Month: January 2020

The Chinese Woman: The Barbados Conspiracy, by Brian N. Cox

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

Though just called “Brian Cox” on the book, it’s probably wise to begin by distinguishing the author here from his more famous namesakes, both the actor and the “rock-star physicist.” That said, this is a brisk if not particularly memorable spy novel. The main outstanding feature is that the heroine is neither American nor British, but Chinese. Rather odd to be reading this very positive portrayal of Communist state security personnel, during the protests in Hong Kong.

She goes by a couple of different names in the book. As a 12-year-old kid, she’s Zhen Xiaomei, and watches her mother and family get brutally slain by gangsters Wu Xing and Meng Hong, due to an unpaid debt. [If you’ve seen Kill Bill Volume 1, you’ll be aware of how this is going to work out for them…] A quarter century later, she works as an agent for the Ministry of State Security, Second Bureau, when she is given a mission to travel to the United States and bring back a fugitive to stand trial in China. Initially, Xiaomei is reluctant – but her tune changes, when she discovers the fugitive is Wu Xing.

Under the guise of PhD student Li Mei, she begins trying to track Wu down in Seattle, by befriending his girlfriend Han Xia. She also encounters FBI agent Sean McNamara, and begins a relationship with him – initially as a source of information, but it’s never that simple, is it? Complicating matters further is the titular plot, in which a rogue faction of hawks in the Taiwanese and American military, are plotting to launch a nuclear missile at Taiwan, and blame it on China. A jaunt to the Caribbean? Don’t mind if Li Mei does. Though it’s kinda awkward when she bumps into Sean there.

These plots never quite mesh, and it would probably have served each of them better, if they had been handled in their own volume.  There’s also a thread about a serial killer, which doesn’t appear to serve much purpose, and the split of the story between Xiaomei and Sean sometimes makes it feel like the author was uncertain who was really his central character. Cox also tends to go overboard on the descriptive aspects of his characters, beyond what is necessary, and certainly what is interesting. A couple of well-written facets are more effective than a head-to-toe description: we don’t need to identify them in a police line-up.

The main positive is the heroine, who is a strong and effective agent, smart and thoroughly competent in her actions. Her background makes her considerably more interesting than McNamara, and I was left wanting to know more about her further adventures. While not a great work of literature, it is an entertaining one, and I ripped through it quickly. The second volume is free, through a link in #1, in exchange for your email address. At that price, I’m almost tempted to sign up.

Author: Brian N. Cox
Publisher: Amazon Digital Services, available through Amazon, both as a paperback and an e-book
Book 1 of 4 in The Chinese Woman series.

Ninja She-Devil

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★½
“Have semen, will travel.”

Ninjas were famed for their mystical powers, but Tsubame (Asami), the heroine here, has… well, let’s just say, a rather different talent. And I quote her brother, Hayabusa: “The ability to store a man’s seed inside your womb for seven days after intercourse.” This raises a number of questions, not least: how did this get discovered, considering Tsubame is a virgin at this point? Anyway, this skill is needed because of… Ah, to heck with it. Hayabusa explains it as well as I could:

As you know, Lord Kuniyoshi doesn’t have a wife. Because of that, Koicha, the concubine of Lord Kunisada, his father, is apparently plotting to have him assassinated to elevate her own son Kunitsuna to become the next in line. Kaede, Lord Kuniyoshi’s wife, has already been cursed by some sort of spell caster and can’t resist earthly temptations any longer. Though Lord Kuniyoshi planned to have his concubine, Yamabuki, bear his child so he could become the rightful heir, summoning Yamabuki would be too dangerous. That’s when Lord Kuniyoshi remembered your secret ability.

Yep, Tsubame has to become a sort of human turkey-baster, storing Kuniyoshi’s semen and making the perilous journey to deliver it to Yamabuki (Hanazawa). Even before she has left, Tsubame has to fend off attacks from those with an interest in preventing delivery of the sticky package. On the way, she meets Kagero, another former kunoichi (lady ninja), who used to be in love with Hayabusa. Meanwhile, the heroine’s boyfriend, Taichi, is captured and used as leverage against Tsubame. But, to be perfectly clear here, this is almost entirely about the sex. Lots of sex. It’s not sub-titled “Legend of the Voluptuous Kunoichi” for nothing, and that’s more accurate than the title by which it was released here.

It’s probably significant that this is the first time I can remember, where I have written a good three-quarters of the review before the film even ends. For as I type these words, it is still playing in another window, cutting between two separate, simultaneous sex scenes, neither of which are particularly interesting. Like all the other such sequences, they’re basically a good amount of wriggling, accompanied by some high-pitched squeaking from reasonably photogenic actresses. If you’re looking for… Oh, I dunno, ninja-ing, or even she-devilling, you’re going to need to look elsewhere. While there are a couple of fight sequences, these are so perfunctory and limited in their staging, you wonder why they bothered at all.

Before watching this, I had to check very carefully to be sure I hadn’t reviewed this before, given the plethora of films with similar titles. I still suspect I may have, and simply blanked it from my memory. And there go the end credits, slightly less than seventy minutes after we began. At least I didn’t have to waste much time on this. Oh, hey, the actress also sings the end theme. Yuma Asami is clearly a woman of many talents – not just wriggling and squeaking. And look, the behind the scenes footage shows them presenting the naked actress with a bunch of flowers. That’s nice.

Dir: Yoshikazu Katô
Star: Yuma Asami, Yûya Matsuura, Lemon Hanazawa, Toji Yanagi
a.k.a. Kunoichi

Giantess Attack!

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★★★
“Large and in charge.”

Diedre (Tacosa) and Frida (Riley) are the fractious stars of low-rent superhero show, Battle Babe and Combat Queen. When the series is canceled, they go on a bit of a binge, ended only by the appearance of two tiny aliens from Metaluna (Nguyen), who give the pair of very drunk Earth women devices that will turn them into Team Giantess Attack. These are intended to be used to rid the planet of evil. Needless to say, things don’t quite work out that way. The military, under Gen. Smedley Pittsburgh (Rowen), want to get their hands on this alien technology. But D+F won’t give it up and, instead, use it to go on the rampage and take revenge on those who previously wronged them.

When a film goes out of its way to be deliberately crap, this largely makes it flame-proof, since a legitimate defense against any highlighting of its shortcomings becomes. “Well, it’s supposed to be bad.” There’s no doubt this is a parody of.. well, everything from Japanese sentai shows through B movies such as Attack of the 50-Ft Woman and on to TV series like The Bionic Man. As such, there are chunks which work remarkably well: Nguyen’s dual performance as both Metalunans (a name itself taken from This Island Earth) is delightful, especially if you’re familiar with the Mothra movies which inspired the twins. It just needed a little song-and-dance number to make it perfect.

However, there’s a weird inconsistency of tone, and as the above should suggest, a lot of potential left on the table. At times it seems almost like this is aimed at kids, Then you get a lengthy sequence about Team Giantess Attack sticking the General into various orifices, which seems to have strayed in from some creepy fetish movie (I’m not Googling it, but… Rule 34). There’s also a funny spoof commercial for cereal… and just the one. That they failed to go full Amazon Women on the Moon there, peppering the film with fake adverts, trailers, etc. seems like a lost opportunity. The whole thing runs only 61 minutes, so it’s hardly as if they were strapped for time. And there’s still padding: we’re 22 minutes in before the Metalunans show up.

Yet all told, it remains a good-humoured and generally entertaining piece of work. The effects are all over the place, throwing stock footage, model work and green screens together in a thoroughly low-budget mess – which is, of course, the point, just as much as the women’s clothes conveniently expanding to keep them covered. If you don’t smile at the thought of two bikini-clad behemoths wrecking Hollywood landmarks like the Capitol Records building, then it’s probably safe to say this isn’t the movie for you. However, I have seen more than my fair share of the content which this is lampooning. So I must admit, I probably have more anticipation than I expected, for the impending sequel, Giantess Attack vs Mecha-Fembot, whose trailer is below.

Dir: Jeff Leroy
Star: Tasha Tacosa, Rachel Riley, Jed Rowen, Christine Nguyen

A Lonely Woman

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★★
“An overcooked spaghetti Western”

It’s one of those weird coincidences. I watched two action heroine flicks last weekend and both, while American, starred actresses who were born in Greece. Really, what are the odds? Sleeping Dogs Lie was the other: this is slightly superior, largely through being less wordy, and more genuinely vengeful. Coming home one night, Annie (Skafida) is stunned to find both of her parents dead in their house, the victims of an apparent robbery. But her concern is raised when their will is read, and Annie discovers that she has been disinherited, the victim of a mysterious late change. Annie was a foster kid, and never felt quite like “one of the family,” so is immediately suspicious of her siblings, especially the one who appears to have benefited from the update. The further she digs, the murkier the waters become, as she seeks bloody vengeance on those responsible – directly or indirectly – for the murder of her adopted parents.

Skafida is probably the best thing about this, simply for her presence, which is the cinematic equivalent of a heap of burning tyres – and not just for the amount of smoke she produces. [Seriously, I can’t remember the last film with so many cigarettes in it] I actually mean that comparison in a positive way, since she brings a smouldering, yet toxic intensity to proceedings – though, as in Sleeping Dogs Lie, it often feels like the heroine is acting in a second language. Still, the intensity keeps the viewer on edge, with the sense she’s a wild-card, who might explode into action at any moment, especially in her alter ego of “Jezebel”.

The problems are… Well, sad to say, just about everything else. Start with a story which appears to bounce around in time and space without any logic. For instance, early on, there’s a shootout between Jezebel and a group of disgruntled poker players, from whom she won her motorbike. The poker game itself shows up an hour or so later. There’s no explanation for this approach, and it serves no purpose either. Similarly, there are cases where the lack of background on a movie character can work in their favour, giving them an air of mystery. Here, it seems more like laziness.  

The music sounds as if the makers got a discount on three tunes from the stock soundtrack emporium, and decided to make the most of their bargain basement purchase, by using them in every single scene, regardless of fit. Ennio Morricone, it most definitely is not. And Cavazos certainly doesn’t match up to Sergio Leone in terms of cinematography. Even in the climactic duel, clearly intended to echo a “high noon” gunfight, the scene is edited in a hyper way which would seem better suited to an entry in the Crank franchise. While the aim of a modern take on the spaghetti Western is laudable, this is largely a failure. The end product is closer in appeal to a plate of last week’s soggy pasta than the works of Leone.

Dir: Juven Cavazos
Star: Youlika Skafida, Beau Yotty, Joe Grisaffi, Michael Tula

Sleeping Dogs Lie

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★★
“Dogged by issues.”

Account Armando (Cabellero) has made a series of questionable decisions, the two largest of which are: a) skimming from his organized crime connected client, Mr. Nakamura, and b) cheating on his wife Eleni (Giannatou) with his secretary, Luna (Zanella). These both come to a head when Eleni walks in on the pair of them, and the three of them take a long drive to a remote house in the desert, with Armando in the trunk of the car. There, Eleni prepares to extract the access information to the account where he has stashed the ill-gotten gains – an account Luna is rather unhappy to discover was created in her name. However, Armando knows this information is the only thing standing between him and a hole in the desert, so won’t give it up easily. And what, exactly, are Luna’s allegiances? Is she on his side or that or Eleni?

After a satisfactorily intriguing start, this falls apart after Armando breaks free of his bonds, and vanishes into the blackness surrounding the cabin. Far too much of the film thereafter consists of running around in the near darkness, and you’re left peering into the gloom, trying to figure out who is doing what, and to whom. [Low-budget film-makers need to realize that their product is far more likely to be seen on the small screen than a big one, and light/shoot on that basis] Though the problems start earlier, with a script that seems a draft or two short of polished. For instance, Eleni talks at length to Armando about how the foot is the most sensitive part of the body, then drives a nail right through… his hand?

It doesn’t help that the lead actress appears to be operating largely in her second language. What we get here is an object demonstration of the difference between speaking English, which she does perfectly well, and acting in English. It’s the latter which is an issue, and one made all the apparent by a scene or two where she gets to revert to her native Greek. The difference, in a positive direction, is palpable. Maybe it should just have been made entirely in Greek and Spanish?

But the weakness here is mostly the storyline, which relies too much on contrived incompetence necessary to the plot. By which I mean, if the trio had a lick of sense, events would have unfolded in three radically different directions. Eleni, in particular, stops being the intelligent and resourceful woman she initially appears, the one which I was looking forward to seeing, taking her revenge on an idiotic and unfaithful husband. Instead, by the time this ends, with one final twist beyond what is either necessary or plausible, you’ll be hard pushed to muster any reaction beyond a sigh, or possibly a small, marginally derisive snort.

Dir: Konstantinos Kovas
Star: Markella Giannatou, Miguel Angel Caballero, Joanna Zanella

The Aeronauts

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★★★
“Full of hot air.”

I was genuinely stoked when I got to the end of this one, which details the derring-do of 19th-century pioneers James Glaisher (Redmayne) and Amelia Wren (Jones). The former is a scientist in the fledgling field of meteorology, who wants to obtain data from the upper atmosphere. The latter is a balloon pilot, carrying on despite the death of her husband on a previous flight. Together, they team up, to fly higher than any person had ever gone before. Indeed, further than even they wanted to go, as a frozen valve prevents them from descending when they need to do so. With Glaisher out of commission through oxygen deprivation, it’s up to Wren to climb, by herself, up the outside of the balloon, in order to reach the top and clear the valve.

The in-flight entertainment is excellent, right from the take-off, in front of a sizable crowd of onlookers, to whom Wren is delighted to play. But as they rise up, you do get a real sense of the appeal of flight, in a way which feels almost like a Hayao Miyazaki film. That matters, having gone into this wondering why someone would willingly dangle from a wicker basket, below what is effectively a large bomb (here, lifted by inflammable coal gas). But the beauty of the air is well-captured, as well as its immense scale, with any number of shots depicting the giant balloon reduced to little more than a speck, beside the massive clouds. And Wren’s solo ascent is the stuff of heroic legend.

But that’s also the problem. For she never existed. Oh, Glaisher did. And so did his flight, in 1862. It set an altitude record for any craft of 36,000 feet, which would endure for more than sixty years. And after Glaisher lost consciousness, his companion did end up needing to pull the release valve by mouth, having lost all feeling in his limbs. Yeah: his. Because it was professional balloonist Henry Coxwell who was the hero in fact. Now, I get that cinema will play fast and loose with facts. But swapping out a real person for a fictional one of the opposite gender? Really? There weren’t any actual aeronautical heroines about whom a film could be made? Oh, hang on: there were. Most obviously, Sophie Blanchard, a Frenchwoman on whom the character of Wren was partially-based, and who was Napoleon’s head of aeronautics. A future feature on her may beckon.

The more grounded stuff in the film also doesn’t work as well. There’s a narrative conceit which holds back information about the circumstances surrounding Mr. Wren’s death. And background stuff on Glaisher’s struggles to raise funds for his expedition into the sky, as well as his relationship with his father (Courtenay), don’t add much to proceedings. I’d have been happier with a real-time recounting, purely focused on the flight up and down. The contrast between the staid Glaisher and show-womanship of Wren, offers enough fuel to keep things going, until the latter’s perilous ascent is needed. Just don’t ask why neither of them thought to pack a pair of gloves.

Dir: Tom Harper
Star: Felicity Jones, Eddie Redmayne, Himesh Patel, Tom Courtenay

Merciless Charity by Wayne Stinnett

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

To be charitable (pun not intended), this might perhaps have come across better if I were familiar with the “Caribbean Adventure” series by the same author, featuring the exploits of ex-marine Jesse McDermitt. That long-running franchise saw its sixteenth(!) entry published in November, and this volume appears to be the first in a spin-off series from the same universe. This may be why the early going is really tough. Explanations of who people are and their relationships, are notable by their absence, and if it’s tacitly presumed you know them from his other work, that would make sense.

In particular, there’s an early plot thread where our heroine, Charity Styles, help track down kidnappers on their boat. But it’s a while before we discover who was abducted, and the whole thread seems to go absolutely nowhere, with Charity dropping people and then flying off. Only after then do we get to the main story, where she vanishes off the grid, in order to sail a boat from Miami to Mexico, make her way up the side of a volcano, and take out the terrorist cell who have set up a training camp there, preparing for an attack in Texas. None of which makes a great deal of logical sense. Why sail, rather than fly? Hell, take a submarine. And why is the US government pussyfooting around with an ocean-going sniper, when a well-placed Hellfire missile or two would be just as effective, and considerably quicker?

Regardless, this means that more than half the book is taken up with the 1,200 nautical mile sailing trip, including a particularly irrelevant side mission to rescue some Cuban refugees. As ocean-going travelogue, it’s actually not bad, and almost makes me want to buy a yacht. But as action-heroine fiction goes? It’s mild stuff indeed, and until she reaches the terrorist camp, the sole incident of note is an encounter with a would-be mugger. It seems a bit of a waste of a violent background, which saw Charity captured after the helicopter she was piloting was shot down in Afghanistan. She was held by a Taliban group, and brutally violated by them, over an extended period, before escaping, taking revenge and being rescued. That’s an entire hold’s worth of baggage which could potentially be unpacked into her character, yet it never happens.

Things do perk up in the final battle, where we finally see the unleashed savagery of which Charity is capable, living up to the title of the book. The terrorists don’t have a chance, to put it mildly. Though they’re not just up against a lethal sniper, but what can only be described as a volcano ex machina. It’s too little, too late, and I must confess I was glad this was a quick read, coming in at only 224 pages. There’s nothing here to make me want to delve any further into these warm waters.

Author: Wayne Stinnett
Publisher: Down Island Press, available through Amazon, both as a paperback and an e-book
Book 1 of 5 in Caribbean Thriller Series.

Sisters in Law

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★★½
“Law and disorder”

This is exactly the kind of “mismatched cop” film in which you’d expect to see Melissa McCarthy, if it was ever remade by Hollywood. Though since two decades later, McCarthy would star in The Heat, they probably don’t need to bother. Here, the trope of tough, world-weary cop Jacky, is played by Ng – inexplicably, the subtitles repeatedly call her Joan, which confused the heck out of me for a bit. She gets an unwelcome new partner in the shape of idealistic and by-the-book Mary (Chan). Of course, there’s the inevitable friction before the pair come to respect each other.

After being accidentally involved in a jewellery heist, they get to investigate the case. The robbery was actually staged by the gems’ owner, Hanks Lee (Kong) for insurance purposes, which is why the robbers start turning up dead. Jacky and Mary have to locate the last survivor, with the unwilling help of his girlfriend (Hung), before the loose end he represents can be tidied up. Complicating matters is the growing relationship between Jacky and Hanks, to the concern of her partner. While in her own sub-plot, Mary has issues with her widowed mother’s new boyfriend, because he’s a supposedly reformed gangster.

It’s so incredibly generic, it’s hard to think of a time when this would have seemed the slightest bit original – even back in 1992, when this was made. There are no surprises at all to be found in the plot or characters, save perhaps the caricatured male colleagues who get their come-uppance at the end… by being assigned to the Gay Crimes department. Laughter all round! Every aspect of that angle is incredibly nineties, and so impossible to imagine in a modern film, it becomes kinda refreshingly incorrect. On the other hand, safe to say it’s probably not the element which the makers most wanted to stick in the viewer’s memory. The two leads do have a nice chemistry though, and that keeps things chugging along pleasantly enough, covering over the paper-thin nature of the story.

Still, it’s one of eighteen films listed in the IMDb for Ng this year, and you certainly get the sense this was something put together and churned out with no great regard for quality. There isn’t even that much action, save for the jewel robbery. Things do perk up at the end, after they locate the last robber in a closed amusement park – only for Jacky unwittingly to spill the beans on his location to Hanks, leading to him sending his posse there. Fortunately, Mary’s impending father-in-law is there, to draw on his old, very particular set of skills. It’s quite energetic and well-staged, though falls some way short of doing enough to move the needle far. There’s no doubt that just about everyone involved has been part of significantly better films. Though if you are in the mood for something entirely undemanding and light, this would probably pass muster.

Dir: Andy Chin
Star: Sandra Ng, Charine Chan, Kong Wa, Catherine Hung

Maleficent: Mistress of Evil

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★★★
“An industrial sized box of eye-candy.”

Dear god, the scenery in this is almost unutterably lovely to look at. It’s the kind of film which left me wishing I’d seen it at the cinema, even if I fear my head would have exploded at the beauty of it all. Right from the opening sequence, featuring an insane swooping shot which seems to last forever, it is just gorgeous. The final battle is so lush, a war occurring in a castle the approximate size of Bavaria, against a back-drop of exploding red-clouds made from fae genocide dust, it should be bottled and sold in the skin-care aisle.

The other big positive comes from leading ladies Jolie and Pfeiffer. As we mentioned in our original review, Angelina was born to play Maleficent, and that hasn’t changed. Here, Michelle gives her an excellent foil to go up against. I couldn’t help feeling Pfeiffer’s performance was influenced by Glenn Close in Dangerous Liaisons – a film in which she also appeared, apparently taking notes. Their scenes opposite each other, such as the Most Uncomfortable Dinner Party Ever, are a delight to watch.

The problem? Uh, basically everything else, beginning with Fanning and Dickinson as the world’s blandest couple, who manage to suck the life from every scene they inhabit. The former is Aurora, now monarch of the magical kingdom, the Moors. She falls for Prince Philip (Dickinson), heir to the throne of Ulstead, and everyone is delighted that their impending marriage will seal peace forever between the two realms. Everyone bar Philip’s mom, Queen Ingrith (Pfeiffer), who has other plans. Basically, starting a war and blaming it on Maleficent, whose PR person must have been asleep since the first film, since Mal is now back to being generally despised. Ingrith then intends to use the fae genocide dust mentioned above to emerge victorious, allowing her to sweep in and annex the Moors.

Meanwhile in a sub-plot which is both superfluous and ham-handed, Maleficent is reconnecting with the family she never knew she had. Their leader is played by Chiwetel Ejiofor, a fine actor. However, remember what I said about Jolie being born for the role? Ejiofor isn’t, and looks more embarrassed than anything else, to be stomping around in those oversized horns. It’s all filled with Obvious Commentary on bigotry, diversity, racism and so forth. Poor Maleficent is largely relegated to a supporting role in her own franchise, before returning to hurl green lightning at the end, and engage in some behaviour which can only be described as Christ-like. Have you a moment to talk about your lord and saviour, Angelina Jolie?

You can’t argue the $185 million budget was ill-spent though. Rønning was previously co-director on Pirates of the Caribbean: Dead Men Tell No Tales, the [pauses to check notes] fifth installment in that franchise, and clearly knows his way around a nine-figure price-tag. It’s not enough to match its predecessor: more the kind of film I’ll dip into if I see it on cable, rather than rush to embrace on Blu-Ray.

Dir: Joachim Rønning
Star: Angelina Jolie, Michelle Pfeiffer. Elle Fanning, Harris Dickinson

Dead in the Water

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★★½
“Becalmed”

My heart sank in the first few seconds, when I discovered that this was a SyFy Original Movie. The really poor CGI, of a ship sailing on the ocean, seemed to confirm that I was in for one of their bottom of the barrel productions. In the end, however, this was… just about okay. Incredibly derivative, to be sure, and that’s not its only problem. Yet it still just about sustained my interest. That’s certainly not always the case for SyFy Original Movies, to put it mildly.

This takes place almost entirely on the not-so-good ship Amphitrite, an eco-warrior vessel engaged in tracking illegal Chinese trawlers. Its engine breaks down, right in the path of an incoming storm. They then pick up a survivor out of the water, who turns out to be infected with… something. Which is why he’s telling the crew, “Kill me… Then kill yourselves.” Needless to say, they don’t quite follow his suggestion. Before you can say “Alien rip-off“, they’re moving slowly around the dimly-lit corridors of the ship in search of… something. And before you can say “Thing rip-off,” they’re watching video off the survivor’s phone, and getting paranoid about who among them might, or might not, be infected.

It’s an all-female crew, which is why the film is here, and it’s admirable that no-one explicitly mentions this or makes a fuss about it. They are what they are, seven women who are competent at their jobs – and of course, it’s a reflection of the all-male cast in John Carpenter’s The Thing. The problem is that there isn’t enough effort put into differentiating them, or establishing them as individuals. I’m not certain I could tell you most of their names, or identify them even with a particular characteristic. I’m going to guess the one called “Sparks” was the ship’s engineer. Otherwise, they seemed entirely interchangeable.

The other problem was already mentioned in passing: the remarkable lack of lighting. Look, I get that the ship “lost power”. I understand that your creature budget of 15 South African Rand probably can’t stand up to the harsh glare of daylight. But there is a limit to how much sloth-like meandering along corridors by near-candlelight I can tolerate. And this film reaches that quota inside the first 30 minutes, then keeps right on meandering. Inevitably, the dwindling band of survivors eventually igure out what exactly they are going to do, and how they are going to stop the creature from reaching the all-you-can-infect buffet which is civilization. To the movie’s credit, it doesn’t shy away from the downbeat conclusion of The Thing, though as appears inevitable with SyFy Original Movies, there’s a coda which leaves the door open to a sequel no-one wants or needs.

In the end, the problem is as always: if you steal from the best, you’ll be compared to the best. And Dead in the Water comes up short of The Thing and Alien, by the width of several oceans.

Dir: Sheldon Wilson
Star: Nikohl Boosheri, Christia Visser, Tanya Van Geaan, Bianca Simone Mannie