Kinda dumb, to say the least, yet not entirely reprehensible. Supermodel Victoria Young (Potgieter) is under a lot of stress, having just signed a huge new contract, and to clear her head decides to take a drive across the South African veldt. A close encounter with a truck propels her car off the road, and the dazed Vicky wanders off in the wrong direction, away into the bush. Her manager/boyfriend Josh Sinclair (Wise) is left to co-ordinate search and rescue, though the police seem to think it’s just some kind of publicity stunt, and in the cut-throat world of modelling, there is no shortage of those seeking to exploit Vicky’s absence for their own ends. Meanwhile, by the time she regains her full faculties, she has no clue how to get back to civilization, and has to figure out how to survive a hostile environment. Plus, as time goes on, fend for herself, finding food – as well as avoiding becoming food for the local fauna.
I could certainly have done without the entire urban shenanigans, which appears to have strayed in from a bad 90’s Lifetime TV movie. Much more interesting is watching Vicky disintegrate from a pristine beauty, into someone who has to rip the leg off a half-scavenged carcass in order to eat, in between bouts of hiding up trees while a pride of lions takes a nap below. Some of the early sequences border on supermodel torture-porn, for example, as she agonizingly pulls a thorn from her foot, even though it is kinda obvious that the actress was never in the same scene with anything larger than a monkey. Similarly, the sequence where she pulls a grub out of a rotten tree, and cooks it on a stick like a disgusting living S’more, would have been more impactful had it then continued, unflinchingly to show Vicky chowing down on it. Though I did kinda snigger at the cut instead, to a rival model throwing up in the bathroom.
I’m not sure how realistic it is intended to be: I suspect that drinking raw water from a water-hole, in which various wild animals have been trampling [and, likely doing other things], would be a fast way to the emergency room. It might have been nice had they provided some rationale for her survival skills, even a token one such as her growing up on a farm; if you actually dumped Kate Moss into the middle of Africa, the real outcome is likely going to be a bit different. I did like how Vicky’s survival was entirely dependent on her own actions – there was no helicopter flying in at the end, as a deus ex machina. However, it would have been greatly improved by having the courage to focus purely on the “Woman vs. Wild” aspect, as the rest of it is mostly nonsense, which adds very little to proceedings.
Dir: Paul Matthews Star: Dorette Potgieter, Greg Wise, Patrick Bergin, Elizabeth Berkley
This received a certain level of notoriety before even being made, after Legendary Pictures rejected the script, citing a whole raft of (entirely legitimate) reasons, yet also saying, “While I am personally drawn to the presence of a female action hero, it is currently a tough sell with the less than stellar way Sucker Punch was received.” Creator Cardinal went public with the rejection email’s content: seems like a good way to ensure no-one will work with you in Hollywood again, but that’s her decision. However, the film did eventually get made, albeit (or so the story goes) only after a production company embezzled 40% of the money, she worked as a pro wrestler to raise funds, a post-production company lost her footage, and Uwe Boll bailed her out. You can only admire her dogged determination to complete the project she wrote, produced, directed, starred in and edited. Unfortunately, when I say “you can only admire”, the emphasis is on “only”, because the end result isn’t very good.
Interesting Boll became involved, since there’s more than a hint of Bloodrayne, another film series of his. Except, rather than an immortal half-vampire redhead heroine, hacking and slashing those who created her, this is about an immortal half-demon redhead heroine, hacking and slashing those who created her. In this case, it’s Aella (Cardinal), the offspring of a human mother (Swenson) and the demon Ganesh (Eddy), who was sold as a slave to the latter by Mom, only to escape later and become a Reaper, part of a clan who protect humanity from these demons. She has fallen in love with a human prince, Eris (Mackey), who is betrothed to another, and also has to handle getting porcupined with arrows by hunters who want her blood, which has magical properties. Though not nearly as magical as Ganesh’s, and it turns out it’s the only thing keeping her mother alive. She’s running out fast, especially after donating some of her precious stockpile to Aella – albeit with some nasty side-effects, triggering an internal struggle between the two halves of her ancestry. Still, the solution is pretty simple: head for the best source of the blood. That would be Ganesh himself.
It’s all over complex, not very interesting, and plagued by just about every faux pas you have ever seen in low-budget cinema. Excessive voice-over? Check. Gratuitous use of slo-mo and strobe effects? Double check. Thoroughly unconvincing day-for-night photography? In copious quantities. I suspect Cardinal’s “Jill of all trades” approach worked against the film: when you’re wearing all the hats, who’s left to take a step back and apply a coolly critical eye to proceedings? That’s really what the film needed, and at 101 minutes, trimming would have helped as well. It strikes me that, if you combined the production values of this and the action choreography from Warrioress, you’d have a good crack at something impressive. Although both demonstrate that passion isn’t enough by itself, Warrioress was at least outstanding in the combat department. Here, there’s much banging of swords together, and little else, leaving the end result all but forgettable.
Dir: Tara Cardinal Star: Tara Cardinal, Ray Eddy, David Mackey, Eliza Swenson
The Pacific North-West is now a blasted, bone-dry desert, in which a few survivors eke out a precarious living, drawing what water they can from their wells. Intent on taking over the entire area is Carson (Gries), who bullies landowners into joining up with his posse, so he can take their water, or simply fleeing – and kills those who won’t comply. Hiding out is Kendal (Richardson) and her sick brother, Dean (Stewart – seriously, who calls their kid “Boo Boo”?), who needs lots of water to help his failing kidneys cope. She is seeking a distributor cap, so the plane they have stashed in the barn can be used to fly them to safety, but will she find that before Carson figures out their “deserted” farm actually holds both them and a functioning well?
There are a lot of strong elements here, but they are counter-balanced by a number of weaknesses. To get the latter out of the way first, Dean’s character arc is painfully obvious; five minutes in, Chris turned to me and said, “You know he’s going to die, right?” Also, the kid who lives next-door, Alby (Charles), doesn’t serve much purpose at all, until the very end, when he simply steps into Dean’s shoes as someone who needs Kendal’s protection. And speaking of Kendal, she is remarkably well-kept, considering she’s living in a world where every drop of water is a precious asset to be conserved. Long, luscious locks, apparently shampooed daily, fresh-faced complexion, etc. In terms of styling, Kendal needs to be much more Charlize Theron in Fury Road, and less Aeon Flux.
While these negatives are more or less severe, they don’t outweigh positives that are equally apparent, and greater in number. Kendal is an unrepentant bad-ass, prepared to do absolutely whatever it takes, for her and her brother to survive, whether it’s with her pump-action shotgun or a katana – the latter seems to be preferred on the video sleeves, although it’s actually the former she uses more often. The almost complete lack of romance, often seen in YA novels and films, is very refreshing; there’s no hero over whom Kendal goes all moist-eyed, and the only real love shown is for her sibling. The supporting cast is very good too, highlighted by Gries, who seems about a million miles from his best-known character, Uncle Rico from Napoleon Dynamite. The rest of his crew are little less scary, and there’s a nice, albeit very minor supporting turn from horror legend Barbara Crampton. The Mojave Desert stands in for drought-stricken Oregon well, with the photography making heavy and effective, use of sepia filters.
It is a bit of a steady climb through the foothills, before things start to kick off, so you do need to be a little patient. However, the payoff is largely worth it, even if the final batter, between Kendal and Curtis’s daughter, Brooke, leaves a little to be desired, mostly because Brooke has never been established as much of a credible antagonist beforehand. Like the rest of the film’s flaws, I can’t say it damaged our enjoyment beyond repair; there’s still plenty to enjoy, and Richardson carries the film with an assurance beyond her years.
Dir: Thomas S. Hammock Star: Haley Lu Richardson, Booboo Stewart, Jon Gries, Max Charles
a.k.a. The Well
This was originally titled Rebelle, perhaps a slightly better title than something that sounds as if it comes from a Norwegian death-metal album. Perhaps the change was to avoid confusion? A quick Google Images search for the original name shows you that was also the title for Brave in some territories. Safe to say, this is nothing like that. It’s the worthy, rather than anything else, tale of a young girl, Komona (Mwanza), who is kidnapped from her African village by anti-government forces at the age of 12, and forced to join their army. Her apparent supernatural ability to “see” government forces brings her to the attention of their leader, Great Tiger (Mwinga), who appoints her as his “war witch.” But on discovering the fate of the previous three appointees – a clue, they didn’t retire with full pensions – she deserts, along with an albino colleague, Magicien (Kanyinda). Their happiness is short-lived, as their commanding officer (Bastien) recaptures Komona and turns her into his concubine, right up until a nasty trick involving a piece of fruit and a razor-blade.
A few things stand out. Firstly, the casual approach to everyday violence, which seems to numb all those who perpetrate it, including Komona. But it can still be chilling, most notably Komona’s understated description of her uncle: “Every time he would cut the meat with his machete, it would remind him of what happened to his family… I will not tell you what happened to his family. Because, if I do, you won’t listen anymore.” Yikes. There’s also the way in which the supernatural permeates things, and no-one seems too bothered. As well as the whole “war witch” thing, which is as bizarre as Ronald Reagan using an astrologer, Komona sees the ghosts of her dead parents, and one of the reasons for deserting is so she can give them the proper burial and send them to rest. Magicien makes and carries “grigri”, talismans designed to protect him, and when he seeks a white rooster to offer as a dowry, the price of information on where to find it is one such amulet. Magic, it appears, is everywhere. As, apparently are albinos: I think there are more shown in this film than in every other movie I’ve ever seen, combined.
It’s very restrained on just about every level. In some ways that works, since it avoid the obvious histrionics you expect from the subject matter. But I have to say, I found Mwanza’s performance – or, rather, her non-performance – extremely flat and distancing. It’s hard to care about all the death on display, when it seems the central character is unbothered by it. Nguyen doesn’t explain some significant aspects either, such as the “coltan” which Great Tiger has his forces mine, is short for “columbite–tantalite”, an important ore used in electronics. Demand for this in the West is among the causes of conflict in the region. Would have been nice to find this out from the film, rather than Wikipedia. My over-riding reaction to the film was one of relief that I don’t live there, mixed with an appreciation for the the things we take for granted, like running water and a lack of roaming militia groups. This is a glimpse into another world; it’s just not one I have much interest in visiting again.
Dir: Kim Nguyen Star: Rachel Mwanza, Serge Kanyinda, Alain Lino Mic Eli Bastien, Mizinga Mwinga
There’s more than a hint of Hapkido here, with many of the same cast, and more less the same thirties setting, with Korea again laboring under the yoke of Japanese occupation, etc. Things kick off when Jin (Wong) seeks sanctuary from the occupying forces in a local Catholic church. The Japanese soldiers rush in, but get demolished by Uncle Li (Rhee), a rebel topping their wanted list who has been hiding out as the priest’s gardener. Jin and Li depart, along with the priest’s niece (Winton), but the priest himself remains, and is captured and tortured for information about Li’s whereabouts. Wang Lin Ching (Mao) is drawn in when Li asks her to check on the cleric, causing her to become targeted by the Japanese too. An attempt to rescue the priest goes wrong, ending with Li being captured, and the others having to flee Korea for mainland China. However, that may not be far enough, and when the Japanese figure out where they are, they us Li as bait to lure Wang and the others out of hiding.
Despite being considered the father of American Tae Kwon Do, and a good friend of Bruce Lee, this was Rhee’s only released film (rumors of another have been heard). Seems a bit of a shame, as he makes his presence felt here, particularly toward the end. For action heroine fans, the focus will naturally be on Mao, and we’ll get to her shortly. However, we shouldn’t forget Winton, also in her only film role, who makes an immediate impression as an martial arts trained nun Going by her clothing, anyway; the film is kinda loose on Catholic ritual. Man, The Sound of Music would have been so much cooler, if Julie Andrews had only known kung-fu…
As for Mao, she has a couple of absolutely stellar fight scenes, including a church brawl [after the soldiers realize she isn’t Catholic, because she didn’t cross herself on entering!], a battle in a forest, and the final fight. However, in terms of her action, things perhaps peak when she returns to her family restaurant to find a long-haired Sammo Hung, playing a Japanese henchman, roughing up her mother, along with his goons. The last is embedded below – it should start at the correct time, but if not, 39:20 is where you want to be. I just love the way she casually flicks her pigtail round the back just before things kick off, as if to say, “I am serious Angela Mao. This is serious business.”
The one thing that stops the film from getting a seal of approval is a disappointing slump in the middle, after the (fairly lame) effort to rescue the priest. Nothing much happens for what feels like a good half-hour, and that’s a shame, since the action elsewhere is both copious and often excellent. Many fights are virtually the equal of any Bruce Lee film, not least because there are half a dozen excellent martial artists involved here, rather than Bruce being far and away the best. This adds a real sense of balance to proceedings, and if you’re looking for an introduction to the movies of Angela Mao, this is certainly recommended.
Dir: Huang Feng Star: Angela Mao, Jhoon Rhee, Carter Wong, Anne Winton
“Now you can die, too. Because I’m going to kill all of you!”
Mao Lin Ying, better known in the West as Angela Mao, may not have been quite the first “Queen of Kung-fu” – Cheng Pei-Pei probably beat her to the punch there, as it were. But with a slew of excellent work in the seventies, she certainly paved the way for those who were to follow, from Cynthia Rothrock to Michelle Yeoh. Mao is probably best known in the West for her small role in all-time martial arts classic, Enter the Dragon, where she played the sister of Bruce Lee, Su Lin, who is attacked by Han’s minion, O’Hara, and commits suicide rather than be raped by him. [Mao was paid the princely sum of $100 for her performance!] But that just scratches the surface of a career which included nearly thirty films during that decade, with Mao the star of many, rather than a supporting character.
She was born in Taiwan, less than a year after its establishment as an independent state, following the defeat of Chiang Kai-Shek by the Communists. In her early year, she took a similar route to Jackie Chan, being enrolled in a school for Chinese Opera at the age of five, where she trained for the next 14 years – among her classmates for a time there was another future Taiwanese action heroine, Judy Lee. Around the end of sixties, she was introduced to Raymond Chow, who was then attempting to get his fledgling movie studio, Golden Harvest, off the ground, and was looking for a female star who could headline its slate of pictures, in the same way as Cheng was being used by the rival Shaw Brothers. The combination of dramatic and physical skills which Mao brought to the table proved a good fit, and she was cast as the lead in Angry River, the debut production from the new company.
“You want some more?”
In it, she plays Lan Feng, who goes in search of a rare, much sought-after herb needed to cure her sick father. Shot in Taiwan, and using music in large part ripped off from On Her Majesty’s Secret Service, it’s clear Angela’s martial arts talents were still evolving; you really need to remember she was still a teenager when she made it. Mind you, the sequence where she takes on a giant rubber-suited “lizard” that knows kung-fu, appears to come from the imagination of a six-year-old. As well as the first film for Angela and Golden Harvest, it also marked the beginning of a frequent collaboration between Mao and Sammo Hung, who was the action director as well as playing a supporting role. They’d work together another dozen or so times over the subsequent decade, and it seems fair to credit Sammo for helping Angela develop, coming up with a style which meshed with her balletic training and flexibility.
It was two subsequent films, Lady Whirlwind (a.k.a. Deep Thrust – surely one of the finest exploitation retitlings of all time) and Hapkido, which elevated Mao’s star, particularly in the West, where she broke through in a way that none of her sisters could quite equal. That helped lead to her supporting role in Enter the Dragon, and her career continued to roll for the rest of the decade, both for Golden Harvest and in work for other studios. Perhaps the most notable – if not, it has to be admitted, the best – is Stoner, a.k.a. The Shrine of Ultimate Bliss, which was originally intended to star Bruce Lee. In this, he would team up with both Sonny Chiba and one-time 007, George Lazenby, who had signed on for a three-picture deal with Golden Harvest. The story had Lee taking down a gang of drug-smugglers headed by Lazenby [with the tagline, “It’s Lee! It’s Lazenby! It’s Bruce Versus Bond!”] but Lee’s death derailed the project. Chiba and co-producers Warner Bros. both backed out, and it eventually became a vehicle, with a budget just a fraction of what was originally intended, for Lazenby as the cop, with Mao stepping in to provide a local box-office draw.
“Killing you is going to be a real pleasure!”
She married relatively young, in 1974, and had a child two years later. It was this that led to her abandoning her film career in 1982, barely into her thirties, so she could devote more time to her family. It was a decision she apparently never regretted, going by the lack of any effort at a comeback – much though many people would have loved to have seen it. It certainly did Cheng Pei-Pei no harm; her turn as the Jade Fox in Crouching Tiger, Hidden Dragon was one of the highlights of an extremely good movie, and introduced her to a whole new generation of movie-lovers. But, hey, perhaps there’s time yet: Mao is still only 64!
For now, we have to make do with her films, and there has been a recent surge of decent releases of many, Golden Harvest having apparently realized the value of what they hold in their vaults. So, rather than necessarily having to endure poorly-dubbed entries, cropped to oblivion and taken from prints that appear to have spent several decades at the bottom of a cat’s litter-box, we get to enjoy them in a pristine format. Particularly recommended is the six-film set, The Angela Mao Ying Collection, which contains six of her features, including Stoner and the thoroughly entertaining When Taekwondo Strikes.
It’s easy to see the influence of Mao on those who came after, for example in the shapes of Moon Lee, Cynthia Khan and Michelle Yeoh, who share Angela’s agile grace and earnest, fresh-faced wholesome charm. What they all have, Mao perhaps more than any of them, is the ability to play to their strengths. You don’t see Mao going toe-to-toe with bigger, heavier opponents, trying to outslug them. Sure, her punches have impact, but it’s the speed of them, and the variety of angles from which they arrive, which is her strength, rather than her… ah, strength. The size differential is always an issue when you have women taking on men, and some films do a better job than others, of addressing this issue in a credible manner. With Angela Mao, it’s never a problem; even when going up against someone like Sammo Hung, you never get the sense she is physically over-matched. Forty years on, they are still some of the best example of female martial arts made, and Mao’s title of “Lady Kung-fu” remains entirely justified.
Below, you will find a playlist containing more than twenty Angela Mao features, all of which can be enjoyed on YouTube. Some are dubbed, others subbed; some are beautifully widescreen, others… not so much. You take what you can get! They’re in chronological order, and I’ll update the playlist with new or upgraded entries as appropriate.
A somewhat jumbled mix, this sounds like a film about a punk-rock band but certainly isn’t. It actually starts off playing as a WW2 version of The Terminator, then morphs in the middle to become a mongrel crossbreed of Leon and Nikita, more or less abandoning the whole time-travel aspect entirely. The reasons for this do eventually become clear, yet still leave you feeling like the first third of the film was an entire waste of effort. To begin in the middle, Serena (Marie, who as you can see from the left, even looks like early Anne Parillaud) is a young woman, plucked off the streets by the Boss (Thomson) and raised in his image to become an assassin. She and her boyfriend, Leonard (Neal) are given a very strange mission. A group of scientists have discovered how to manipulate the space-time continuum, allowing them to travel in time, and they have sent someone back to kill Hitler as a child. A counter-group, the RATTs – Researchers Against Time Travel – believe this will just make things worse i.e. allowing someone else, more competent, to rise instead, so through Boss, hire Serena and Leonard to kill the assassin. So how do you stop someone, when those behind them have the ability to control time itself, and counter every move?
By coincidence, I watched this the same week as Predestination, and that film demonstrates how time-travel, altering past effects and the resulting paradoxes, should be handled. Here, the film never gets a firm grasp on it, and nor does the budget allow for anything approaching the credible depiction of a previous era that is necessary. The performances are all over the place too, mostly under-emoted and flat, though there’s also the worst apparent attempt at a British accent I’ve heard in years: Dick Van Dyke snorts derisively from the corner. [Look, I know we make great villains and all, but if you don’t have someone who can do it properly, and the Britishness isn’t necessary to the plot, I have to wonder: why bother?] As noted, there’s a sudden switch in focus, and it’s quite jarring, although I suppose it kinda makes sense for a story (nominally) about time-travel to have a fractured structure. Here again though, it doesn’t add anything to the plot, and a more linear retelling might perhaps have allowed the makers to build more empathy with Serena.
It wouldn’t have impacted the plot much, since it’s only at the end, when the Boss does the whole “let me tell you the entire plan for no good reason” thing – a staple of movie characters since early Bond flicks – that it makes sense. However, please note the sharp distinction between “sense” and “compelling viewing”, since the latter is never even approached here. Technically sound, with some interesting camerawork and a decent soundtrack, this remains just marginally passable as entertainment, mostly thanks to a script in need of at least two more rewrites.
Dir: Kevin James Barry Star: Evalena Marie, Jonathan Thomson, Dave Neal, Marek Tarlowski
While there have been plenty of female vampires over the year, the number of female werewolves is a lot smaller. There’s the wonderful Ginger Snaps (and its not as wonderful sequels), the forgettable Cursed, TV series Bitten, and most infamously of all, Howling II: Your Sister Is a Werewolf. However, perhaps the closest relative here is a little off to one side: the remake of Cat People, made by Paul Schrader in 1982. It is not dissimilar in tone and approach, both taking a firm, if somewhat hysterical psychosexual tone to proceedings, and Giorgio Moroder’s musical score sounds like the synthesized one here. Both have heroines whose transformations are triggered largely by sexual excitement, and who eventually find a man happy to love them for who they are – only for that happiness to be short-lived. Of course, this one being grindhouse, the reason for its abrupt termination is her boyfriend being stabbed to death while trying to stop her from being raped, which triggers a rampage of revenge that justifies its inclusion on this site.
But I’m getting ahead of myself here. It’s also a sexual assault which triggers the psychological problems for Daniela Neseri (Borel). The psychological trauma and Daniela’s obsession with a family legend involving an ancestor who supposedly turned into a predatory animal, form a potent combination, and she develops a deeply-held belief that she also changes into a wolf at the full moon. That doesn’t appear to be the case, but it still brings tragedy down on the family, when Daniela gets all hot and bothered after seeing her sister (Lassander) making love to her husband. The resulting carnage get her committed to a psychiatric hospital by her aristocratic father (Carraro), only for Daniela to escape after an encounter with the facility’s local nymphomaniac. After some more brutal murders, which baffle the local police, she finally meets her soulmate, who works as a stuntman. And this takes us back to where this paragraph came in.
It’s pure exploitation cinema, not skimping at all on the nudity, and with a healthy amount of gore as well – what else would you expect from a director who, the same year, gave us Deported Women of the SS Special Section? This isn’t quite as sleazy, though certainly is not family viewing, and is well enough made to make for an interesting viewing experience for broad-minded spectators. Borel has a nicely lupine quality about her, and even if the transformation sequences [most notably the opening dream sequence] leaves a bit to be desired, the various elements – the heroine, her family, the cops who gradually realize the connection between the corpses – are tied together with a script that has had more effort put into it than you might think. They truly don’t make them like this any more.
Dir: Rino Di Silvestro Star: Annik Borel, Howard Ross, Dagmar Lassander, Tino Carraro
a.k.a. La lupa Mannara or The Legend of the Wolf Woman
Not perhaps our traditional fare, but there’s a good case to be made for its inclusion, with a strong, single-minded heroine who is prepared to do whatever it takes, including putting herself at considerable risk, to keep her family together. Certainly, you can see why Lawrence went on to stardom, and knowing her subsequently as Katniss Everdeen makes going back to her breakthrough role interesting. For you can see echoes of Katniss’s steely determination in 17-year-old Ree Dolly, trying to cope with a mentally-ill mother, two young siblings and an absent father. She’s just about coping, until she discovers that her father has skipped out on an impending court date for cooking meth, and put up the family home as collateral for his bail bond. If Ree can’t track him down, the bail company will be able to seize the family’s property and turf them out. Tracking him down is going to require Ree poking her nose into some very unpleasant corners of rural Missouri, where some intimidating characters have good reason for the missing man to remain that way.
It’s a disturbing glimpse into a world that seems barely part of America. I haven’t been so unsettled by a film’s location for a long time – the only comparable movie I can think of, is the East European gypsy slum in Import/Export, which looked more like a bomb site than a functioning residential area. Outside the natural surroundings of the Ozark Mountains, beauty is rare here; happiness, even rarer: survival is a full-time occupation, leaving no time for anything else. Outside of Ree, and her young sister and brother, who are too little to know different, there is hardly anything approaching a sympathetic character here. They virtually all pose a threat of some kind to Ree’s mission, and she has to navigate her way through them as if they were wolf-infested woods, knowing the right time to push, and the right time to back down. Except, even Ree isn’t fallible, which is how she ends up on the floor of a barn, beaten to a bloody pulp. Yet that’s when help arrives, from an unexpected source, and I guess, almost everyone lives happily after. Or as happy as possible, given the circumstances.
Lawrence is great, convincing and sympathetic, resilient and focused, a heroine who is credible without being incredible. Indeed, all the performances hit the required spots, to a degree where you wonder if Granik simply put out a casting call for meth dealers. However, the script isn’t as convincing, relying too much on people who have behaved one way, suddenly switching tack, for no obviously apparent reason beyond it being necessary for them to do so. It’s not exactly light entertainment either, and if you’re expecting flashy set-pieces, definitely look elsewhere. Falls more into the category of films which are to be respected, rather than enjoyed, yet Lawrence’s portrayal takes the viewer along, on a trip into the heart of Missouri darkness.
Dir: Debra Granik Star: Jennifer Lawrence, John Hawkes, Lauren Sweetser, Garret Dillahunt
Well, it was a glorious 24 hours of hope, while it lasted. On Monday, the Hollywood Reporter wrote that NBC were “in the extremely early development stages” of preparing a reboot of the much-loved action-heroine series, which originally began in 1995. Producers of the original show, Rob Tapert and Sam Raimi, were reportedly involved, continuing a partnership which had also brought us Spartacus and the upcming Ash vs. Evil Dead – both of which included roles for Lucy Lawless, a.k.a. Mrs. Tapert. There was no firm word as to whether Lawless would have been involved in the reboot, but based on that track record, it would seem likely. Albeit not as the heroine, the piece saying “the new Xena would have to have the charisma and charm of Lawless and the smarts of The Hunger Games‘ Katniss as producers are said to be looking for a sophisticated and smart superhero for a new generation.”
This was certainly something Lawless had been keen on for quite some time. Just earlier this month, while appearing at San Diego Comic-Con to promote Ash vs. Evil Dead, she said: ” I’m pitching my ass off to make it happen, whether it’s with me or not… It’s about who’s got the rights. But that’s a piss poor excuse anymore… Freakin’ pay it. It’s better to have 80 percent of something than 100 percent of nothing. Don’t waste this opportunity. Reinvigorate that franchise… They’re fools not to bring it back.” Judging by the reaction in the media, Lawless is right: the demand for a Xena revival is clearly still there, and it wouldn’t be the only piece of fondly-remembered nineties television, with the Fox revival of The X-Files already being one of the most eagerly anticipated shows of 2016.
But, not so fast, those of you already strapping on the leather corset in preparation for the cosplay contest at XenaCon next year. For no sooner had the seed been planted, then the earth on which it was sown was strewn with cruel salt:
Sorry, friends! news of a #Xena reboot is just a rumor. I’d love it to happen one day but it’s still in the wishful thinking stage.
Pardon me, if I sob gently into my Gabrielle-shaped pillow for a bit. :) Though it’s kinda odd, because the Reporter piece definitely seemed like it was a good deal more than a “rumor”, with meat on its bones, though did acknowledge the development was still in the extremely early stages. One wonders whether the story was, perhaps, a trial balloon of sorts, sent up to see whether the public were enthusiastic about the potential, or whether it was greeted with derisive rolling of the eyes. That question seems to have been answered in the positive, and it would certainly fill a niche for action-heroines on network television, which right now appears virtually to begin and end with Agent Carter and Covert Affairs. But let’s not forget, NBC are also the network which got as far as the Wonder Woman pilot, with Adrienne Palicki, and that never even (officially) aired. There’s many a slip ‘twixt cup and lip.
If the idea does progress, the issue could then become one of casting. There is, obviously, a strong groundswell of support from the existing fanbase to have Lawless and Renee O’Connor [who has been quiet on the whole thing] reprise their roles, even though they are aged 47 and 44 respectively. While not “past it” – Vin Diesel, say, is 48, or the Rock is 43 – this is a full two decades older than they were when they started the series. Lawless has acknowledged this, saying she thinks it’d be funny for the reboot to have a “middle-aged Xena in a muumuu with a bad attitude and a smoking habit.” Hmm. It might be funny as a one-0ff, but not sure there is exactly much staying power in that idea! Who I would like to see take over, and it would also provide a nice sense of continuity, is Zoe Bell, who was Lawless’s stunt stand-in in the show. Performances in the like of Raze have shown her capable of holding her own on the screen; and think of the money they’d save in doubles…
We’ll see what develops. I’d like to see it, but have to say, my re-viewing of the series has been a bit like binge-watching Monty Python: yes, there were some absolute classics, but your brain kinda forgets all the filler and other, lower-quality stuff in between those gems. The potential is there, sure, yet also the potential for a fond memory of my younger days to be shredded. For an example, look no further than the Charlie’s Angels reboot? Enough said.
Kinda dumb, to say the least, yet not entirely reprehensible. Supermodel Victoria Young (Potgieter) is under a lot of stress, having just signed a huge new contract, and to clear her head decides to take a drive across the South African veldt. A close encounter with a truck propels her car off the road, and the dazed Vicky wanders off in the wrong direction, away into the bush. Her manager/boyfriend Josh Sinclair (Wise) is left to co-ordinate search and rescue, though the police seem to think it’s just some kind of publicity stunt, and in the cut-throat world of modelling, there is no shortage of those seeking to exploit Vicky’s absence for their own ends. Meanwhile, by the time she regains her full faculties, she has no clue how to get back to civilization, and has to figure out how to survive a hostile environment. Plus, as time goes on, fend for herself, finding food – as well as avoiding becoming food for the local fauna.
