Author: Jim McLennan

Alita: Battle Angel

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★★★★
“Mechanical Pixie Dream Girl.”

Depending on your definition, this is perhaps the most expensive action-heroine film of all time, estimated at more than $200 million before tax incentives. Given the fate of live-action adaptations of manga in the West, most recently Ghost in the Shell, this was always going to be a risky investment, even with the name of James Cameron, the most successful movie-maker in history, attached as a producer. At one point, people were predicting a bomb of Mortal Engines size. While Alita seems to have escaped that fate, it’s going to have to do very well in both China and Japan, the two remaining territories, if it’s to turn any kind of profit, never mind start a franchise.

That’s a shame, because this is a solid, well-made piece of science-fiction, which does a particularly good job of creating a massive, epic world on the cinema screen. Rodriguez has been squeezing every penny out of his budgets since El Mariachi, and while there may not be much apparent overlap between Alita with Shark Boy and Lava Girl, the latter franchise was excellent training for RR in meshing computer graphics with actors. Sin City also laid similar groundwork, and helped set up the director with the chance to go big or go home. And there’s no doubt: Rodriguez went big. This was my first cinema trip of 2019, and was fully justified.

Having recently read the original manga, I was struck by how faithful the film was to most aspects. Right from the get-go, with Doc Ido (Waltz) finding the shattered remains of Alita (Salazar) on the scrap-heap below Zalem, there were shots which could have been story-boarded by the graphic novel. [Again, something Rodriguez also did in Sin City] Ido, in particular, looks exactly like I imagined him, and the same goes for Vector (Mahershala Ali), the shady power behind the scenes in Iron City, as well as Zapan and the rest of the bounty hunters.

The story is generally quite faithful, too. After her rescue, Alita tries to recover her past memories, becomes a bounty-hunter, falls in love with human boy Hugo (Johnson), takes up the brutal sport of Motorball, and experiences personal tragedy. However, the order of the events is shifted: in the manga, the tragedy is what spurs her entry into the Motorball arena. The film also adds Ido’s ex-wife, Chiren (Connolly), a character who was not in the comics, though does appear in the OVA. Here, they had a disabled daughter named Alita, who was killed by one of Ido’s Motorball goons. It’s a rather clunky subplot, which doesn’t add particularly much, beyond explaining from where Alita v2.0’s body came.

There has been much debate over Alita’s eyes, which have been CGI-increased in size to an extent rarely if ever seen in a live-action film. Of course, she’s a cyborg, so whatever. However, it is still something of a distraction, even though it appears they’ve been toned-down in size from early trailers, where it appeared her eyeballs would have occupied most of her brain’s frontal lobe. The eyes are one of the hardest things to get right with computer graphics, and when it isn’t, the results can be horrible, as with the resurrected Peter Cushing in Rogue One. This is better, and at some moments does enhance things, basically acting as a megaphone for Alita’s feelings. However, it also plays into the film’s main weakness: an apparent lack of genuine emotion. I’ll circle back to that a bit later.

As a spectacle, this is grand, offering sweeping vistas of a future world, densely populated with people, things and those in between. As an action movie, it works pretty well too. The two best set-pieces are the bar-brawl where newly-registered bounty hunter Alita proves her worth to her colleagues, and the Motorball game, where everyone else taking part cares only about killing Alita. There’s a palpable sense of progression in her skills over the course of the film. Initially, she’s clearly raw and unfocused, but after she is paired with her “berserker” body… [Inevitably, it has been the subject of PC whining, about it looking ‘too feminine’] Hoo-boy. By the end, she’s a weapon on mass destruction, regardless of the opponent’s size.

And speaking of the end, one frequently-heard bit of criticism is that the ending is too “open,” apparently fishing for a sequel. I can’t say I felt that way at all. There’s certainly scope for more movies, apparently involving Alita going after the mysterious Nova. Yet the main thread of the film, involving Alita and Hugo, is definitively wrapped up. In comparison, say, to Marvel films, which almost inevitably have an in- or post-credit sequence blatantly signposting the next film, this felt conclusive. While there is perhaps need for a greater sense of escalation, or a bigger climax (that Motorball battle is trivial in its consequences), I’m largely baffled by complaints about the “lack of a genuine ending.”

As mentioned above, a more significant issue is that I hardly “felt” anything for any of the characters. Ido – stuck between paternal instincts of protection and a desire to allow Alita self-determination – perhaps came the closest. The relationship between Alita and Hugo is supposed to provide the film’s emotional engine. But between the former’s CGI make-up and the latter’s generic blandness, it doesn’t make much of a dent. There’s a scene where she literally tears out her heart and gives it to him: everyone, including the film itself, seems faintly embarrassed by the whole incident. Worse still – minor spoiler – the movie even goes so far as to kill a dog, without generating more than a blip of impact. Somewhere, John Wick shakes his head, sadly.

I was initially concerned about the PG-13 rating – not least because the first trailer before the film was for UglyDolls [an animated movie “about acceptance, diversity, joy and friendship” according to its site]. I needn’t have been: this is more From Dusk Till Dawn Robert Rodriguez than the Spy Kids version, with a gleeful approach to the semi-mechanized carnage. For I think it helps on the censorship front, that most of the carnage in inflicted on cyborgs, who are largely able to take a licking and keep on ticking. The manga was heavily into black market spine-ripping; here, it’s mostly limbs, which is slightly more kid-friendly, I guess.

In the end, this is just about everything for which I could have hoped. While I don’t necessarily agree with all of the artistic choices, the positives greatly outweigh the weaknesses. Although this is a low bar (hello, Speed Racer), it’s certainly the best manga/anime adaptation to come out of Hollywood. It’s a world I’d love to see explored further: whether Rodriguez and crew get the chance to do so or not, will remain in doubt until the final box-office figures arrive. Fingers crossed.

Dir: Robert Rodriguez
Star: Rosa Salazar, Christoph Waltz, Keean Johnson, Jennifer Connelly

Sanyare: The Last Descendant, by Megan Haskell

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

Nuriel Lhethannien, known as Rie, is an orphan human in a multi-verse, populated by elves, vampires known as sidhes, trolls and a host of other magic creatures. She has a job as a messenger for King Othin, the ruler of the Upper Realm. But when she’s attacked by assassins from the Shadow Realm, she’s in deep trouble. For such is the enmity between the realms, that Othin decreed, “Anyone in contact with the Shadow Realm, in any way, would be executed.” To save her own life, Rie has to become even more of an outlaw, and journey down below, seeking to find the truth about who attacked her and why.

The Shadow Realm is no more keen on Upper Realmers, and Rie’s boss, Rolimdornoron, demands she be arrested and returned for punishment. Fortunately, Rie’s heritage provides some unexpected assistance, along with the combat training given by her foster father, the head of Othin’s guard. She’s also helped by Prince Daenor, who has issues of his own to handle in the intrigues of the Shadow Realm court. Oh, and a small flock of highly carnivorous pixies.

It’s a solid read, which might have benefited from slightly more fighting and less talk. My opinion there is likely skewed by the lack of any real climax in that department – perhaps a result of this being the opening volume. Action-wise, the book peaks about 40% in, when Rie and Daenor have to battle their way past the guards of a master smith who made the weapons used to attack the heroine. And there are a lot of guards. It’s an especially good sequence; I was waiting for anything similar to show up the rest of the way, and was disappointed. Things instead ended in something closer to a royal courtroom, before a reveal which I found a bit too obvious. Let’s say, the title alone is a bit of a giveaway to the fact that Rie’s “orphan” status is not quite what it seems.

The political machinations are well-handled, dancing on the fine line between complex and convoluted, and I appreciated the way Rie drags herself up by her own boot-straps, despite humans being seen as “second-class citizens” by many elves. The romantic feelings she has for Daenor are also somewhat conspicuous, yet they manage to avoid getting in the way of the story – it helps they’re largely unrequited, at least, in this section [score one for opening volumes, yay!]. I reached the end somewhat interested in seeing where things go, though likely not quite enough to justify any immediate further purchase. With her skills apparently continuing to blossom, and some new friends (and relations) in very high places, there hasn’t been enough sense of a threat to Rie established to leave me interested in finding out more. I don’t feel as if my time was wasted, however.

Author: Megan Haskell
Publisher: Trabuco Ridge Press, available through Amazon, both as a paperback and an e-book
Book 1 of 4 in the Sanyare Chronicles series.

The Stolen

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★★
“98 minutes robbed from my life.”

Rarely has such promise been so spectacularly and vigorously squandered. For this starts well enough. In 19th century New Zealand, English ex-pat Charlotte (Eve) is settling into a new life with her husband and newborn child. This is upturned when a midnight raid leaves her husband dead and the baby kidnapped. Months later, after everyone else has moved on, she gets a ransom demand in the mail, and she tracks its source to Goldtown. This remote outpost is truly an Antipodean version of the Wild West, a rough-edged mining town run by Joshua McCullen (Davenport). Braving all manner of threats – not least, that the only other women there are prostitutes – Charlotte makes the perilous journey to the frontier settlement in search of her son.

So far, so good. The landscapes and photography on the way there are gorgeous, yet threatening, and Charlotte is built up nicely, possessing a strength and inner steel which belies her “English rose” appearance. Both her late husband, and the guide who accompanies Charlotte (also bringing to Goldtown a batch of fresh hookers!), have laid the groundwork, both theoretical and practical, for her to learn the use of firearms, that great equalizer of force. The foundations were apparently being created for her to put her training to good use, when she finds out what happened to her child.

Then she arrives in Goldtown and the film goes to hell in a hand-basket, almost as soon as Riff Raff from Rocky Horror (O’Brien) shows up to portray the manager of the local brothel, sporting an accent of entirely indeterminable origin. For a good chunk, Charlotte appears to forget entirely what the purpose of her trip is. Even when she remembers, her investigative approach initially consists of little more than roaming the town, yelling at miners about her minor. When the truth about who is behind the abduction is revealed, it doesn’t make much sense: the motive for their acts, in particular, is more “it needed to happen because film,” rather than anything springing organically from the nature of their character.

Eve does makes for a heroine with potential. There’s something of the young Nicole Kidman about her, and it’s a good character arc for Charlotte. She transforms from a passive lady of the manor, to someone forced to sleep in a dormitory with a bunch of whores (the most acidic of whom, the severely mis-named Honey, is played by the film’s writer, Emily Corcoran), and fend off men who, somewhat understandably, believe she is also pay-to-play. However, the film likely reveals the culprit too soon: doing so eliminates what little sense of suspense present, and it’s not hard to guess how things will develop thereafter.

Such speculation will likely be accurate, and the film does at least deliver the expected payoff at the end, in the form of an armed confrontation between Charlotte and the kidnapper. By that point, most viewers will likely have given up caring much, beyond being reminded of New Zealand’s picturesque qualities.

Dir: Niall Johnson
Star: Alice Eve, Jack Davenport, Richard O’Brien, Graham McTavish

Wonder Woman (2009)

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★★★½
“A little short of truly Wonder-ful.”

Often forgotten in the critical acclaim for the live-action feature, is the animated film released by Warner Brothers in 2009. It wasn’t an enormous hit – plans for a sequel were scrapped due to its slow sales – but is worth a revisit in the the wake of Gal Gadot’s subsequent portrayal. There are some strong overlaps in the two films’ plots: in both, the crash-landing of pilot Steve Trevor (Fillion) kicks off the Amazons’ re-connection to mortal mankind, and Ares (Molina) is the common villain.

The most obvious difference is the time-frame; rather than the middle of World War I, this takes place in the present day. Additionally, Ares is initially in Amazon custody, escaping with the help of Persephone, an Amazon he has seduced to his side. Diana (Russell) is tasked with re-capturing the god before he can bring about  Zeus’s first goal is to remove the bracers, put on him by Zeus, which limit his powers. They can only be removed by another god, and he seeks the help of his uncle, god of the underworld Hades (Oliver Platt). That done, he raises an army, including the Amazonian dead, and attacks Washington, which causes the President to launch a nuke at Themyscira, believing it to be behind the attack. It’s up to Diana to stop Zeus, and to Steve to stop the missile.

There are chunks of this which are really good, not least the action. Those scenes had to be trimmed down to avoid an R-rating (rumblings of that version getting a release, have yet to be proven true), and what remains is beautifully animated, yet brutal at the same time. This perhaps reaches its peak with the battle through Manhattan between Diana and Ares’s warrior-son, Deimos (below), which for my money is the equal of anything in the live-action film. The relationship between Steve and Diana is another strong suit, helped by strong voice-work from both actors. I think the contemporary setting helps, too, avoiding the rather obvious gender politics angle shoehorned into the more recent film, in favour of more subtle consideration of such points [I was impressed that even the traitor Amazon is given a philosophical motive for her betrayal, and it offers pause for thought].

However, there are other aspects which seem very poorly thought-out. After defeating Deimos, who commits suicide rather than reveal anything, Diana gets a medallion off the corpse. Next scene, they’re sneaking into Ares’s lair. Uh, what? It feels almost as if there was a chunk missing, a feeling enhanced by the relatively terse 75-minute running time. Perhaps this also explained the whole “invisible jet” thing – something wisely abandoned entirely by the live-action film, since it never made much sense. Here, it shows up with no explanation, later firing invisible missiles.

The final battle also relies upon too much contrivance (oh, look: someone pulls a spell out of thin air to free the Amazonian zombies), though at least Ares here proves a worthy adversary, unlike in the live-action film, where he was close to the weakest link. Still, even if it’s perhaps aimed at a younger audience than your humble author, and was missing the sense of awe generated by Gal Gadot’s sword-swinging, this was entertaining and well-made. Worth a look.

Dir: Lauren Montgomery
Star (voice): Keri Russell, Nathan Fillion, Alfred Molina, Rosario Dawson

Intensive Care

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★★½
“Nightmare nurse.”

I’m generally an easy-going guy with regard to plots in my action heroine films. Give me adequate amounts of ass-kicking and I’ll happily overlook most weaknesses in the storyline. I mention this, to stress I’m not a nitpicky kind of reviewer, who requires an Aristotlean level of logic from their movies. So when I say, there are major problems with the scripting here… There are MAJOR problems with the scripting here.

Alex (Macken) is a nurse, hired as a caregiver to the terminally-ill Claire (Easterbrook), when Claire’s only living relative, grandson Seth (Sizemore), turns up. He’s desperate to get into granny’s good graces and get his inheritance, because he is in deep debt to some dangerous people. Claire is not fooled at all by this sudden show of family feeling, and tells Seth where to go. He teams up with a pair of local hoodlums to rob the safe where grandma keeps her money – only to discover that Alex is far from the innocent caregiver she seems, and has a very particular set of skills. Skills she has acquired over a very long career. Skills that make her a nightmare for people like Seth and his crew.

This comes as absolutely no surprise to the audience, because of an opening sequence showing these skills on view in a gym before she heads off to take up her position. There’s hints of some defining experience in the Philippines – never expanded on, so you wonder why they bother. It would likely have been more fun if her talents had come as much as a surprise to the audience as the home invaders. The main problem, however, is the idiocy of everyone involved, which generates plot holes so gaping, you could sail an oil-tanker through them. Sideways.

Most obviously, we see early on how ruthless and vicious Seth’s accomplices are, killing a prostitute. Given this, there is absolutely no need for them to keep the captured Alex alive: she is in no way needed to help them open the safe. Yet, inexplicably, they do so, even after she learns their names and sees their faces. And repeatedly, both sides fail to press home an advantage when they get the jump on the opposition, preferring to exchange non-witty banter. This is especially unforgivable for Alex, who is supposedly some kind of ex-special forces reconnaissance type, someone whom you’d think would have precisely zero qualms about terminating an obvious, lethal threat, given the chance. And please do not ask me about the scene where Alex takes a bath… in her bra and panties. I hooted loudly about that.

It’s a shame, because Macken is rather good, whom I’d like to see more of (and no, not in the bra and panties sense…). If you’re a WWE fan, there’s something of the A.J. Lee about her, and the actual action sequences are well enough handled. She had a supporting role in Raze, so clearly knows her way around a fist. Indeed, this feels a little bit like an early entry in the career of Zoë Bell, back when she appeared in things that weren’t necessarily worthy of her talents. Hopefully, Macken’s career trajectory will improve similarly, to films capable of meeting even my low threshold for plot logic.

Dir: Jared Bentley
Star: Tara Macken, Kevin Sizemore, Jose Rosete, Leslie Easterbrook

Split Lip

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★★★
“Split decision”

Definitely a mixed bag in this independent work about an assassin on the run from her employers after she botches a contract. Seay is thoroughly compelling as Set, proving that less can sometimes be more when it comes to dialogue. She’s a woman of few words, yet the strength of her emotions still comes through in her performance. I think it’s the eyes. Unfortunately, the makers appear not to have had enough confidence to let her silence stand on its own. Instead, they fill the gap with the inane burblings of Samuel (Laballe), a young man who sees Seay, and decides she’s a battered woman in need of rescue.  He quickly discovers that isn’t the case, as she ends up rescuing him from one of the killers sent on her trail. However, his sister Dana (Cné) is unimpressed with her brother’s new friend, and turns Set in to her boss, Karlton (Brown).

There’s some nice stuff floating around the fringes as well. In most action films, the hero or heroine takes little more than cosmetic damage over the course of proceedings. That isn’t the case here: every encounter leaves Set more banged up, with the titular injury being just the start. The make-up department has a field day, shall we say. I also liked the occasionally chivalrous conduct and hierarchical structure of the assassins’ “guild”, with its different factions and approaches. In his opening monologue, for instance, Karlton makes clear that the services in which he specializes. are all about getting up close, personal and messy – “What we have to offer, is a message.” And, of course, being shot partly here in Phoenix is always a plus for me, though there’s not much in the way of local atmosphere to speak of.

Yet there are just as many problems, not limited to my strong desire to strangle Samuel every time he opened his mouth. In particular, Set’s actions largely seem illogical, and occur only because they are necessary to the plot e.g. staying in the same hotel room after her location has been discovered. Right from the start, it’s clear the only possible resolution involves either her death or tidying up the mess she created. Running off to Phoenix makes no sense in either direction – especially when her destination is at the suggestion of her boss, who makes no attempt at concealing his intention to have her hunted down. Only after an hour and twenty minutes and several entirely unnecessary tanks of fuel, does our heroine finally do, what made obvious sense from the very beginning.

The action is plentiful and quite well-staged, with the general absence of guns (save for an Indiana Jones-like moment near the end) making sense, given Carlton’s apparent distaste for them. Credit to Seay for doing her own stunts, and everyone else for making it look like she knows what’s she’s doing with her fists, despite a lack of size that becomes something of a running-joke. All told, this is a decent and worthy indie effort, which held our interest – though one undeniably in need of a better script.

Dir: Christopher Sheffield
Star: Dorée Seay, Chris Labadie, Maryam Cné, Dejean Brown

Widows

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★★★½
“Widows piqued.”

This is based on a TV series from Britain, which ran for two seasons in the eighties – I’ve seen it, but for some reason never got round to writing about it. The show would have been right in our wheelhouse, being written by Lynda LaPlante, who also created Prime Suspect. This version transplants the action from London to Chicago, and retains the basis story at its core. When their husbands die in connection with an attempted armed robbery, the wives of the late participants decide to take up the mantle of criminal enterprise, using a dossier of plans left behind. However, the motive is different here. The money stolen, and subsequently destroyed, belonged to crime boss Jamal Manning, who demands Veronica Rawlings (Davis), wife of the robbers’ leader, repay it back. All two million dollars of it.

It ups the ante compared to the British version: there, it was largely a desire by Mrs. Rawlins, simply to follow in her husband’s footsteps. It probably makes Veronica more sympathetic, though she’s not quite as hard-ass as Dolly was, across the pond. Less effective is the desire to add various political and social subtexts to things. For Manning is standing for office in a local election, seeking to disrupt things by going up against Jack Mulligan (Farrell), the scion of a long-standing dynasty. While it turns out both the original robbery and Veronica’s planned crime play into this power struggle, it does divert from the main story. And don’t even get me started on the Rawlings’ son having been killed by the police, an entirely pointless thread. [Except when shooting people, the cops here are notable by their absence] With considerably less time available than in the original, which ran for six, hour-long episodes, this is problematic.

It’s especially so when it comes to depicting the rest of the widows beyond Veronica, who are given scant attention in term of their characters. This is a shame, especially in the case of Alice Gunner (Debicki). The actress cuts a striking figure, not least because she’s 6’2″ – or one inch shorter than Brienne of Tarth. :) Rodriguez is similarly wasted, in a role that doesn’t make much use of her presence. Fortunately, Davis is up to the task, and is just as impressive as she was in Lila & Eve. [Though despite some efforts, Chris still hasn’t got me to watch Davis in How to Get Away With Murder!]

Falling therefore into the category of good, rather than great, it would perhaps have been better to copy the British structure and make this a mini-series – though does anyone still make those any more? Shonda Rimes is, perhaps, the contemporary American version of LaPlante, and the creator of HtGAWM would have seemed an ideal person to do such an adaptation justice. Water under the bridge, however, and if you can overlook the occasionally over-earnest wokeness on display, this is still solid enough, anchored perfectly well by Davis’s fibe performance.

Dir: Steve McQueen
Star: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Colin Farrell

Maggie for Hire, by Kate Danley

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

Maggie McKay is an inhabitant of two overlapping worlds, courtesy of her genetics and upbringing being a little bit from both. Her father was from the “Other Side,” but her mother was from Earth, and they lived here until Maggie’s awakening talents of her own necessitated a quick departure back to the O.S. She still operates mostly in this realm, hunting down and dispatching the nastier denizens who sneak across: vampires, ghouls, werewolves, etc. This everyday work gets escalated, when she discovers her previously unknown (and not very nice) uncle, Ulrich, has teamed up with a vampire clan, to acquire a pair of artifacts which control portals between the sides, and also allow the vamps to walk in daylight. Unchecked, this could lead to chaos, and it’s up to Maggie and her elf sidekick, Killian, to make sure that doesn’t happen.

Blandly generic urban fantasy, it’s the kind of book I finished reading on Friday, and am struggling to remember much about on Monday. This is not to say it’s bad, and going by the fact that this series has reached 10 novels (not including a trio of holiday specials, with titles like My Maggie Valentine), there’s clearly a market for this kind of non-threatening light action. It just isn’t anywhere near me. It feels as if the writer tossed a hundred other urban fantasy novels into a blender, and poured the resulting smooth, pastel pink concoction directly onto her own pages. For there are hardly any elements here which I haven’t read, probably about a hundred times before. From the world-threatening villain, all the way through to the unresolved sexual tension with the devastatingly attractive (aren’t the partners always?) Killian. Yawn…

It’s all unrepentantly old-school, e.g. the vampires can’t come in to a building unless they have first been invited. Which is fine, except when Danley has Maggie and Killian chased by the bloodsuckers into a motel, where… Well, absolutely nothing happens, because the vampires can only hang around outside, before eventually getting bored and drifting off towards dawn. It’s an entirely pointless incident, and does nothing except bring home how crappy “traditional” vampires are as antagonists. There are good reasons most incarnations of them beef up the threat level considerably. The whole “portal” thing is also kinda confusing and executed somewhat sloppily: Maggie seems to be able to open them up at will… except when doing so would offer an easy escape from a threat.

Trying to carry out a critical appraisal of this is hard; it’s like trying to write 500 words reviewing vanilla pudding. I’ve had to work harder on this piece, than almost any of the other novels I’ve covered, and just knocked half a star off the literary rating as a penalty. Maybe such savagery will teach Ms. Danley a lesson.

Author: Kate Danley
Publisher: Amazon Digital Services, available through Amazon, both as a paperback and an e-book
Book 1 of 10 in the Maggie MacKay Magical Tracker series.

A Daughter’s Vengeance

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★★
“S’no good.”

Look, I tried. I really did. When I found my attention had drifted away from watching the film, in good faith, I rewound the film to the point where I’d lost interest, and took up the movie again the following day. After all, maybe it was me. But when I still could barely bring myself to finish this leaden lump of poorly-crafted revenge-fu… No, having gone above and beyond the required effort, it’s really not me. This is lacklustre stuff, to put it mildly, even by the generally low standards of Taiwan.

The heroine (Chen), seems only to be referred to as the Snow Maiden,  and is an orphan, brought up in the mountains by the Snow Woman (Tiu); I kept wanting to call her Mrs. Narwhal, due to her striking snaggletooth, which is remarkably distracting. When the Snow Maiden discovers the truth about her orphanness – namely, that her pregnant mother was betrayed and abandoned by her father – she vows vengeance on the man responsible. While she’s looking, she adopts a “Robin Hood” like persona, rescuing the oppressed and making the oppressors pay for their crimes, in a range of (usually) non-lethal ways.

She eventually finds the family responsible: in about the film’s only interesting twist, her father is old, feeble, and largely filled with regret about having abandoned Maiden’s mom, which does present her with a bit of an ethical dilemma. Complicating matters further, his son (Wu) falls for Ms. Maiden; despite trying to keep herself emotionally distant, so that she can carry out her mission, she begins to have feelings for him too. So, will love triumph over vengeance? And, more importantly, will anyone care? At the risk of spoiling this for anyone, I can reveal the answer to the second question is a fairly conclusive “No”.

Chen isn’t a bad heroine, with a reasonable degree of screen presence – at least when standing still and glowering at people. And she does this a lot – about the only thing there’s more of in this movie is probably maniacal laughter, which appears to sit just behind Mandarin as the preferred method of communication. However, the novelty of this wears off rapidly, and the feeble excuse for martial arts this offers is a long way short of an adequate replacement. Neither the ability nor the quantity of action is acceptable, and any quality there may have been in the performances is destroyed by terrible dubbing, including atrocities such as the son being given a posh British accent. I would have been better off to cut my losses and not bother, after my first attempt to watch this failed.

[Worth noting, there was a movie released the following year, Vengeance of a Snowgirl – a very similar title to the alternate here. Don’t confuse them: while both are about orphans seeking revenge, the other was the last movie Lo Wei directed for Shaw Brothers, and has a crippled heroine who can’t use her legs. Not that this stops her, naturally…]

Dir: Chou Hsu-Chiang
Star: Chen Chen, Wu Chia Chi, Tiu Shut,
a.k.a. Vengeance of Snow Maid

A Reckoning

  By

★★★
“Much calm before the storm.”

Considering how little actually happens here, I enjoyed this considerably more than expected. It kicks off with 19th-century settler Mary O’Malley (Dietrich) being informed her husband has been brutally slain. Despite the warnings of fellow settler Henry Breck (a small role for Lance Henriksen), Mary heads out on the trail through Oregon for revenge, looking for the serial killer responsible. He’s known as “Marrow” (Makely), for reasons which eventually become clear. She encounters Jebediah (Robinson), a bounty-hunter after Marrow who doesn’t appreciate the competition, and Barley (Crow), a trader who offers and receives temporary companionship.

That’s pretty much it, up until the final, inevitable confrontation between Mary and Marrow, where we are reminded again of firearms’ role as a great equalizer. [Dietrich resembles a middle-aged version of Noomi Rapace, all slightly-built and cheekbones; Makely looks like he might have wandered out of a WWE ring] Read the reviews eviscerating this on the IMDb, and you’ll see a lot of people who appear very disappointed with the pacing and lack of action. For once, I wasn’t one of them. I was somewhat forewarned, wasn’t expecting non-stop gun battles or whatever, and was happy for this to proceed at its own, leisurely pace. I will say, it is probably not something you want to watch late at night, admittedly, as it could prove to be a little… too soothing. This likely worked much better in the Saturday afternoon slot where I viewed it, and could appreciate the landscapes as they unrolled.

It helps that the performances are mostly good to very good, with Dietrich’s performance the epitome of “speak softly and carry a big stick”. The film does a particularly solid job of setting up her character, both by her early interaction with Breck, and a subsequent conversation with Diana Maple (Meg Foster, an equally brief role as Henriksen’s), another settler who encourages and supplies Mary on her quest. However, some characters come off as slightly bland, or in Marrow’s case, over-the-top, and whenever the film is not exploring the countryside, the limited resources are painfully apparent. The “town meeting” at the start, for example, appears to take place in front of a bed-sheet, presumably intended to simulate a large tent of some kind. Given this, the amount of wilderness wandering makes considerable sense.

Lee seems to be a one-man film industry out of the Pacific North-west, with two other movies released in 2018 and two more in post-production. [Not sure I’ll exactly be chasing down Bigfoot pic Big Legend though] This one runs a relatively short 80 minutes, and is probably wise to do so. The film may not even be one to which you need to devote your full attention. The scenery is pretty, the cinematography does it justice, and the music fits in with the whole “chill out in the background” vibe. Pop your head up whenever you hear the sound of gunshots, and you’ll be fine.

Dir: Justin Lee
Star: June Dietrich, Kevin Makely, Todd A. Robinson, Kevin Crow