Author: Jim McLennan

Trunk: Locked In

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★★★½
“Difficulty booting up”

This certainly wastes no time. Malina (Martens) regains consciousness to find herself in the trunk of a car stopped at a petrol station. Things get worse, as she discovers her legs are paralyzed, and she has a nasty wound in her lower abdomen. How did she get there? And more importantly, what can she do to escape her predicament? It’s certainly one hell of a hook, and in the way it hits the ground running – as well as its Germanic origins, almost real-time approach and the plucky heroine with a sketchy boyfriend, forced to survive on her own – reminded me of Run Lola Run. Not as brilliantly executed, of course, but well enough done to keep my interest thereafter.

It does require a little suspension of disbelief to get things rolling, such as the way she has a mobile phone. What self-respecting abductor would not ensure their victim is kept well away from portable electronic devices? The fact Malina’s very first call is not to the police also seemed a bit iffy. But once the initial road bumps are overcome, I found myself increasingly drawn in to her predicament. Considering the film takes place almost entirely in a car boot, it works surprisingly well. Schießer uses all the tricks in his cinematic locker to keep the story moving forward, as find out about Malina, and her relationship with boyfriend Enno (Gilz), her father (Rettinghaus) and even the police operator (Helm) who is her best hope of survival.

Gradually, it becomes clear that this is not quite the simple abduction for ransom it initially appears. While her Daddy is certainly rich, why was the poverty stricken Enno apparently abducted too? Is there a connection to a bit of medical malpractice in which Malina, a trainee doctor, was involved? Then there’s the wound in her side, which is not just an accidental gash. Not all of these will end up relevant in the final analysis, and piecing them together is part of the fun. I figured out the key revelation only a couple of seconds before the film announced it, and this propels things forward in a very different direction, the rest of the way.

Obviously, given her circumstances – locked in a car trunk and with limited use of her legs – this is less “action” oriented in the traditional sense. But also given these limitations, I’ve no doubt that Malina qualifies here, having to use all the abilities at her disposal, from her medical knowledge to brute force, to try and survive, as her situation grows increasingly dire, e.g. she crosses the border out of Germany. I feel sure it’s the kind of plot where a less charitable reviewer could probably pick so many holes, it ends up resembling a lace garment. Martens isn’t Franke Potente either, though who is? However, I am prepared to give it the benefit of the doubt, and note that I wasn’t even tempted to pick up my cellphone once. These days, I’ll take that.

Dir: Marc Schießer
Star: Sina Martens, Luise Helm, Artjom Gilz, Charles Rettinghaus 

Hard Knox

  By

★★½
“Opportunity Knox.”

I was intrigued by this, mostly due to the presence of Penn, an Australian champion in karate who appeared (albeit, in minor roles) in a number of Hong Kong action movies of the nineties. Her blonde hair made her stand out, as one of the few gwailo women to be seen in the genre. This TV movie, intended as a pilot for a series appears to have been her swing at stardom in the West. After it fell agonizingly short, she seems to have given up on acting entirely. She now appears to be the CEO of Signal 8 Security, a private security company back in Hong Kong – the celebrity clients listed on the company’s website appear to include Jackie Chan, ironically enough.

This is, in some ways, art imitating life, as here she plays Niki Knox, who… runs a private security company. On her wedding day to Jackson (Chong), her father Darrell (Lee Majors) is put in a coma by the villainous Delicious Malicious (Kessell) – yes, that’s apparently her name – who is seeking a trio of gemstones which Darrell has been guarding. As a sideline, Malicious runs a PPV website that streams her blowing up buildings and other acts of mayhem. But the gems are the main thing, and Niki has to stop them from falling into the wrong hands, otherwise… bad things will happen.  She has to manage that with the help of former cop Steve Hardman (Calabro), who is now her employee, and despite the betrayal of someone very close to her.

Just as Cynthia Rothrock’s American movies are not a patch on her Hong Kong ones, so Penn’s action here is a pale imitation of her work in things such as In the Line of Duty V. I don’t know why I expected any more from a TV movie though, especially one making a lackadaisical effort to pass the city of Sydney off as a generic American metropolis (an endeavour largely undone by Penn’s noticeable Aussie accent). It still might have managed to work if it had stuck to a simpler scenario, just pitting Knox against Malicious, the latter chewing scenery to entertaining effect. It’s definitely a case where the sidekick outshines the main villain.

Instead, there are too many supporting characters who serve little purpose, and Calabro in particular sucks the life out of any scene he’s in. There’s no chemistry with Penn at all, and I’d much rather have simply seen this sister doin’ it for herself. As noted, I’m not sure there’s much of a stretch in Penn’s role here, yet she’s reasonably engaging. I might have talked myself into watching the show, albeit only if Steve Hardman suffered a quick and painful death in an early episode. That will remain hypothetical. For while the pilot did get a positive reaction in the United States, it appears that sales in the rest of the world were so weak, the production company was unable to proceed to series, and the project was scrapped. I’d be hard-pushed to call it a great loss.

Dir: Peter Bloomfield
Star: Kim Penn, Thomas Calabro, Simone Kessell, Jason Chong

The whole film is on YouTube, as below

Mother Daughter Traitor Spy, by Susan Elia MacNeal

  By

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

It’s often forgotten that America didn’t join World War II until almost three years after it started. In the early days, there was a strong isolationist movement, which saw the conflict as other countries’ problems, from people like aviator Charles Lindbergh and broad groups like the America First Committee. Indeed, there was a surprising amount of support for the Nazi regime: in February 1939, a rally at Madison Square Gardens drew twenty thousand people, and even after the war started in Europe, there was significant activity attempting to keep America out. It’s in this period, between the start of the war and the bombing of Pearl Harbor, that the story told here takes place.

Veronica Grace is an aspiring journalist who has just graduated college when her plans are upended. A dalliance with a married man blows up, resulting in her being blackballed from employment in New York. She and her widowed mother Vi opt to move to Los Angeles instead, but are shocked to discover the local community rife with Nazi sympathizers. Her attempt to report this fall on deaf ears, the authorities at the time being more concerned with the Red Menace. But a friend of her late father, a naval officer, is able to connect the Graces to Ari Lewis, who is running a semi-official anti-Nazi investigation. Their German ancestry make them perfect to go undercover, and they agree to do so, despite the risk, and knowing that exposure would likely mean a brutal fate.

Interestingly, this is based on real characters, with almost everyone having an equivalent in historical fact. For instance, Veronica Grace is based on Sylvia Comfort, a young woman who did indeed become an inside operative, initially as a secretary, working against the German American Bund and their members. MacNeal colours in a lot of the background; there’s no indication the real Sylvia wanted to be a journalist. I am a little uncertain about some historical elements too. For instance, the Nazis all want Wendell Wilkie to beat Roosevelt in the 1940 election. Except Wilkie was, per Wikipedia, “a forceful and outspoken advocate of aid to the Allies”, a stance key in winning him the Republican nomination. Not exactly a “fellow traveller”.

Still, I’m fine with bending history for the sake of a good story. This is at its best when capturing the steadily increasing sense of paranoia as Veronica embeds herself even more deeply, the struggle to maintain her own identity, and the tension between associating with people she has grown to like, and their abhorrent views. As her handler puts it, “Here’s the thing, Veronica. ‘Nice’ isn’t good.” Given the nature of her work, the amount of physical action here is inevitably limited; it’s mostly near the end, and neither Veronica nor her mother are involved. However, it remained an interesting read, with an unusual setting for a spy novel. I was certainly left wondering how things might have turned out, if not for the efforts of people like Veronica.

Author: Susan Elia MacNeal
Publisher: Bantam, available through Amazon, both as a paperback and an e-book
A stand-alone novel.

Blood Orgy of the Leather Girls

  By

½
“Amateur hour and a quarter.”

Incompetent on every level, this proves there’s a section of cult fandom which would praise a dog turd to the heavens, if told it had a “feminist” message. The title is probably – scratch that, certainly – the best thing about this, suggesting a throwback to the JD films of the fifties, filtered through the lens of Russ Meyer. “Suggesting” is the keyword here, since the reality is more like the finger-paintings of a developmentally challenged three-year-old. I guess the title is actually inspired by Blood Orgy of the She Devils, a film made in 1973 by Ted V. Mikels, one of the most inept directors ever to pick up a camera. This movie is poor enough Mikels would likely require his film’s name be taken off it.

The plot, such as it is, concerns four girls, who set about taking revenge for one of their number when she’s sorta-kinda-not-actually raped. Though any concepts of justice are fairly loose, since they were already gleefully committing crimes, including murder. Meanwhile, the least convincing detective in film history, Inspector Morton (Silverstein) narrates, offering a moral context with lines like, “When the maternal and creative forces of women become corrupted by the brutality of the every day world, a force of incredible violence is unleashed.” The women are similarly implausible as disaffected schoolgirls, with the gang’s leader, Sarah (Gingold), a Jew who has a shrine to Hitler in her bedroom, and goes to Catholic school. I’m very confused.

No, wait: not confused, just staggeringly bored. For Lucas doesn’t have the barest idea of film-making, such as basic framing. So we get violence that is completely unconvincing, utterly unsexy nudity, and what I can only presume are comedic moments landing like lead balloons. It’s all accompanied by Z-grade surf punk and other flatulent noises, likely provided by the director’s equally talentless mates. There’s one moment where self-awareness is almost achieved. The women go to a drive-in, hunting their last victim. An even worse film is playing, and the narrator – who no longer seems to be Morton, for unclear reasons – declares, “The movie dragged on. And on. And on.” So close to getting it.

Legend has it the director, unable to get her work distributed, committed suicide, only for her brother to take up the movie in her honour. Except she never existed, Michael Lucas making his sister up, in the belief it’d improve the odds of his film being taken seriously. That’s the level of artistic honesty we are dealing with here, and if there weren’t already a myriad of reasons to hate this, I want no part of it. I did sit through to the finish, mostly out of a stoic refusal to let myself be beaten by this piece of pretentious garbage. Trust me, when I say this isn’t even “so bad it’s good,” it’s closer to being so bad it’s unwatchable. Near the end, someone is sodomized with an electric drill. I can’t think of a more appropriate metaphor for the viewing experience.

Dir: “Meredith Lucas” (Michael A. Lucas)
Star: Phillip Silverstein, Robin Gingold, Simoone Margolis, Melissa Lawrence

Run-Off

  By

★★
“Fast, loose and out of control”

It feels as if South Korea is going through all the Olympic sports, making films based on each of them. Indeed, this film’s alternate title makes it a sequel to Take Off, about ski-jumping. I’ve seen two of the previous entries, covering archery (3 Heroines) and table tennis (As One), with the latter the more successful. This one comes up shorter than either. Less due to the technical side, which is always solid and occasionally impressive. However, the “true story” element is riotously inaccurate, the film completely rewriting reality in favor of what is not much more than a series of the most obvious sports movie cliches, for two hours and five minutes of increasingly sappy nonsense.

The story is of the first South Korean women’s ice-hockey team, formed to take part in the 2003 Asian Winter Games. There was basically no women’s ice-hockey in the country, so the team’s core players include a disgraced speed skater, a roller hockey player, a figure skater, and a North Korean defector, Lee Ji-won (Soo Ae). The national committee need to give the impression of trying, to boost Korea’s chance of hosting the games. But they can’t find anyone to coach, so end up hiring alcoholic deadbeat coach Kang Dae-woong (Oh D-s). Fill in the rest of the plot yourself, as the team goes from losing to an elementary school team, to facing North Korea – and Lee’s sister – with a medal at stake.

Except, it never happened. 2003 wasn’t even the team’s debut, as they played at the Asian Games in 1999. The results were… rather less heroic than depicted here, where they never lose by more than one goal. In reality, they were hammered in all four games, and outscored by a total of 80-1. Not quite as cinematic. The film ends by proudly announcing the team went on to qualify for the 2018 Olympics. Conveniently omitting the fact they got in automatically as hosts – the same way Team GB qualified for handball in 2012. The more I read about the reality, the worse the taste left in my mouth by the movie’s rewriting of history. There’s artistic license, and then… I’d be embarrassed to be one of the players involved.

Up until this wholesale factual butchery, it had been competent enough. Nothing outside the standard inspirational sports movie, e.g. training montages, clashes of characters, unsupportive families, etc. Yet the games are actually well enough staged, with camerawork that puts you right there on the ice, and it feels like the actresses are doing enough of the skating to pass muster (they had three months training before shooting). It’s just not an honest film. A better approach would have been like Next Goal Wins, covering the climb from embarrassing defeat through to redemption. If only they had waited. For the year after this came out, Korea had a 3-2 shoot-out win over China – the same opponent who had pounded them 30-1, fourteen years earlier. With a story like that, you don’t need to make stuff up.

Dir: Jong-hyun Kim
Star: Soo Ae, Oh Dal-su, Oh Yeon-Seo, Jae-suk Ha
a.k.a. Take Off 2

Til Death Do Us Part

  By

★★
“Bored til death, more like…”

Great poster. Solid trailer. In the light of those, unfortunately, the film can only be described as a significant disappointment. While it’s good, and occasionally very good when in motion, damn, there is a LOT of flapping of lips going on here. It’s clear that writers Chad Law and Shane Dax Taylor, as well as director Woodward, are in love with their dialogue. This is unfortunate, since it’s nowhere near as amusing, informative or entertaining as they think. There’s probably a decent twenty minutes in this, mostly when the lead character – nameless, known only as “Bride”, a conceit shamelessly stolen from Kill Bill – is kicking butt. Since the film runs a hundred and eleven minutes, that is a problem.

Indeed, nobody here gets a “proper” name. The Bride (Burn) decides at the last minute she is not going to go through with marriage to her fiance (Blain), and runs off to her family cabin. Her husband-to-be doesn’t take that lightly, and sends seven groomsmen, under the best man (Gigandet), to bring her back. not with polite discussion to convince her to return. For it turns out everyone involved is part of a shadowy organization of assassins called “The University”. You don’t get to leave, so the Bride has to defend herself from the consequences of her decision, still in her wedding dress. Which as Chris pointed out, is odd, considering it’s her family’s property. No clothing better suited to combat?

Confusing matters considerably further is a flashback (I guess) to happier times on a beach somewhere, whose purpose escapes me, except for providing a nice vacation for Jason Patric. What these lengthy scenes certainly do, is sap the film of any momentum as survival horror. Then again, the film does plenty of that itself, with endless scenes of the characters talking and talking and talking and… you get the idea. It’s a pity, because the violence, when it shows up, is done with some energy. Burn seems to be doing quite a lot of her own stunts, to good effect, and there’s nice use of improvised weaponry. The chainsaw shown on the poster is not just there for show either, providing perhaps the film’s most memorable moment.

Not that there’s exactly a lot of competition, admittedly. I found myself frequently thinking of ways this could have been improved. “Being roughly thirty minutes shorter” would be a good start. Alternatively, could potentially have been fun if the seven bridesmaids had also been assassins, fighting for the Bride. Why is it just the groomsmen? There, it feels like a sure-fire case of diminishing returns, with most of them more annoying than anything else. This is especially true of Gigandet whose character is perpetually droning on about the speech he has to give. Pancho Moler as T-Bone is perhaps the only one to make an impression. It’s all a garbled mess, which seems poorly constructed, and only occasionally delivering on the wildness of its premise. 

Dir: Timothy Woodward Jr.
Star: Natalie Burn, Cam Gigandet, Ser’Darius Blain, Orlando Jones

Blood Valentine

  By

★★½
“Dubbed to death”

This is another in a recent burst of Thai action heroine movies, including The Secret Weapon. But it’s less successful, although the deficit is not entirely the movie’s fault. The only version I could find was a dubbed one on YouTube: over the years, I have developed a strong preference for watching films in their original language, unless absolutely necessary. Here, that proved to be the case, and it was basically a reminder of why I prefer subtitles. This isn’t just dubbed into English, it was dubbed into English by Indians. Imagine watching a gangster film set in New York, where everyone has a Swedish accent. It’s immensely off-putting, and I had great difficulty in getting past it.

The plot has a hitwoman, Chris (Kingpayome), who has worked for Mr. Ralph (Macdonald) since before the birth of her daughter, Rin (Prommart). The daughter is being brought up in the family business, along with another girl, Joi, who was rescued from a crime scene. However, Rin is now in those difficult teenage years, and is being distracted by a schoolgirl crush on Sun, a senior at her college. This causes her to lose focus and make mistakes in the assassinations she carries out with her mother, for “Ralph Elimination Ltd”. Coming under pressure from her boss, Chris decides to take the liability of Sun out of the picture. Needless to say, Rin is not exactly happy about this decision.

It’s better in the second half then the first, once it stops being badly-dubbed teen soap-opera, and turns into badly-dubbed action, which is tolerable. Things aren’t exactly what they seem initially, and the dynamics of the situation become considerably more interesting as a result. I’ve seen enough of this kind of thing to feel I knew where this was going. I was expecting it to have Chris eventually coming to terms with her daughter’s wish for a normal life, and then protecting Sun from Ralph’s murderous intentions. No. Does not happen. Well… it kinda does. But the way it gets there, is in a rather more plausible manner, with everyone from Chris to Ralph having credible motivation for their actions.

Outside of the dire dub, the main issue is perhaps the somewhat underwhelming action, both in quantity and quality. It’s only okay in both departments, except for Rin’s final assault, which is a nicely-staged attack on Ralph’s headquarters. That is a shame, since the script is one of the better ones, and Prommart feels a little like she is channeling Natalie Portman in Leon. Though that might just be a combination of her hairstyle, and the way the movie ends. It does teeter over into melodrama on occasion, not least with a lengthy, emotive video message from Chris to her daughter. Overall, however, there is an impressive fatality rate, and it would likely be close in entertainment value to the preceding entries – if only it was available in a similar format.

Dir: Isara Nadee
Star: Metinee Kingpayome, Ray Macdonald, Nitchanart Prommart, Phiravich Attachitsataporn
a.k.a. Ladies First

[July 2025 update. A subtitled version has now shown up on Tubi, under the title of Viper. This would, needless to say, be the preferred option, despite it trying to look like a new movie with a claimed date of 2025!]

Jack Squad 2: The Next Generation

  By

★½
“Do you know what the definition of insanity is?”

This is a question posed by the bad guy (Fears) towards the end of this, and of course, he provides the usual explanation in response: “It’s doing the same thing, expecting different results.” After watching this, I would choose to adjust it slightly. A valid definition of insanity is making the same movie, and expecting different results. Because it is, more or less, what Rankins has done here: it’s a remake of his own movie from fourteen years ago, Jack Squad. Now, there’s something to be said for that. I mean, Cecil B. DeMille did The Ten Commandants twice, while directors from Hitchcock to Michael Haneke have remade their own films. 

The difference is, they were kinda busy. For instance, Hitchcock directed twenty-five features between his two versions of The Man Who Knew Too Much. Since the original Jack Squad in 2009, Rankins has made just one feature: Angry Kelly in 2014. Did he not manage to come up with more than one original idea in a decade and a half? And that count is presuming Angry Kelly is not about a man who is annoyed because he was drugged and robbed by a trio of women. I’ve not seen it, I can’t say. Here, we get a little variation at the start, where the original Jack Squad get hunted down, and a bit at the end, where there’s dissension in the ranks over hidden money.

In the middle though? It’s a blatant re-make. Three young women decide to make money by drugging and robbing men. This goes wrong, when one of the targets is a courier for a violent drug boss, carrying a large sum of cash. They make the ill-advised decision to hold onto the money, a choice which brings them into the crosshairs of its real owner. If anything, we have even less going on this time. It’s a good half-hour before the new trio, of Cassie (Green), Nikki (Alexander) and Cam (Lynn) put their scheme into action. I guess there is at least some altruism, the goal – at least initially, before the designer shopping kicks in – being to cover the medical bills run up by one of the trio’s mother.

The overwhelming sense of deja vu here is what knocks the overall rating here down below the original. I mean, the three characters feel almost like bad photocopies of their predecessors. There’s one who has qualms about the whole concept, while another refuses to give it up at any cost. It’s likely a little more technically competent, though at basically two hours long, is still painfully over-long. There’s a weird subplot where one of the women has a mentally challenged brother, who wants to be a baseball pitcher. This does eventually show relevance, though the way it does, might have you wishing they hadn’t bothered. If we don’t get Jack Squad 3 until 2037, I am completely fine with that. 

Dir: Simuel Denell Rankins 
Star: DeShon Green, Samiah Alexander, Tinesha Lynn, Gregory J. Fears

Girl with a Gun: An Annie Oakley Historical Mystery, by Kari Bovee

  By

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

This is an interesting idea. Take a real-life historical action heroine, whose life provides the underlying framework, and write a fictional story around that. Obviously, Annie Oakley really existed, and the broad strokes of her life here are accurate. If you’ve read our article on her, you will already know she did indeed take part in a shooting contest against famed marksman Frank Butler. That helped win her a spot on Buffalo Bill’s Wild West Show, with which she traveled both the United States and the world, amazing crowds with her markswomanship. The book adheres to these elements faithfully.

However, there’s a lot more going on here, which Bovee has added in. Almost as soon as Annie starts working for the show, her tent-mate, a young Indian woman, turns up dead. She is not the last corpse to do so, and there are no shortage of suspects in the crimes being committed either. The show’s manager, Mr. LeFleur, who seems to carry a torch for Annie. Twila Midnight, a medicine woman of mysterious origins, who conversely, has a passionate dislike for the heroine. Vernon McCrimmon, with whom Annie had crossed swords in the past – ending badly for him. Or possibly even Frank Butler, whose skills are failing him, with Oakley taking over as the show’s top attraction, or Buffalo Bill himself, who has skeletons in his own closet.

It’s likely not much of a spoiler to rule out the figures who actually existed like Butler, but Bovee does a decent job of keeping you guessing among the other characters. The evidence points one way, then the other, before things come to a head after an attempt is made on Annie’s life. This is only foiled due to the hedonistic tendencies of her replacement tent-mate. I think it probably works better as a whodunnit, rather than as an action story. Though there are plenty of rounds fired over the course of the book, these are almost entirely in the show’s arena, and the descriptions don’t generate a great deal of energy. You are instead left with a sense that perhaps you needed to be there.

This is a fairly straightforward story, with a generally good sense of historical time and place, capturing 1885 in the mid-West. Though I was amused by Twila saying, “His fever is high. It may be a virus,” since the first virus was not discovered and isolated by science until 1892. There’s not an enormous amount of complexity to Annie’s character here either. She’s relentlessly good-hearted, even to people who really do not deserve her kindness. But that’s part of her heroic nature, I guess, and Annie’s desire to provide for her family, as well as her loyalty to her horse, Buck, who also comes under threat, make for admirable qualities. I’d call this a solid read, which doesn’t seek to push the envelope, and if not aiming high, does hit most of its targets. D’you see what I did there?

Author: Kari Bovee
Publisher: Bosque Publishing, available through Amazon, both as a paperback and an e-book
Book 1 of 3 in the Annie Oakley Mystery series.

Kobanê

  By

★★★
“It’s clearly no Nirvana…”

Yes, let’s get the obligatory Kurt Cobain joke out of the way quickly and painlessly. This is instead about the Kurdish city, located in northern Syria, which came under assault from forces belonging to the Islamic State (ISIS) in 2014-15. The defenders eventually repelled the attack in what has been called the Kurdish version of the Battle of Stalingrad. Even before that, we had covered how groups such as the YPJ put Kurdish women on the front-line, in a way rarely seen in modern warfare. One such woman is the focus of the film, Zehra (Arin), who is forced into a commanding role after backup is refused, and the city is cut off by the advancing ISIS army.

What follows is basically your traditional war movie, with a small group of defenders coming under attack from a numerically superior opponent. We’ve seen this often enough, in the likes of Zulu, Saving Private Ryan, 300, etc. But making the central character female is certainly unusual, and better still, the film ignores her gender entirely. Seriously, I don’t recall a single time it was so much as mentioned. Any Hollywood film would surely make an obvious point of it, with a male character questioning her competence, or worse still, shoehorning in a cringeworthy, Avengers: Endgame,”She’s got help” moment. Here, everyone is far too busy trying to survive to indulge in that kind of nonsense, and if you want an up-close street fighting experience, this certainly delivers.

However, there are issues. At a whopping 159 minutes, it’s overlong, and there are also times it feels you need a Wikipedia crash course on the complicated situation involving the Kurds, Turks and Syrians. For instance, there’s a point at which the defenders are set up for betrayal. Perhaps the logic of this makes sense if you know the situation, but it felt like I had to take the logic on trust. It’s also worth remembering that this is, at heart, a piece of propaganda, and sometimes it’s not exactly subtle about it. The ISIS soldiers feel as if they strayed in from a Disney class in villainy, and there are times when the story resorts to equally blatant emotional cliché.

I was impressed by the technical aspects, with a sense of destruction – they found a lot of razed city blocks – and deaths where people get shot, sit down, and slowly pass away. Reportedly, a lot of the cast were genuine fighters who took part in the siege: that’s a bit of a mixed blessing, as sometimes the lack of acting experience shines through. I’m not sure if Arin is among them: her IMDb listing has no other roles. But she’s fine, with a face which simply feels as if has been through a lot. The film is helped significantly by Mehmûd Berazî’s score, and I think it does work better that similarly-themed features such as Soeurs D’Armes or Sisters Apart, feeling more grounded and “real.”

The makers have put the whole thing up on YouTube with subtitles, below – and if it’s imperfect, I’d say it remains worth a look.

Dir: Özlem Yasar,
Star: Dijle Arin, Awar Eli, Reger Azad, Nejbir Xanim