike Trent (Brady), who treats her with hardly any more respect – Chris watched the end of this one with me, and her sole comment (not including various derisive snorts) was, “I would not have fared very well in the fifties…”

Christine Miller (Smith) is the young lady in question, whose father is gunned down by a mobster after spurning a payoff. Christine feels guilty about this, because her father ran up debts to put her through school, and is left with a burning desire to take vengeance on those responsible. Enter Trent, an LA detective who is trying to roll up the entire gang,  but their wary nature has led to him being unable to gather any evidence. He thinks a women, posing as a drugs buyer, might have better luck, and is convinced that with the right coaching, Christine is the right one for the job – over qualms that she might not be able to control her emotive impulses, because she’s a girl ‘n’ stuff. He sends her to bond with Liz Crow (George), a former Chicago criminal who became addicted to her own supply, and is now in rehab, seeking information which will establish a solid background for Christine’s undercover persona.

That done, she moves into a boarding house opposite a low-level connection to the gang, and starts trying to work her way up the food chain. It’s not without issues, as her target remain suspicious, and her cover  is stretched the the limit, for example, when her boyfriend happens to bump into her, calling Christine by her real name within earshot of a lurking gang member. As such, it concentrates more on attempting to craft tension than action, along with a lengthy (too long, it might be said) depiction of the relationship between Christine and Liz. But it doesn’t really work, leading instead to a lengthy climax which appears to consist mostly of people running around a building constructed entirely out of staircases, landings and doorways, shooting at each other with the accuracy of Imperial Stormtroopers. It’s just not something which has aged well, and will leave you mostly with an appreciation of how far cinematic heroines have come in the sixty-plus years since.

Dir: Joseph Pevney
Star: Alexis Smith, Scott Brady, Richard Egan, Gladys George

Underworld: Awakening


“a.k.a Underworld: Look, We’re Really Sorry About The Last One. Here’s Kate Beckinsale In PVC Again.”

Actually, we quite enjoyed the third part, but we’re Bill Nighy marks. Still, nice to get back to the basics mentioned above, and the storyline here was a good one, even if more than a tad reminscent of Ultraviolet. After the revelation that vampires and lycans exist, humanity goes on a pogrom against the two species, driving them underground. Selene is capture, and wakes up to find herself, a dozen years later, in a wrecked research lab. Initially, she suspects Michael Corvin, but discovers a young girl, Eve (Eisley) to whom she has a connection; turns out to be another vampycan hybrid. Research company Antigen, under Dr. Jacob Lane (Rea) were using the two of them to make a vaccine, until Eve escaped, freeing Selene, and are now desperate to get their subjects back. But are their motives quite as altruistic as they appear?

Plenty of action, plenty of Beckinsale (I’m glad Corvin was basically absent), interesting scenario. Unfortunately, the CGI Lycans are utterly, utterly horrible, like something from a mid-90’s console game. There’s absolutely no sense of them being anything other than a visual effect added later, and this distracts terribly from a lot of the battle scenes. I’m generally pretty good at suspending disbelief; here, it was the CGI equivalent of the fake Bela Lugosi in Plan 9, holding his cape in front of his face. It was that much of an attention-grabber. The film was originally made in 3D, and one wonders whether that’s part of the problem: I saw it in regular format, and was vastly underwhelmed. Indeed, too much even of things like Selene’s falls, were obviously pixels being moved with a mouse.

That’s a shame, as there’s a fair bit to enjoy here, providing you’re looking for nothing more complex than straightforward ass-kicking. They could probably have done with developing the human angle and make this fight a three-way dance – after initiating the first purge, we are hardly seen again. However, Beckinsale has the presence and – when not replaced by her virtual stunt-double – continues to look the part with splendid self-confidence, in a way few actresses can manage. It’s an improvement over Evolution, certainly, though the series remains one where all the entries have had their flaws, preventing it from achieving the greatness which one feels they could have achieved.

Dir: Marlind + Stein
Star: Kate Beckinsale, India Eisley, Stephen Rea, Michael Ealy

Undiscovered Tomb


“Tomb service.”

Obviously inspired by a certain raider of tombs, this has Yuan as Georgia, who was rescued from an orphanage, along with her sister (Koinuma) and trained in… well, raiding tombs. When their foster father vanishes while on an expedition seeking the secret of immortality, the two siblings head off to look for him, only to come under attack from a range of locals, natives and the local fauna. Meanwhile, Professor Ivy Chan (Shimada) links up with billionaire art-collector Michael Lui (Wong), and discovers that shady forces are after a relic possessed by Ivy, and that they need to follow the girls into the remote jungle.

The best thing about the film is certainly Yuan, and it’s not surprising when you consider her pedigree – her mother is Cheng Pei-Pei, the Jade Fox herself. She has the necessary charisma and action chops to succeed, and it’s a shame her IMDB filmography included only half a dozen features after this one. The problems with the film are not just elsewhere, they’re almost everything else. Koinuma is profoundly irritating, whining perpetually about make-up, and the attacks serve no purpose beyond an apparent requirement for an action scene every 10 minutes – it’s painfully obvious the same guys are playing all the villains, and there’s only about four of them. Finally, if you’re going to write a script that requires a 20-foot snake, check with your special effects house they can deliver something at least slightly convincing. This step was clearly omitted entirely here.

Despite these painfully obvious flaws, I can’t say I was ever bored here. There’s no shortage of action, and it’s decently-staged, with Yuen proving a more than adequate Joliealike. I also enjoyed the majestic (Chinese?) landscapes which acted as a spectacular backdrop for the jungle sequences. Overall, it was certainly more entertaining than the over-blown Cradle of Life, and on a per-dollar of budget basis, probably comes out ahead of its original inspiration as well.

Dir: Douglas Kung
Star: Marsha Yuen, Miyuki Koinuma, Yoko Shimada, Ken Wong

Crazy Girls Undercover


“If you thought Showgirls was ok, but really needed more terrorists – have I got a film for you.”

Written and produced by the man behind the ‘Crazy Girls’ topless revue at the Riviera in Las Vegas. Really, that’s about all you need to know: much like most Vegas shows, it’s quite shiny and glossy, but if you look behind the surface, it doesn’t have any real heart and possesses no brain at all. It centres on Damon Archer (Robertson), a freelance CIA operative whose day-job is running said revue – I dunno, but I always thought these shows consisted of more than five women [mind you, all I know about such things was learned from Paul Verhoeven’s epic]. They are investigating shady arms-dealer Hamid Marzook, a man with terrorist links who, it turns out, was previously responsible for the death of Archer’s wife and child. So, it’s personal as well as national security being at risk, with the terrorists seeking to detonate a bomb on Las Vegas Strip [though let’s not get involved in why Archer calls it a “chemical bomb”. Merely containing chemicals – half a ton of nitrates – does not make it a chemical bomb. Anyway…]

There are a number of ways this could have been a lot more entertaining; an awareness of its own silliness would have been a big help. I mean, the CIA operates out of a bar, and the girls’ undercover base is apparently reached through a closet in their dressing-room. This kind of lunacy abounds: as one review on the IMDB put it, “Is traveling in a motorcade of yellow motorcycles and Hummers the best way for undercover strippers to sneak up on a truck?” If they’d embraced this – something Andy Sidaris, despite his flaws, is good at – then this could have been a charming little guilty pleasure. Instead, the eye-candy, while easy enough viewing, feels almost as gratuitously plugged in as the endless mentions of the Riviera and other Vegas venues. In its defense, the film looks good, and things do get some kind of energy towards the end, albeit never above a poor episode of 24. However, if you’re looking for action, of either kind, then you’re mostly in the wrong place.

Dir: Chris Langman
Star: Clive Robertson, Nikki Ziering, Simona Fusco, Charles Fathy

Underworld: Evolution


“The evolution of species”

While undeniably flawed, the original Underworld had a big ace up its sleeve, in the basic concept of “vampires vs. werewolves”, which hadn’t received such a full-on depiction in cinema before. This time, the idea is familiar, and the story doesn’t have anything quite as cool to replace it. Sure, there’s the old fall-back of Kate Beckinsale in a PVC suit, but the sense of something genuinely new is rarely apparent. Sure, it’s a sequel, which in Hollywood translates to “more of the same”, but the lack of invention on view is still disappointing.

We start with a flashback to medieval times, explaining the basic premise, involving two immortal brothers, one bitten by a bat, the other a wolf. [A third brother was nibbled by a narwhal, but his role ended up on the cutting-room floor. Okay, I made that up.] Anyway, the lycanthrope is captured and locked up in a secret location by Victor (Bill Nighy – mercifully, only cameoing, since it’s impossible to take him seriously after his wonderful performance in Shaun of the Dead. We kept muttering, “I ran it under a cold tap…” every time he appeared). Back in the present, the vampire, Marcus (Curran), has been freed, and is now out to release his brother.

Meanwhile, Selene (Beckinsale) and her vamp-lycan hybrid lover Michael (Speedman) are bouncing around, trying to settle down and raise a family, of what I guess would be mostly vampires, but ones that get a little frisky around the full moon. Quite why they need to get involved in the storyline of the previous paragraph is unclear, but they do. And it’s probably relevant that contemplating the breeding habit of night creatures, and quoting lines from a British zom-rom-com were perhaps the best entertainment the film provided.

It isn’t entirely without merit though. Marcus is a memorable creation whose wings function as impressive weapons, and the effects are highly messy. In particular, the final two fights – and at least, this time, Selene does more than administer the coup de grace – both end in immaculately splattery ways. Though as an aside, I’m impressed with the sturdiness of a helicopter that can come crashing through a roof, yet still have engine and rotors running. But the action, on the whole, is fine, with an excellent chase which has Marcus harrying a truck, while Selene and Michael try to fend him off.

No, it’s the moments between the battles that are the problems, not least a dumb and gratuitous sex scene between Selene and Michael that appears to have wandered in from an airline version of a SkineMax movie. And the exposition also has to count as among the most leaden of recent times, achieving the rare double-bill of sending Chris and I independently off to sleep. Hey, we’d been out boating all day. So sue us. :-) However, for any action-fantasy to have both of us snoozing is definitely problematic.

So the results are disappointing, largely lacking the sense of style and invention that made the original a pleasant surprise (as well as something of a sleeper hit). However, it did well enough at the box-office to leave a third entry possible, and particularly when in motion, there was still sufficient life in the franchise to suggest that might not be an entirely bad thing. However, any future storyline must be limited to whatever complexity can be scrawled on a beer-mat. Anything more, and the scriptwriter should be sentenced to mop out sweat from Selene’s costume. With his tongue. :-)

Dir: Len Wiseman
Star: Kate Beckinsale, Scott Speedman, Tony Curran, Derek Jacobi