Author: Jim McLennan

The Hunger Games, by Suzanne Collins

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★★★½
“A first-person version of Battle Royale! With a love interest!”

I don’t “do” literature much here: I used to read a ferocious amount, but time and opportunity have waned since I stop commuting by train to work. However, I got a Kindle for my birthday, and that spurred me to finish the first novel I’ve read in a long time. While I enjoyed Hunger, and am keen to see the movie version, I was not blown away by this as much I hoped. It’s certainly a provocative premise. In a dystopian future, the former US has been divided up into districts. To discourage rebellion, each year every district sends two teenagers, selected at random, to the capital. They are placed in a large, multi-terrain arena for a nationally-televised tournament to the death: last one alive wins glory and a life of ease. When her younger sister is selected in their District 12, Katniss Everdeen volunteers to replace her: she has been using her hunting skills to support her family, so feels she has a much better chance of survival. But it’s still one against twenty-three…

As noted above, it has often been compared to Japanese cult classic Battle Royale, even if Collins claims the legend of Theseus as her inspiration. Here, the “reality show” elements are definitely more amped-up, with contestant makeovers, interviews, etc. Once the competition is under way, is when the book is at its strongest. Collins does not soft-pedal things at all, as the field is quickly whittled down through a mix of brutality and subterfuge, and it becomes inescapably addictive, to see what curve is going to be thrown at Katniss next, and how she’ll cope with it. For cope she will, since she’s a resourceful, smart and physically adept heroine, a marvellous counterpoint to many alleged “heroines” offered up to young adults.

Unfortunately, there’s also the obligatory love triangle, with Team Gale [the hunting partner Katniss leaves behind] and Team Peeta [the baker’s son chosen as the other District 12 tribute]. How can she choose between them? For the early part of the book, this doesn’t intrude too much, but it eventually becomes the elephant in the corner, overshadowing all else. The pacing also blows: the finale should be the climax of the games, as the last few contestants battle it out, with a brief coda thereafter. But, instead, Collins ramps up the teen angst, and the novel peters out into an uncertain conclusion, ending not with a bang, but a whimper. I really hope I’m not in for more of the same in part two.

Author: Suzanne Collins
Publisher: Scholastic

True Grit

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★★★½
“Forty years later, the Duke has become the Dude, with a small Duchess.”

Based on the original source material – which was very much focused on John Wayne – and the trailers, you’d be forgiven for thinking of this as just another macho Western. However, I read some pieces which suggested that wasn’t the case, with the story [as in the original novel] told from the viewpoint of teenage girl Mattie Ross (Steinfeld), who hires drunken Marshal Rooster Cogburn (Bridges) to hunt down the outlaw (Brolin), who killed her father. That is indeed the case – despite Steinfeld getting an Oscar nomination for Best Supporting Actress, while Bridges was listed for Best Actor. Go figure.

For Ross is one of the most impressive teenage girl characters to appear in a recent Hollywood film, being resolute, smart, brave and resourceful: that’s clear from the scene where she completely out-haggles the businessman with whom her father had been dealing. You can almost imagine Mattie growing up to become Marge Gunderson in the Coen’s Fargo: there’s much the same dogged determination, in a form which causes those who oppose Mattie to severely underestimate her. More in tune with her age, I was also reminded of Lyra Belacqua from The Golden Compass, whose heroine also found herself with an unenviable task, and had to man girl up and get through it. Here, from the moment Mattie plunges into the river on her horse, while Cogburn and Texas Ranger LeBoeuf (Damon) watch from the far side, she’s in a completely different, alien world.

I was much less impressed with Bridges’ performance. Fair enough that he chose not to try and reproduce Wayne’s iconic role: however, the route in which he chose to do so is unfortunate, not least because it’s largely inaudible. He mumbles every line so badly, you’re largely reduced to picking words out where you can, and trying to work out what he said by the other characters’ replies. It’s only right at the end that he comes across as being much more than a drunken buffoon, and it’s difficult to fathom why Ross picked him rather than LeBoeuf, who projects a far more compelling air of confidence. With Wayne, there was a sense of faded, decrepit glory: Bridges’ version of Cogburn is less a has-been than a never-was.

That said, there’s something refreshing about the way this is…well, not refreshing. By that, I mean there is little or no attempt to re-invent or “reboot” the Western genre: it’s lasted for approaching a century, so the basic tenets don’t really need changing. So while there are some understated moments of humour, e.g. the last words of the men about to be hanged, the focus is clear: Mattie and her goal of extracting justice on the man who killed her father. It’s a simple story, well told.

Dir: The Coen Brothers
Star: Hailee Steinfeld, Jeff Bridges, Matt Damon, Josh Brolin

Hanna

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★★★★
“Jason Bourne: The Next Generation.”

“What did your mother die of?”
“Three bullets.”

That matter-of-fact answer, provided by Hanna (Ronan) over dinner with a friend and her family, sums up the character perfectly. While Bourne was seeking to recover his identity, this 16-year old girl never had one to begin with. She was brought up in the wilds of Finland, hunting deer, learning languages and training in hand-to-hand combat with her father, Erik Heller (Bana); she knows nothing of music, for example. Eventually, she is deemed ready, and the switch is flipped on a transmitter, revealing their location to Marissa Wiegler (Blanchett), Heller’s former CIA handler, and putting the pieces into play. Turns out Wiegler and Heller go back to before Hanna’s birth, and he has been waiting all this time to unleash his daughter against the woman who played a very important part in her development. Wiegler captures Hanna, but she escapes, and makes her way from Morocco to Berlin, and the intended rendezvous with her father, Wiegler and her minions in hot pursuit.

I liked this a good deal. As well as Bourne, it blended in a lot of elements from traditional fairy tales. Wiegler is Hanna’s wicked stepmother (the dynamic between the pair is particularly interesting), and Bana like the hunter in Snow White who disobeys orders, refusing to kill her. Regrettably, at no point does Hanna hang out with any midgets, even cool ones like the Half-Pint Brawlers. But she certainly proves more than capable of handling herself physically, as is shown in her escape from custody: dealing with the rest of humanity…well, maybe not so much. There’s also more than a touch of Run Lola Run, with the heroine galloping round Berlin, accompanied by a banging techno score (here, by The Chemical Brothers).

It might have benefited from showing Hanna’s skills a bit more; there’s nothing quite as cool for her as the sequence where, in a single camera-shot, her father comes out of the station, goes into a Berlin subway and wipes the floor with four minions. However, it easily qualifies for inclusion here, and Ronan’s performance grounds this and gives it an emotional heart in a way not often found in the genre.

Dir: Joe Wright
Star: Saoirse Ronan, Eric Bana, Cate Blanchett, Tom Hollander

Sukeban Hunters

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★★★½
“Love that alternate title: Yakuza-Busting Girls: Final Death-Ride Battle.“

This teetered on the edge of a seal of approval, but didn’t quite make it. While there are some lovely moments, two great leads and the recreation of the pinky violence genre from the sixties and seventies, there’s just too much dead wood and pacing flaws, that leave it just short. Still certainly worth a look, with Asami (Asami) and Junko (Rena) going head-to-head as they battle each other for supremacy in the girl-gang world. Junko seems to have got the upper hand, leaving her rival buried for dead in the desert [or whatever passes for a desert in Japan]. But Asami is just warming up: she claws her way, literally, back from the grave, teams up with her old gang-members, and sets about extracting revengs on Junko and her crew.

The two leads are great, with Rena outstanding as a completely-warped boss. To give you some idea, when two underlings screw up, she doesn’t just make them cut off a finger. She pits them head-to-head against each other in digit removal – and the first one to refuse or hesitate, earns a bullet in the head. That’s what I call an incentive to avoid screwing up. She’s also a part-time dominatrix, who enjoys whipping a topless Asami with roses till she bleeds. That’s probably about as sleazy as this gets, and most of the time is more interested in the violence than the pinky, if you see what I mean; there’s a couple of decent extended brawls, as Asumi and her “sisters” take on Junko’s minions [I was initially confused by the sisterhood thing, until I worked out it seems to be a gang term, rather than blood relations].

On the other hand, as noted. some sequences brings things to a halt, most obviously a night-clun sequence which appears as much to be a promo for some band (probably a friend of the director), before going over to the always-popular, unconvincing transvestite assassins. The ending, too, goes on beyond what is necessary or effective, and the digital muzzle flashes are somewhat overdone. But don’t let that dissuade you from what’s a fun entry in the gang-girl genre, and I look forward to the promised second installment.

Dir: Nakadaira Kazushi
Star: Asami, Komine Rena, Motomiya Kenji, Sato Jiro

Geisha Assassin

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★★★½
“Surprisingly decent, and much more assassin than geisha.”

Taking a minimalist approach to its plot, particularly for the first hour, it’s about Kotomi (Tsukui), who is on a quest to find the man (Kanai) who was responsible for killing her father (Nomura), a samurai who wanted to leave his sklls to her. To reach the killer, she has to battle her way through a series of lower-level minions, such as a pack of ninjas, a monk and Pocahontas [ok, that might be a stretch, but honestly, that was my first thought on seeing her]. However, after she has fought her way past these henchmen and henchwomen, to reach the boss level, she discovers that things might not quite be the way she always perceived them.

After a series of Japanese films where it seems the experience most required by the lead actress involved modeling bikinis, rather than combat, it was pleasant to discover Tsukui appeared to know her stuff. This is apparent, because Ohara, for the most part, also knows his, keeping the camera an adequate distance from the action, and allowing the battle to flow across the screen without excessive edits. It’s particularly impressive in the fight between Kotomi and the monk, where one shot in particular is remarkable for its length, approaching early Jackie Chan levels. It makes sense that Ohara also worked on the action in Onechanbara, another solid genre entry.

It’s not without mis-steps: the lighting is occasionally crappy, and the film grinds to a halt at the end for a massive glob of exposition, just when it should be rolling out of control. This is significantly better when it keeps the whole “plot” and “acting” thing to a minimum, and concentrates on what it does best: Tsukui kicking ass in a wide variety of ways, ranging from surreal battles with zombie-like creatures who can detach their heads for use as weapons, or rolling around in the mud with Pocahontas. Which gives me an idea for an entirely new series of ‘Disney Princess’ movies, but I digress. Anyway, at a brisk 78 minutes, this doesn’t waste much time, and was certainly of unexpected quality and volume, as far as the action goes.

Dir: Go Ohara
Star: Minami Tsukui, Shigeru Kanai, Masaki Nomura, Nao Nagasawa
a.k.a. Geisha vs. Ninja

Lethal Angels

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★★
“I preferred this the first time, when it was called Naked Killer.”

Winnie (Lee) has a grudge: against gang boss Bowen (Yuan) in particular, but also against just about any man who abuses women. She puts together a team of four underlings, such as Yoyo (Sum), whose family was killed by thugs, and uses them to take out anyone whose lustful desires overwhelm their common sense. Now, it’s time for the big one: Bowen. Winnie sends Yoyo in as an undercover nanny, to scope things out and obtain evidence of Bowen’s illegal dealings. However, once in, she finds out that Bowen is now largely reformed, and Yoyo also objects to Winnie’s plan to wipe out all of Bowen’s family, including his six-year old daughter. Meanwhile, she’s also being investigated by Jet (On), a cop who knew and almost dated her at college, and is on the case of the mysterious deaths of mob bosses at the hands of beautiful ladies.

This is just too restrained to work. There’s a striptease routine by one of the minor underlings at the start, but after that, it conspicuously fails to live up to its alternate title, of Naked Avengers. Lee is good value as the overlord, but if you think you’ve seen it all before, you probably have. Even the scene where one of the girls has to take on a chained pervert for training purposes is lifted, wholesale, from Naked Killer – except, rather than in a dungeon, it appears here to take part in a car-park or something. [There’s a prominent “keep left” sign in the background, whose looming presence reminded me of nothing more than the ending to a Monty Python sketch]

The action occasionally has its moments, but rarely gets above competent, and it’s only in the final battle, where the schisms in the group fracture and send it on a path of self-destruction, that things become somewhat interesting, and it’s a case of too little, too late. Instead, there’s too much time spent on Jet, who is a waste of space and screen-time, and his lacks of charisma means his relationship with Yoyo has as much chemistry as…as… a thing that doesn’t contain any chemistry. Man, I hate it when a simile falls apart, half-way through. Or is it a metaphor? That I was pondering such grammatical issues during the viewing, probably tells you more about the film than anything else. If there’s a single way in which Naked Killer isn’t clearly better, I think I missed it.

Dir: Steve Cheng
Star: Tin Sum, Andy On, Jewel Lee, Yuan Yuan

Warrioress teaser promo

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“Two powerful female warriors must journey across a post-apocalyptic land to fight a ritual duel, and fulfill an ancient prophecy. In the tradition of “Xena, Warrior Princess”, and influenced by seminal fantasy films such as “Excalibur” and “Flesh & Blood”, Warrioress combines a unique, mystically-infused atmosphere with blistering action scenes. The story features a wide array of vibrantly attractive and powerful female characters pitted against each other in mortal combat. In this world of mysticism and philosophy, ruled by dominant highly trained female warriors, the world is held in the grasp of the dark and malevolent Falonex Empire, and two distinctly different villages hold a deeply-held sworn belief in a powerful prophecy that will bring them salvation.

Once in every generation one chosen fighter from each village must travel on a quest across treacherous terrain to a sacred circle formed of ancient stones, to fight a ritual sword duel, each armed with a sacred sword. If the two warriors are of equal skill and wield the sister swords “the Opener” and “Dragon Singer” they will fullfil the Prophecy and lead the fight against the Falonex Empire. The time has come again for the prophecy to be fulfilled and the two fighters will meet at the pre-destined place. But will they meet as friend or foe?” It stars Cecily Fay, who’s been featured here before, as part of ‘Babes With Blades’, so I’m keen to see this. Here’s the trailer: see the film’s website for more information.

Sucker Punch

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★★★★½
“Suckers for punishment?”

Before getting to the film, what’s perhaps even more interesting is the critical reaction: it has been a long time since I’ve seen a film provoke such savagery, e.g. the Chicago Tribune’s Michael Phillips, who wrote: “The film abdicates so many basic responsibilities of coherent storytelling, even coherent stupid-action-movie storytelling, director/co-writer/co-producer Zack Snyder must have known in preproduction that his greasy collection of near-rape fantasies and violent revenge scenarios disguised as a female-empowerment fairy tale wasn’t going to satisfy anyone but himself.” Ouch. That’s far from the only example, and covers the common planks used to whack Snyder: incoherence, faux-feminism and dubious sexual politics.

There’s not even any genre love lost. Joe Wright, director of the somewhat similarly-themed Hanna, which came out two weeks after Sucker, tore into it: “I probably shouldn’t say this but the posters for recent films with girls kicking arse – there’s one out at the moment – there’s girls in the poster in bikinis and crop-tops, and they’ve got pigtails and they’re dressed up as schoolgirls. They’re being sexualised, this is supposedly ‘Girl Power’ female empowerment and that’s bullshit. Female empowerment is not about sex, that is the point of female empowerment. It’s about brains and not objectifying women.”

It’s worth pointing out Wright hadn’t seen the film, but I can’t say I support his position of laying down canon law on what does or does not constitute “the point of female empowerment”, or accept that sex is incompatible with it, as he states. There’s multiple routes to the goal, just as the Camille Paglia approach to feminism differs from the Andrea Dworkin one. It’s not a Spandex leotard – one size fits all – and to denigrate another piece of entertainment (which is, after all, what both Hanna and Sucker Punch are) for an alternative approach seems petty and mean-spirited. There’s room in the playground for both. Of course, I’m not someone who relies upon Hollywood to provide any kind of moral compass: if you do, I’d say you have far bigger problems than Sucker Punch.

But those who like it, really like it. It’s rated at 6.6 on the IMDB, from over 25,000 votes, so it’s not just studio shills. Compare other critically-savaged and commercial genre “failures”: Barb Wire (3.1), Catwoman (3.2), Ultraviolet (4.0). Sucker is more in line with something like Underworld (6.8), and the reaction on Twitter is also far more positive. Star Cornish may have a point when she said, “It’s so stylised, so specific; there’s no other film like it at all. When you have something totally new, it’s going to be judged to the 10th degree… When you’ve got a totally new concept, it’s a love or hate relationship.”

That’s not necessarily a bad thing. Even if it fails, I’d rather have a film with ambitions, that tries something different, rather than another Judd Apatow/Seth Rogen “comedy”. There’s some parallel to be drawn between Snyder and Dutch maverick Paul Verhoeven. You could link Snyder’s Dawn of the Dead remake to Robocop, while 300 and Starship Troopers are both pseudo-fascistic tributes to the glory of war – and Sucker Punch would be Snyder’s Showgirls, a critically-reviled flop, damaged by its rating. Except here, it’s the PG-13 which hurts, but we’ll get more into that a little later.

The movie itself is imperfect; by some measures perhaps not even the “best” GWG film I’ve seen at the cinema this month. However, it is thoroughly cinematic and can only be admired as such – I’m far more likely to pick up the Blu-Ray DVD of this than Hanna. An un-named 20-year old (Browning) is sent to a lunatic asylum by her stepfather, after rejecting his attentions and being made the scapegoat for the death of her younger sister; her lobotomy is scheduled for five days time. Turns out the asylum is a high-end brothel where our heroine – nick-named “Baby Doll” – and the other girls are kept to perform for the pleasure of various high-rollers. Baby Doll plots an escape, the tools necessary lifted by her accomplices while she entrances the staff and customers with her dancing. During these, Baby Doll retreats even further, to fantasy worlds to do battle against dragons, robots, samurai warriors, etc. But which “reality” is real?

There’s more doubt over that, than which reality Snyder likes: hands-down, it’s the one filled with carnage, and his love for it shows. It’s only April, you could nominate these as the best four action sequences of the year, and I wouldn’t argue. My personal favourite sees the five girls storm the trenches in World War I, taking on steampunk-powered German zombies, with the aid of a rocket-powered walking tank. Remarkably, as cool as that sounds on the page, seeing it on screen is even better. Yes, all bear more than a passing resemblance to video games: they still work, possessing an elegant flow to them. And while none of the heroines will make Zhang Ziyi lose sleep, nor are they left looking horribly out of their depth, a major fear on hearing a High School Musical star was involved.

Since Baby Doll is explicitly stated to be 20, this doesn’t strictly fall into the category of “teenage action heroines,” but her hair, clothes, make-up, etc. all are designed to evoke the spirit of what Chris disparagingly called, “schoolgirl porn” – but the PG-13 rating means it can get absolutely no closer, so really, what’s the point? At least Showgirls delivered the goods: Baby Doll’s fantasy world might as well have been an office, college dorm or, frankly, convent, instead of the world’s most demure brothel. Reports indicate it took seven submissions and the removal of 18 minutes to get past the MPAA, so I have to ask. Should a film that, on one level, is about an abused girl forced into prostitution by her step-father, share a rating with Harry Potter And The Goblet Of Fire?

However, I do like a little more plot and better characterization with my action sequences. I think Baby Doll probably sings more than she speaks in the film. Browning is responsible for the cover of Sweet Dreams, which backs the immensely creepy opening that paints, in swift efficient brush strokes, the lead-up to her arrival at the asylum. It’s almost as if Snyder says, “Well, that’s that out of the way,” and there’s nothing anywhere near as effective the rest of the way. The rest of Baby’s posse don’t even get the benefit of that, and remain little more than lingerie-clad chess pieces, to be moved around the board of Snyder’s (undeniably impressive) imagination. Same goes for the plot, which has the action sequences more grafted on, than flowing naturally from the plot.

Overall, however, for all its undeniable flaws, this is a rare beast: an action film where women [rather than a singular woman] take center-stage. I’m hard pushed to think of anything like it out of Hollywood since, perhaps, The Descent, and this is clearly on a much bigger scale. Unfortunately, the luke-warm box-office probably makes it unlikely anyone else will follow suit, though I get the feeling it will do very nicely on DVD. It’s certainly close to a unique movie, for its combination of style, content and execution, and I tend to think/hope that the passage of time will be kinder to it, than most contemporary critics.

Dir: Zack Snyder
Stars: Emily Browning, Abbie Cornish, Jena Malone, Vanessa Hudgens

"It’s certainly close to a unique movie, for its content of style, content and execution, and I tend to think/hope that the passage of time will be kinder to it, than most contemporary critics."

The Sexy Killer

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★★½
“Cheap Chinese knock-offs aren’t limited to toys and electronics.”

Not to be confused, in any way with SexyKiller, this 1976 Shaw Brothers film is more of an unofficial remake of Coffy. Wanfei (Ping), a nurse by day, decides to go vigilante by night, after her sister falls victim to druglords and ends up brain-damaged and drooling. With most of the police force in the pockets of the dealers, Wanfei opts to go undercover as a drug-addict of loose morals, so she can make her way up the chain of command, to deliver justice on behalf of her sister to the sinister Boss (Hsia). This finds her an ally in Weipin (Hua), a childhood friend and honest cop whose hands are tied by pesky bureaucratic niceties, like “needing a search warrant”; she’s also encouraged by her pundit boyfriend (Wei), who has long taken a strong anti-drug stance.

This has its moments, and I’m likely remembering those more fondly than the movie overall, which grinds to a halt in the middle, and diverts far too much running time over to Weipin. Action-wise, this is from the Dark Ages of Hong Kong movies, after the death of Bruce Lee and before Jackie Chan resurrected the genre. The fights here are pedestrian and poorly-staged, with Ping’s credentials particularly limited, though male viewers may be distracted by her alternative assets [another review described her as spending most of her career lying on her back, and there’s plenty of that to go around here too]. The problem with remakes, is you inevitably compare them to the original, and while the heroine here is easy on the eye, there’s a reason Pam Grier is a genre icon, and Chen Ping isn’t.

Onto those “moments” mention above, which are the film’s saving grace. They start with Wanfei’s showing off her topless kung-fu, and build up to her crashing a car into the Boss’s mansion and letting loose on his minions with her shot-gun, apparently made by Perpetually Loaded Armaments, Inc. The film’s highlight probably comes when we discover what happens when you fire said weapon at a water-bed, which is something the Time Warp crew really should be looking into. However, between the opening and the finale, this comes over mostly as a pale (literally) imitation of Pam Grier’s journey down the same path, from three years previously.

Dir: Chung Sun
Star: Chen Ping, Yueh Hua, Wang Hsia, Szu Wei
a.k.a. The Drug Connection