Month: December 2019

Rudhramadevi

  By

★★½
“A two and a half-hour gender reveal party.”

Not unlike the saga of Manakarnika and its various adaptations, this is based on a figure from Indian history: Rani Rudrama Devi, who ruled over the southern Indian area called Kakatiya in the second half of the 13th century. Her father had no genuine male heirs, so to ensure succession, declared her legally to be his son. When the king passed away, some nobles attempted to rebel against being ruled by a woman, but she and her army prevailed, and she subsequently sat on the throne for 30 years. That’s very loosely echoed in the story here. However, King Ganapatideva (Raju) carries out the pretense from the birth of Rudrama Devi (Shetty), with only a few aware of her true gender.

It is successfully hidden for 25 years, until mounting pressure forces Ganapatideva to get his “son” married off. Probably inevitably, this leads to the secret becoming discovered by his enemies. Murari Devudu (Adithya Menon) and Hari Hara Devudu, nobles long opposed to Ganapatideva’s rule, attempt to use it to force the king out. He tries to gets ahead of them by revealing it first, but a disgruntled population allows Murari and Hari to stage a coup. Their harsh rule allows Rudrama, with the help of childhood friend and long-term rebel, Gona Ganna Reddy (Arjun), to gather her own army. She prepares an assault on the heavily-fortified capital where her enemies lie in wait.

At 158 minutes, including a clunky wrap-around sequence involving… uh, Marco Polo, this certainly takes its time to get going, and only redeems itself with a somewhat impressive finale. Beyond the problems of the pacing, there are a bevy of issues on the technical side. This was made in 3-D, and it’s often painfully obvious, in a House of Wax way. There are also a lot of digital effects, most of which are second-tier in quality. They’re the sort which work fine off in the distance, such as the finale where army formations take the shape of snakes and eagles. But these are much less effective close-up, such as the CGI elephant which Rudrama has to tame. Overall, it’s severely jarring, and much less successful than Manakarnika, due to the obviously digital nature of many of the elements here.

Shetty doesn’t really have the presence necessary to command the screen. Arjun does a much better job, though it was nice that Reddy steps aside at the end, allowing the title character to take center stage. Her sidekick even explicitly explains himself: “If I killed him it is not a big deal. The Kakatiya people who dreamt a male royal heir will protect them, their expectations should be met by a woman. In no way is a woman
any less brave… So Rudrama must kill him.” It’s a shame the rest of the players, and indeed the film-makers, didn’t realize this over the first 145 minuts of the film, and give their heroine room. Instead, I’m left with no real explanation of why she is still remembered, 650 years after she took the throne.

Dir: Gunasekhar
Star: Anushka Shetty, Allu Arjun, Adithya Menon, Krishnam Raju

Tiffany Jones

  By

★★½
“Immodesty Blaise.”

Fashion model Tiffany Jones (Hempel) finds herself dropped into the middle of international intrigue, after President Boris Jabal (Pohlmann), leader of the Eastern European state of Zirdana, takes a shine to her during a state visit to Britain. It’s supposed to be a trade negotiation, but is really to allow Jabal to broken an arms deal with some shady Americans. Her meeting the President brings her to the attention of two factions of Zirdanian rebels.

The nice is led by Prince Salvator (Thomas), the ruler in exile. The not-so-nice are a more aggressive faction, operating out of a restaurant kitchen. Both wonder what Tiffany is doing with Jabal, and are keen to use her to achieve their ends. Which is fine by her, since she has no love for the authoritarian regime which controls Zirdana. So Tiffany agrees to a plan where Jabal will be distracted, preventing from seeing the arms dealers, and a substitute will take the meeting in his place.

Walker is better know for his S&M horror films, with titles such as House of Whipcord, and it’s safe to say saucy comedy like this is not his strong suit. There’s no shortage of sauce, to be sure. It’s reported that Hempel (now known as Lady Weinberg, through marriage) bought up the rights to the film, as well as her work with Russ Meyer, Black Snake, for showing rather too much of her. And that’s before we get to the garden party she throws for Jabal, populated by a flock of 1970’s dolly-birds, who shed their clothes enthusiastically at the drop of a cocktail napkin. The whole thing – a plot to get sexually compromising material on a visiting foreign leader – does still have contemporary resonance…

It’s the comedy angles which are a horrible failure, with virtually every attempted joke falling flatter than Hempel’s chest [quite how she ended up in a Meyer film escapes me, given his fondness for the more-endowed end of the feminine spectrum. Then again, he said later of Hempel, “We had a stand-in for the tits and wouldn’t let her speak.”] It’s not just the passage of time, for the Carry On films of the same era have endured very well: I suspect this was simply not very funny to begin with, and appears to have tanked at the box-office. Like Modesty Blaise, it was based on a British newspaper comic-strip, which ran from 1964-77. Unusually for the era, it was created by two women, Pat Tourret and Jenny Butterworth, though I suspect the newspaper version was likely less salacious.

The main redeeming aspect here is Hempel, who has a lovely, breezy charm which manages to sail above the leaden material, almost redeeming it. She portrays Jones with an endearing mix of savviness and innocence, as she dodges the (literal) grasp of President Jabal, and the more fanatical of his opponents, while working to help the Prince regain his throne. Probably wisely, the morality of replacing an absolute, unelected leader with another absolute unelected leader, simply because the latter is younger and cuter, is never addressed. Hempel is not quite enough to rescue this, and it’s perfectly understandable why this vanished into obscurity, with or without the lead actress’s help.

Dir: Pete Walker
Star: Anouska Hempel, Eric Pohlmann, Damien Thomas, Susan Sheers

Chokehold

  By

★★
“Gasping for air.”

I wanted to like this more than I did: director Skiba is a veteran of the Arizona film scene, though his other film previously covered here, .357: Six Bullets for Revenge, left a bit to be desired. This is slightly better; but only slightly. The heroine is Zoe (Croden), a mixed martial artist who is trying to make it big in Las Vegas. Her dad (Van Dien) is back in Arkansas, and crosses paths with Russian mobsters, led by Natalia (McCrea). It doesn’t end well. Let’s just say, if you’re watching this for Van Dien, you’ll quickly be underwhelmed. Zoe leaves Las Vegas, seeking justice for her father – naturally, the only way to get to Natalia is through her convenient underground fighting circuit…

It’s as if the writers were determined to check off every cliche of the genre in 95 minutes. If that was indeed their aim: well done. Outside of having a female protagonist, there is almost nothing new or of interest here, the story unfolding exactly as you’d expect after Van Dien collects his cheque. I think peak eye-rolling was unlocked when Zoe “discovers” a video letter left by her father. Fortunately, this narrative conceit was too much even for Skiba, and is quickly discarded. Even the depiction of the underground arena was painful, with blaring music from a DJ, and people doing that “waving their fists in the air during fights” thing, that you only see anyone do in movies.

All of the above would likely be fine, if the fights were any good, as Lady Bloodfight proved, overcoming its basic plot with a plethora of kick-ass action scenes. Certainly, there’s no shortage of action here. However, MMA style is not the same thing as kung-fu movie style: one isn’t necessarily better than the other, they’re just different. Here, instead of going for one or the other, they occupy an unfortunate middle-ground between realistic and non-realistic, and don’t work as either. The exception is a battle between Zoe and Natalia in a bar. Released from the constraints of being a “proper” fight, the makers get to have a bit more fun, e.g. kicking a bottle at your opponent – and as a result, so do the audience.

The producers of the film include two sports legends. However, they’re baseball players, Kenny Lofton and Torii Hunter, which makes mixed martial-arts seem like an off choice of topic. Probably wisely, they stay off-camera, and some credibility is lent by the presence of retired MMA star Chael Sonnen, playing a fight promoter. It isn’t enough to save this, as it limps through the motions towards the expected ending. The surprises end with the unexpectedly early departure of Van Dien. And even that’s more the result of his name being misleadingly front and centre on most of the advertising, rather than any conscious effort by the film itself. Despite the female focus, this is just another entry in the bargain bin of UFC-lite fight flicks.

Dir: Brian Skiba
Star: Melissa Croden, Ilona McCrea, Corinne Van Ryck de Groot, Casper Van Dien

Win a TacGirls calendar!

  By

The kind folks at TacGirls have kindly sent over a box of their calendars. After taking care of my Christmas presents – I’m sure my mother is going to love it… – we’ve got a few left over, so would like to spread the love from here. So we’re going to give away a bunch (number vague and to be determined!). If you want one, it’s simple to put yourself in with a chance. Here’s how to enter:

  • Email [email protected], with “TACGIRLS CALENDAR” in the subject line.
  • Include your name, shipping address and three favorite action heroine films
  • That’s it.
  • Entries close on year’s end: midnight on December 31, 2019
  • After that I’ll pull a number of entries matching whatever is the number of calendars available, notify the winners and ship ’em out ASAP.
  • This offer is technically only available to those in the United States, simply because of the cost of overseas shipping would bankrupt me.
  • But I am always open to pleading letters from foreign readers, if you want to make your case!

And, of course, you can always bypass the whole random process, and just purchase one directly from the source!

Buy a 2020 TacGirls Calendar

Until Morning Comes boxed set, by J.T. Sawyer

  By

Literary rating: ★★★
Kick-butt quotient: ☆☆☆½

This omnibus edition contains the first three volumes in Sawyer’s post-apocalyptic story: Until Morning Comes, In Too Deep, and The Way Back. The central character is 31-year-old Secret Service agent Carlie Simmons, who is on secondment to Tucson, Arizona to provide protection for the President’s daughter, Eliza Huntington, who is attending university there. Things take a sudden wrong turn, with the outbreak of a fast-spreading infection, which turns its victims into psychotic flesh-eating ghouls.

Yes, folks: this apocalypse is of the well-known zombie flavour. Carlie’s first task is to secure Miss Huntington, and take her to a secure location. Thereafter, she becomes part of the effort to find a cure, involving a trip first to New Orleans, then to a former Soviet research facility in Cuba – the latter mission going particularly wrong. Meanwhile, Eliza’s life is little better, after Air Force One goes down in a remote part of Idaho.

It’s a genre which has been more or less done to death over the past decade – regardless of whether you mean TV, movies, graphic novels or books. As such, there isn’t much here which is particularly new or interesting. The virus responsible appears to be of Russian origin; yet towards the end, there are hints a faction of the US government was also involved in its manufacture. But it’s mostly a fairly steady killing spree, with heads exploding from the liberal application of firepower, or when the ammo runs out, enthusiastic use of machetes and other sharp implements.

It’s probably Eliza’s arc which is rather more interesting, despite her story being the minor one over the three volumes. Carlie is a bad-ass from the get-go, and there’s not much development from there (to be fair, not much is needed). Eliza, however, has to transform from being the First Daughter into a zombie-killer, willing to survive by any means necessary. The question of what cost this transition has on her humanity is more implied than explicitly discussed, yet Sawyer manages it in a way that it’s considerably less implausible than it sounds. The author’s background as a survival teacher also helps give the more technical aspects additional credibility, and I’m always pleased to see any locally-set entertainment; Arizona is hard done-by there!

Working against these positive aspects, however, is the sheer predictability of it all. Simply depicting a zombie apocalypse isn’t enough, especially not given the extent to which they have dominated the horror landscape over the past fifteen years. The Dawn of the Dead remake in 2004 probably kicked things off, with Season 5 of The Walking Dead in 2014 probably the point at which I reached my personal fill. The first of these books was originally published in October that year. But the five years since have not been kind, and I suspect even at the time, this would have seemed lacking in inventiveness or originality. While good enough at what it does, what it does isn’t quite good enough.

Author: J.T. Sawyer
Publisher: Amazon Digital Services, available through Amazon, only as an e-book
Book 1-3 of 5 in the Carlie Simmons series.

5 Deadly Angels

  By

★★
“Feed the little girl to the reptiles!”

Difficult though it is to believe, a film containing the remarkable line of dialogue above still manages, largely, to be dull and uninteresting. Charlie’s Angels has a lot to answer for, spawning a slew of knock-offs and imitators as a result of its success, all over the world. In this case, the origin is Indonesia, where scientist Hardy has just discovered a new kind of super-explosive. He’s worried about it falling into the wrong hands, and rightfully so, as he and girlfriend Yanti (Octavia) are kidnapped by the evil Mr. Brutho. Yanti is able to escape, although Brutho – who goes through minions like the rest of us go through socks – plans to kidnap her mother and little sister. The aim is to use them as leverage (which is where we get the tag-line) and force Hardy to make his new explosive, for sale to a Middle Eastern potentate.

Fortunately, during her escape, Yanti has a roadside encounter with Anita (Dewi), and they bond after beating up one of the innumerable local sleaze-balls. Together, they assemble the titular team, who will raid Brutho’s complex and rescue Hardy. To this end, they also bring on board knife-thrower Dana (Christina), the crossbow wielding Lydia (Kandou – dare I say, she has a real Kandou attitude) and martial-arts mistress Lulu (Eva Arnaz). Dana also provides the film with a pair of musical numbers, because… Uh, because Indonesia, I guess? I can only presume some Bollywood influence, although I don’t recall many song and dance numbers in other films from there.

There are some moments of energy, such a relatively impressive car chase early on, which is more destructive than I expected. But like the whole feature, this is populated with weird comedy notes. For instance, one of the cars drives through a massage parlour, and emerges on the far side with a bed attached to the front, on which are still lying a masseuse and her client. This, however, pales into significance beside the brawl in a restaurant where someone has an egg stuffed into his mouth, and then coughs back up a live chick. It’s truly one of the more baffling moments in any movie, regardless of genre or source, and I cannot fathom the thought process behind it.

Otherwise, the pacing is utterly horrible. The team is not even assembled until after the half-way point in proceeding, and between the car chase mentioned above, and the final assault on Brutho’s complex, there’s painfully little of interest going on. On the far side of the final battle, it all finishes with the biggest group hug since the end of Return of the King, the love-fest being only slightly dampened by Lydia also clinging onto her crossbow at the same time. There was, apparently, a sequel, Cewek Jagoan Beraski Kembali (“Deadly Angels Strike Back” or thereabout), which co-starred eighties Indonesian action legend Barry Prima as an unwilling rapist. While that premise is certainly… different, it does not appear to have received any kind of English-language release, so we’ll just have to imagine what it might be like.

Dir: Danu Umbara
Star: Yatie Octavia, Debby Cynthia Dewi, Lydia Kandou, Dana Christina
a.k.a. 5 Cewek Jagoan

Camp

  By

★★★
“Nastiness, strong-style.”

Kozue (Yokoyama) and her younger sister Akane (Momomiya) are driving through the countryside when their car breaks down, near a closed camp-ground. Closed – but, unfortunately for them, not deserted. The well-mannered young man whom they first encounter turns out to be a lure, who brings the two women into the grasp of a pack of psychopaths. The nicknames these weirdos have, largely sum up the extreme peril of the situation for the siblings: Hypo, Pyro, Copro, Necro and Thanatos. It turns out they were all pals during an enforced stay in a nearby mental hospital. When that shut down suddenly (in a way explained later on), they opted to hang around, forming some kind of sexually-deviant collective. Kozue and Akane pretty much represent a theme-park for these perverts.

What follows is pretty tough to watch. And regular readers will know I’m hard to rock, having about 35 years of watching “video nasties” under my belt. This, though… It goes beyond the simple unpleasantness of say, I Spit on Your Grave, perhaps due to the sick inventiveness here. I mean, effectively vacuum-sealing a victim inside one of those giant plastic bags, typically used for storing bedding, and watching her suffocate? Then there’s the bit where Pyro lives up to his name – likely the scene where I questioned most quite why I was watching this. For one of our mantras here, is that when it comes to rape-revenge films, we are considerably more interested in the revenge than the rape. Which is why the original ISoYG isn’t here, but the reboot entries area.

This certainly teeters on the edge of the same exclusion, despite Kozue’s sterling efforts to draw the assailants’ attention to her and away from Akane. There’s a subplot which helps to explain the frosty relationship between the sisters, dating back to an incident involving them and Akane’s then-boyfriend. Eventually, Thanatos (Kawatsure), who seems considerably less enthusiastic about the depravity than the others, helps Kozue make a break for it. She then meets a former nurse from the facility (Ayana), who explains the history behind the posse of perverts. Although she has been trying to take them down, success has eluded her until now, when Kozue’s arrival might give her the added help necessary.

And this is where the movie does just about deliver the adequate level of revenge necessary to qualify here. For the two women team up to ensure no-one else has to suffer the same atrocities as Kosue and Akane. But even this is not as unequivocal as it could be, for the avengers are unable to agree on how Thanatos should be treated. Is it a case of, as my mother used to say, if you fly with the crows, you’ll be shot with the crows? Or do his actions perhaps indicate a salvageable slice of humanity, not deserving of the same penalties as his associates? A thoughtful movie would probably have done a better job of examining these moral issues. The target here is considerably more visceral, no argument. Yet even a low blow like this can still pack a punch.

Dir: Ainosuke Shibata
Star: Miyuki Yokoyama, Peach Momomiya, Hiroaki Kawatsure, Rei Ayana

The Archer

  By

★★
“An arrowing experience.”

Lauren Pierce (Noble) is an expert archer, leading her high-school team. However, after she rescues a friend from sexual harassment, she finds herself on the wrong side of justice, and is sent to “Paradise Trails”, an incongruously-named juvenile detention facility, where harsh discipline and indefinitely extended sentences are the order of the day. And wouldn’t you know it, the place is run by a former Olympic archer – Bob Patrice (Sage) and his creepy son, Michael (Terry). It’s not long before Lauren is plotting an unofficial departure, along with new friend Becky (Mason), who knows the truth about what’s going on behind the scenes. When they get evidence proving it during their exit, they become the hunted as Bob and Michael will go to any lengths to stop the truth from getting out.

Opening with a claim about being “inspired by true events,” apparently that means the “kids for cash” scandal from Pennsylvania. While there’s nothing wrong with that as inspiration, it’s probably a mistake for the makers, apparently to want to make a serious statement, while adopting the tropes of the juvenile delinquent and women in prison genres. Brutal wardens; sadistic guards; lesbian subtexts… This all makes it kinda tough to take seriously, whatever statement they’re trying to make. And even that’s kinda muddied, beyond “sending kids to jail for bribes is bad.” Not much to argue with there. Probably more questionable, is the way every man here is an utter bastard. It gets kinda tiresome.

The main problem, however, is simply taking too long to get anywhere. The final 20 minutes or so, have Lauren and Becky trying to get through the wilderness around the facility, with Bob and Michael in pursuit. It’s well-crafted and tense, even if it builds to the inevitable final, bow-powered confrontation between Lauren and Bob, which you can see coming from a long way off. Unfortunately… it’s the final 20 minutes. The first hour are a real slog to get through, particularly the chunk after Lauren’s arrival at Paradise Trails. The script doesn’t have any real idea about where it needs to go or what it wants to do, once the basic concepts are established. As a result, it and the characters simply rotate gently in the wind, as interest evaporates gently.

There’s not even any real logic in the concept. Lauren is supposedly a “straight A’s” student with no previous record. Could have fooled me, going by the hyper-aggressive way she beats up on her pal’s boyfriend. That shows experience in the kicking of ass. Been nice if her ability to defend herself had come into play in the facility a bit more. Except, acknowledging women’s ability to be violent might have gone against the narrative apparently being peddled here. In that light, even the heroine’s use of a bow seems like some kind of liberal cop-out to avoid giving her the far more effective force multiplier of a fire-arm.

Dir: Valerie Weiss
Star: Bailey Noble, Bill Sage, Jeanine Mason, Michael Grant Terry

Ring Girls

  By

★★★
“Punches above its weight.”

This dates back from 2005, before Carano was a household name in the world of mixed martial arts, or a somewhat successful actress. At this point, she was only involved in the sport of muay thai, which as it’s name suggests, is a martial art originating in Thailand. She was one of five girls training in Las Vegas under Toddy – a nickname given because the teacher’s real name of Thohsaphol Sitiwatjana was too unpronounceable to Westerners! The goal of both Toddy and his students was a trip to Thailand to take on the best local practitioners of the sport. This “documentary” covers both their training and the visit itself, climaxing with Carano’s battle against the Thai champion.

Quotes are used advisedly around documentary, because of two elements – neither of which help the film. The first is some kind of beef, I’m guessing entirely fabricated, between Toddy and his brother “Master A”, who is a muay thai trainer back in Thailand. Apparently Toddy brought disrespect to the country by teaching their skills to foreign devils or something. [I think this may have been lifted from the life of Bruce Lee?] It’s a bit silly and pointless, but at least it can easily be ignored. Worse are the fake sounds added to the fights, when punches and kicks land. They’re not even well done, and rather than enhancing things, make the contests seem fake.

This is unfortunate, as there’s otherwise a lot to like here. Even though an unknown at the time, you can see why the film focuses on Carano, who is clearly not just the best fighter, even to my amateur eyes, she is also the most charismatic. Sometimes, this works against it: we barely get to learn the results of the other four fights in Thailand. But it mainly helps, like a low-budget movie which lucks into starring a future Oscar winner [hello, Cyborg 2!]. And despite the post-audio’s relentless attempts to derail things, the fights are quite impressive, with the impact of the blows apparent purely from the visual side, such as the reaction of the punchee.

It all makes for a rather inconsistent blend of fact and fiction, and everyone involved would have been better served by deciding in which camp they stood. If fictional, develop a better narrative, with setbacks (at the risk of spoilering, I’m not sure we see any of the girls ever lose a match). Or go strictly factual, and use the time spent on things like Toddy’s family issues, perhaps to give us deeper background on the fighters. Heck, more info on the Thai women would have been welcome, too, comparing and contrasing life in Bangkok to Las Vegas. However, you should not let these criticisms put you off watching this (I stumbled across it on Amazon Prime), as it’s still an interesting insight into the tough world of women (or the world of tough women?) in martial arts.

Dir: Jennifer Ferrara + Thomas Weber
Star: Gina Carano, Master Toddy, Ardra Hernandez, Lisa King

Daughter of the Wolf

  By

★★
“Bit of a bad dog.”

The cinematic goodwill Carano accumulated as the result of her electric debut in Haywire, is rapidly evaporating. I understand that you can’t expect to work with Steven Soderbergh every time, but the returns have been diminishing with a relentless steadiness since for her. This is certainly the worst one yet, though in her defense, the problem are less to do with her performance. They are more the results of a script which takes several, widely disparate ideas, and doesn’t just fail to connect them into a coherent whole, it also manages to screw them up on an individual level, to the point where most of them become little more than silly garbage.

We join a kidnapping already in progress, as Charlie (Gillis-Adelman), the son of Clair Hamilton (Carano), having been abducted by “Father” (Dreyfuss), a cult-like leader who has long held a grudge against Clair’s dad. Quite why he bothered waiting until after the target was dead to take his vengeance, is one of the many things this film fails to explain adequately. At the supposed handover of cash for Charlie, a fire-fight breaks out, which is right in the wheel-house of Clair, a former soldier. Two of the three kidnappers end up dead, the third, Larsen (Fehr), is not such a bad guy, and ends up saving her life after she falls through the ice. Still, she makes him take her to Father, and matters are complicated by the presence of a pack of wolves, who appear to have their own agenda.

About the only thing which saves this are the amazing Canadian landscapes, lushly photographed by Mark Dobrescu. There’s one location in particular, an ice waterfall, which is jaw-droppingly beautiful to an almost implausible degree, forming the backdrop to one of the movie’s less than impressive action sequences. Of course, someone goes over the edge, plummeting to their doom. Oh, wait. My mistake: they subsequently show up again later, with little evidence of damage beyond a somewhat annoyed expression on their face, as if mildly inconvenienced by an out of service elevator. This implausible approach reaches its nadir in Father three-ironing a canine off a precipice with his rifle butt, a moment which genuinely made me laugh out loud. And not with the movie.

Indeed, the wolves are set up as if they’re going to be important, only to vanish from the film, before inexplicably returning for  a tacked-on coda which had me rolling my eyes. While I did like the concept of leaping right into the action, the resulting attempts to fill in the backstory are painfully clunky and add little if anything. It’s definitely a case where less would have been more: simply making it Clair vs. the kidnappers should have been sufficient. We certainly don’t need a distaff cross between two Liam Neeson films, Taken and The Grey. Carano still does have a physical presence that possesses potential. But she really needs to be making better choices.

Dir: David Hackl
Star: Gina Carano, Brendan Fehr, Richard Dreyfuss, Anton Gillis-Adelman