Author: Jim McLennan

Exquisite Bodyguard

  By

★★★
“Three’s Company”

I’m going with the title by which this is generally known. Not to be confused with the title given on the print – Female Bodyguards – or the one in the subtitles, Perfect Bodyguard. The Chinese title, per Google Translate is, The Stunning Bodyguard. Definitely something about bodyguards then: the rest is up to you. This is another one of these direct-to-streaming movies coming out of China, which I must confess to enjoying of late. They are, in many ways, the spiritual descendants of the Hong Kong GWG entries. This poster looks particularly like Heroic Trio. Though I have yet to see anyone in these films at the level of Moon Lee or Cynthia Khan – indeed, I doubt I recognise anyone. Still, thanks to Denis for pointing me in the direction of this specific one.

As is sadly often the case, the presentation was less than whelming. In particular, a good chunk of the audio track had been replaced with generic stock footage, which may have strayed in from a video game, with just that and the dialogue present. This was particularly unimpressive during the opening sequence, which is a large-scale gun battle, definitely diluting its impact. This issue persisted throughout, though at least it didn’t impact understanding of the plot. Jiang Nanying (Gab), Hu Lififei and Ma Yanni (Liu) are three bodyguards. On a mission to protect pharmaceutical scientist Huang Jiadong (Lun), Ma is killed, but Jiang ends up marrying Huang. Except, he gets kidnapped at their wedding. 

Three years (!) later, Jiang is in for a couple of shocks. Not only is Ma not dead, she is now working for the people on whose behalf Huang has been working since his matrimonial abduction. He’s beginning to suffer second thoughts, because his boss is pushing for experimentation on human subjects. I should mention this all takes place around pre-war Shanghai, with Huang a specialist in finding an artificial alternative to opium. Needless to say, his employers are less than respectable. Jiang ends up breaking into the compound, and tries to persuade her husband to leave. Naturally, it isn’t going to be quite as easy as that, despite Ma also having qualms about her current choice of employment. 

There’s fifteen minutes of fights and things getting blown up real good at the start, and round about the same at the end. This is great stuff, a mix of hand-to-hand combat and gun-fu, which is as good as anything you’ll see out of far bigger, Western, action heroine movies. I dunno if the actresses concerned are doing their own stunts. I can’t say it matters much. Running a crisp 71 minutes, the middle section is a little dull in parts. The script is not apparently interested in doing much except hitting the obligatory points, and you can mostly see these coming. Audio issues aside, it looks slick, and not particularly low-budget. I’ve a feeling I’ll be reviewing more Chinese imports in the future. 

Dir: Yuan Guangan
Star: Tingting Gan, Wang Hui, Lun Bo Ke, Liu Sasa

Behind Blue Eyes, by Anna Mocikat

  By

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

The set-up here is an interesting one. The world is now entirely ruled by three corporations. The Olympias Conglomerate governs the Americas; TogbuaXiang controls Asia; and Rosprom holds sway over Europe. Certainly under Olympias, life is not terrible, with the company providing for all your needs. However, the cost is a total lack of freedom, with any attempt to live outside the control of Olympias brutally suppressed. In charge of doing that are its feared Guardian Angels, who are trained from birth to be ruthless killers, augmented by cybernetic implants to be faster and stronger than any human, and absolutely obedient to their commanding officer, Metatron.

Or not. Because where would the fun and dramatic conflict be in that? Specifically, Nephilim, who is being groomed by Metatron to become one of his inner cabal, the Archangels. Except, after a mission to exterminate a dissident encampment, her programming seems to be breaking down, and she is having increasing doubts about which side she is on. She’s even “dreaming”, something unheard of for Angels. A friendly tech (who basically has a crush on Nephilim) implants her with a device which allows some autonomy from the perpetual surveillance under which Guardian Angels operate. While on her nightly excursions, she meets Jake, who opens her eyes to the realities of what she is doing. Nephilim decides to rebel again Metatron and everything she has done her whole life. 

It feels as if Mocikat was a big fan of Equilbrium, the similarly dystopian film in which a highly-skilled and savage enforcer (played by Christian Bale) rebelled against his conditioning, after having his eyes opened to the totalitarian regime for which he works. This is fine, because I’m a big fan of it as well. But it does bring a certain predictability to proceedings, almost from the start. I’d have been more impressed if Nephilim had not rediscovered her individuality – or had done so, and instead remained enthusiastically carrying out the orders of Metatron and Olympias. The only real wrinkle here is that Jake has secrets of his own, and even these are not particularly significant in the final analysis. 

However, while it’s not hard to work out the final destination, the journey to get there still made for a decent read. The world here is developed nicely, and you are left wondering how much liberty people would be willing to give up, in exchange for security and comfort [the answer, I suspect, is a great deal] Nephilim certainly proves capable of taking on just about anything thrown at her, with her 60% artificial body, and the action scenes are crisp and well-described. At almost five hundred pages, it does cram a lot in, but never felt particularly padded. The ending feels like it may push the author into less predictable territory, and I would say that’s likely for the best. Moderately curious as to where it might go.  

Author: Anna Mocikat
Publisher: Self published, available through Amazon, both as a paperback and an e-book
Book 1 of 7 in the Behind Blue Eyes series.

Strong Hawk: My Sister’s Keeper

  By

★½
“Don’t start anything you can’t finish.”

One of the potential pitfalls of making a low-budget film, is assuming you’ll get the chance to make another. It’s different with a book, where the production (or not) is entirely in your own hands. But if you opt to create your film on the basis there will be a franchise, and there isn’t… You’re likely to leave the audience severely peeved. That’s where we find ourselves here. This came out in March 2022. Three and a half years later, I could find no meaningful evidence of the sequel this desperately needs. As a result, all the set-up which is carried out in this initial installment, leaving precious little time for much else, appears likely to be wasted. 

Things begin fifteen years ago, when there is a battle for supremacy between various families, whose members possess superpowers. Eva Hawk and her husband are lost in one battle. To protect her daughters, they have their memories scrubbed so they have no knowledge of their abilities and are adopted out. Fast forward to the present day, and that conditioning is breaking down, with Elegance (Anderson), Vengeance (Mora) and Liv (Evans) being trained to use their talents for good, along with their cousin Keisha. The aim is for them to take on Ms. Brimstone (Dervin), the leader of the clan responsible for what happened to their parents. Needless to say, she’s not happy about it, and sends her minions to make sure the Strong sisters cease troubling her. 

You have to wait a very long time for anything of much significance to happen, after the initial flashback to previous events. Character introductions (and there’s no shortage of them), the trio discovering that they have abilities, the ramifications of that, training of their abilities by their Uncle Al, encounters with minor bad guys to hone their powers, etc… It’s really only in the final fifteen minutes or so, that we get to the expected confrontation with the Brimstone clan. And when it shows up, it’s nothing special. The superpowers appear to have been consciously chosen for the cheapness with which they can be captured on film, e.g. mind control/reading, telekinesis (basically limited to people flinging themselves about), computer hacking, etc. 

I do feel slightly bad about the low rating here, because it does feel like the makers’ hearts are in the right place, and there are occasional moments where it feels like things work. However, some of the performances here would not pass muster in community theatre of the least discerning kind, and the story is several revisions short of working. Most glaringly, one person is not killed by the Brimstone clan when they have both every opportunity to do so, and no apparent reason to keep them alive. It’s plot manipulation of the most basic kind, and was the point at which I stopped being able to give this the benefit of the doubt, and resorted to energetic eye-rolling instead. 

Dir: Ramasses Head
Star: Kara Anderson, Cash Evans, Sierra Mora, Keely Dervin

She Goes to War

  By

★★★
“S_e _o_s t_ W_r”

If the above doesn’t make much sense, there’s good reason for that. Things tend not to, when half of them are removed. Albeit for reasons that are largely not the makers’ fault, because this film only partially survives. Originally released in 1929 with a running-time of 87 minutes, the only version that remains is one re-released about a decade later, which has been chopped down to under fifty minutes, including new opening captions which comment on the looming second global conflict. What remains still packs quite the wallop, as an anti-war movie which doesn’t shy from the brutal nature of World War I. It’s a part-talkie, with sounds for some of the music and dialogue, and it’s very effective when used.

For example, we hear Rosie (Rubens, in one of her last roles before dying tragically young) sing a jaunty little number called “There is a Happy Place (Far, Far Away)” to cheer up the troops. A few minutes later, she sings it again to a dying soldier, as heroine Joan Morant (Boardman) watches from the shadows, and it’s utterly heart-breaking. Joan is there for reasons which have largely been lost in the edit down to the shorter version. But they seem to be related to her boyfriend, Reggie (Burns), who has gone off to war – he has a drinking problem, though whether this is a result of the conflict is similarly hard to determine. She disguises herself as a man in order to replace him after his drinking renders him unfit for active duty. This exposes her to the true horrors of trench battles, which go far beyond what she could possible have imagined.

It’s an area where the poor quality of the surviving print work for the film, because the battle re-enactments (including some impressive model work for the nineteen twenties) almost look like grainy newsreel footage. Of course, Boardman is as convincing a man as most cross-dressing soldiers are i.e. not very. You have to accept that conceit as a given, and not ask awkward questions about things like bathroom facilities. After about the half-way point, the dialogue all but stops, and things unfold thereafter accompanied only by music and some sound effects. Some sections are truly the stuff of nightmares, such as when the soldiers have to advance, only to be driven back by the enemy unleashing a tidal wave of liquid fire against them.

Seeing the men trudging back, as the entire skyline burns behind them, or (the then newly-invented) tanks driving into the same fiery hell, are images which feels like they could easily come out of 1917, or any modern war movie. The chaos of warfare is reflected in the way it’s almost impossible to tell friend from foe, in the flames and the smoke and the near-darkness. The troops advance again, coming under withering fire from a German machine-gunner. Joan shoots him in the head, after running away from a would-be rapist (!). But it’s all too much for the poor girl, and she has to be carried back to safety by the truly heroic (and non-alcoholic) Sergeant Pike (Holland), whose entire back story was another victim of the editing. It’s all frustrating, and makes it very difficult to judge, because I’m basically watching half a movie. What there is, however, packs considerably more of a punch than I expected.

Dir: Henry King
Star: Eleanor Boardman, John Holland, Edmund Burns, Alma Rubens

Born Again Baddie

  By

★★½
“God told me to do it.”

With a running time of 155 minutes, this may be the Gone With the Wind of low-budget urban cinema. To be fair, it didn’t feel that long. To be honest, this might have been partly because it was watched in five separate chunks, over the course of about a week. However, in comparison to some entries I’ve seen, this is technically competent. Director Freddie (whose last name appears to have been abandoned) knows where to point the camera, and he has assembled a decent enough cast of actors, presumably found in the Charlotte, North Carolina area where the story unfolds. Though in this genre, “decent enough” is code for “does not generate physical pain with their performances.” 

It opens with a quote from the Bible – Jeremiah 29:11, to be precise. This will become relevant, although not for another two hours or more. Instead, we are into what is probably trope #1 for the genre: the rise-and-fall story. In this case, the heroine is Nia (Evans), whom we first meet in prison. New inmate Sheba (Abell) realizes that Nia used to be her idol, when Nia was on the outside and called ‘Baddie Bedina’. Her reputation had her dead or on the run. In reality, she’s been inside for a decade, with ten more to serve, and tells her life story to Sheba. This begins with her as a young girl, struggling to take care of her disabled father, a situation which eventually forces her into prostitution. 

She’s good enough at that to become one of the top escorts in the city, the #1 girl at the agency for whom she works, the subtly-named “Harlots”. One of her most regular and richest customers is businessman JP (Tillman), who falls for Baddie. She discovers his business is crime, and saves his life (top) when his enemies attack them at his house. After he goes to prison, for assaulting a slumlord, she takes over and expands the territory under their control – with surprising ease, it has to be said). This comes at a price, and the eventual reprisals force Baddie on the run. She hides out in a remote cabin which her father built with his friend Arthur (Massey).

Trouble follows: unsurprisingly, because she blabs her location to the head of Harlots, after about 30 seconds of chit-chat. Considering they didn’t exactly part on good company, this is incredibly dumb of her. However, she has an ally because Harold is… No, I can’t even. Let’s just say, I did not see his identity coming, and that Bible verse becomes increasingly relevant. It’s certainly unique among GWG films: whether it’s good or not is likely a sharp matter of both personal opinion, and religious conviction. Nia speaks about taking the consequences for her actions, yet there’s a (literal) get out of jail free card here. Credit to Freddie for taking a different route – I just can’t say it’s one that worked for me.

Dir: Freddie
Star: August Evans, Torri J. Tillman, Carlos Massey, Destiny Abell

The Forbidden City

  By

★★★½
“Spaghetti Eastern.”

I don’t think I’ve ever seen an Italian kung-fu movie before. To be fair, the bulk of the lifting in that department is done by Chinese actress Yaxi Liu, who was a stunt double in the live-action Mulan. She plays Xiao Mei – yes, this leads to amusing confusion about Xiao and “Ciao!” – who comes to Rome in search of her vanished sister, Yun. The triad folk who brought her from China expect Mei to work as a prostitute, and soon discover that will not be happening, in impressively violent fashion. She flees, and finds an unexpected ally in Marcello (Borello), whose restaurant owning father knew Yun, and who has similarly vanished. 

Meanwhile, behind the scenes is growing antagonism between Wang (Shanshan), who runs the local triad group, and Annibale (Giallini), in charge of the traditional organized crime in the area. Mei’s actions, attacking members of both gangs, are not helping, and things only escalate further when she and Marcello discover what happened to their missing relatives. You can probably work out the rest for yourself, providing the count of kung-fu movies seen previously is greater than about three. Just be prepared for it to take its time getting there. This runs a hundred and thirty-nine minutes, and I found that the main problem. While the basic story is solid, there’s a bunch of stuff on the edges that could be discarded, such as Wang’s rapper son. 

There are really only four genuine action scenes in this, and given the duration, that spreads them perilously thin. However, all four are really good, to the point you will certainly wish it had more. There’s Mei’s escape from migrant processing (which has a lovely sequence of kitchen-fu); a battle against two of Annibale’s minions; her frontal assault on the restaurant which serves as a front for Wang’s activities; and, finally, her one-on-one fight with Wang himself. The last named felt like it should have been the climax: instead, it takes place when there is still thirty minutes left on the clock, leaving a long, slow march to the end-credits. I’ve not seen such an over-extended ending to a movie since Return of the King. 

That said, I never particularly felt the film was boring: there’s stuff here’s which is superfluous, yet is still adequately interesting. This counts as a well-done gender reversal: typically it would be the male who shows up, looking for his sister, and is helped by a waitress. It helps that both Liu and Borello are left to act in their native tongues, communicating largely through Google Translate (!). This avoid the awkward “acting in a second language” which would otherwise have been necessary. I also enjoyed the backdrop of the Eternal City, filmed in a way which emphasizes its grandeur and history. I didn’t feel like my time – and it used up a lot of it – was wasted. Had Mainetti found reason to throw in a few more fights, this could have been a classic, rather than a well-rounded throwaway. 

Dir: Gabriele Mainetti
Star: Enrico Borello, Yaxi Liu, Marco Giallini, Chunyu Shanshan
a.k.a. Kung Fu in Rome

Christy

  By

★★
“Punched out.”

This was an interesting litmus test for your online bubble. It came out in the immediate wake of controversy over a commercial featuring the lead actress, promoted with the slogan, “Sydney Sweeney Has Great Jeans.” This prompted criticisms this was promoting eugenics, and Sweeney’s refusal to apologize, led to a lot of “Bye-bye career!” gloating when Christy subsequently bombed, with one of the worst returns for a wide opening ever. [Not least from Ruby Rose] However, the subsequent huge success of The Housemaid proved otherwise. The reality is, this is not a very good entry in a genre which is not currently in favour. A far bigger budget and star in The Rock, couldn’t stop The Smashing Machine from tanking equally hard. 

What you get is basically a three-course meal of cliches, combining the very best i.e. worst of sports movies, domestic abuse porn and lesbian empowerment. It seems to be happy to change the facts to suit the narrative. For example, when aspiring boxer Christy (Sweeney) is shown as winning her first pro fight in about thirty seconds of screen time by knockout; the reality was a humdrum six-round draw. When easily-checked elements are made up, it makes me sceptical of co-writer Mirrah Foulkes, when she said, “It was important to us to try and stick as close to historical accuracy as we could.” It leaves me suspicious of… Well, basically everything else the film has to say, about anything and anyone.

It’s a shame, because both leads are very good. Sweeney gained thirty pounds, trained for three and a half months to play the boxer, and refused to use a stunt double. She is thoroughly believable in the role, and whoever was responsible for the boxing scenes knows their stuff. Foster, as her abusive manager/husband Jim Martin, is also compellingly unpleasant, his arc going from tough love coach to stabbing and shooting Christy, rather than letting her leave. That, at least, is based in fact. Though is it wrong my first reaction, on watching her getting beaten up by someone 25 years older, was “Guess she can’t have been that good a boxer”? [Answer: yes, very wrong, I know] 

The problems are more the film’s persistent reliance on tropes we’ve seen far too often: if there’s one montage to stirring music here, it feels like there are a dozen. If you’ve seen any movie about the sweet science since Rocky, you have basically seen this. And at a running time of 135 minutes, there’s a lot of space to be filled in between the boxing matches. These become less significant, the deeper we get into proceedings, the film teetering precariously on the edge of abuse porn, before Christy eventually escapes the horrors of her relationship. I’m glad she did, make no mistake, and I hope she’s now living her best life – the film is kinda vague on this point. But I can’t say this provided any information I wouldn’t have got from her Wikipedia article. 

Dir: David Michôd
Star: Sydney Sweeney, Ben Foster, Merritt Wever, Katy O’Brian

Revenge of the Witch, Books 2-5, by Aubrey Law

  By

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

I previously reviewed the first volume in the series, Demon Hunter. and mentioned there I’d picked up a discounted collection of the first five volumes in the series. Well, here we are, having now read Demon Slayer, Demon Destroyer, Demon Punisher and Blood Moon. You may be noticing a theme there. To quickly recap, it’s the story of Annis, a Black Witch who in the Middle Ages was hanged for sorcery and spend several centuries in the fiery pits of hell. She has managed to escape, and is now out of revenge on… well, just about everyone she considers her enemy – which is just about everyone. But in particular, her mother Amelia, the even more powerful witch, who killed Annis’s father.

Annis is currently occupying the body of a young woman who had the misfortune to be in the wrong place at the wrong time. Despite her moral darkness, Annis is feeling increasingly guilty about it, having previously believed that she only killed those who deserved it. Is this the start of a genuine morality developing in our anti-heroine? We’ll find out over the course of these books, climaxing in the Blood Moon, when the Earth is in perpetual darkness and under the control of the much-hated vampires (as well as a lot of other monsters, some spectacularly large). Will Annis make the sacrifice necessary to bring light back to the world?

The additional four volumes improve over the original one, simply by Annis having a genuine character arc. Though I’m not convinced this is entirely a good thing. One of the series’s appeal was having a lead who driven almost entirely by hate of various flavours. That’s certainly a novel choice (pun not intended), but over the course of the narrative here, Annis does seem to develop genuine emotions towards other people. This does not always end well, to put it mildly, but at the end she’s closer to a conventional heroine, albeit with a a massive, industrial-strength dark side. Which is less unique, to the point I likely won’t bother with the remaining two books in the series. 

However, this provides no shortage of action, Annis going up against a slew of creatures from the small (goblins) to the very, very large Leviathan. The battle against Amelia was a little underwhelming: I expected it to be a knock-down, drag-out magical slugfest, but it was over in only a few pages. However, there are plenty of other battles, against angels, vampires, bounty hunters, high priests and even Satan himself – whom we discover has a certain connection to Annis. Much as in the first part, I’d be hard-pushed to call this great literature, yet I was amused enough that I went through the approaching seven hundred pages quicker than I expected. Sometimes, a fast-food snack is really all you want to eat.

Author: Aubrey Law
Publisher: Independently published available through Amazon, both as a paperback and an e-book
Book 1-5 of 7 in the Revenge of the Witch series.

The Bluff

  By

★★★
“Back from Davy Jones’s locker.”

Are women pirates in vogue again? It’s safe to say that the startling failure of Cutthroat Island holed that subgenre of action heroine movies below the water. That was over thirty years ago now, and this may well be the first time Hollywood has returned to it since. [I found an indie film about Irish pirate Grainne Uaile which wrapped shooting in February 2014, and still hasn’t received a release] Though even here, there isn’t much high seas action here. Outside of the opening scene, where Captain Connor (Urban) boards a ship run by Captain Bodden (Córdova) and finds gold stamped with Connor’s hallmark, this takes place almost entirely on land, specifically the island of Cayman Brac.

Connor heads there, that being where Bodden’s ship came from, in search of the rest of the gold. This was taken from him years previously by then piratical associate Bloody Mary (Chopra Jonas) , who stabbed Connor in the chest and left him for dead. She is now Mrs. Ercell Bodden, having abandoned the nautical life, and started a family. The arrival of her ex-lover upends her domestic bliss, and forces her back into the violent way of life. It’s all kinda like The Long Kiss Goodnight, without the amnesia thing. She has to protect her crippled son Isaac and rather flighty sister-in-law Lizzie (Oakley-Green), while figuring out how to rescue her husband from Connor’s clutches.

The two leads are probably the best things about thus. Chopra Jonas has been ramping up her action chops since her co-starring role in Citadel – also an Amazon product – and does a good job throughout. Urban makes for a great villain, despite being solidly into his mid-fifties. He still commands a fine screen presence, almost thirty years after playing Julius Caesar on Xena. However, the other elements aren’t quite as impressive – or, at least, not consistently so. Flowers doesn’t have a lot of directorial experience, especially in the action genre, and sometimes that shows. There are some good sequences, such as where Ercell fends off buccaneers in her own home. But others, such as a battle in a cave complex, come over as dark and muddled.

The same lack of consistency hampers the rest of the film. For every cool moment – such as the discovery that there are caimans on Cayman Brac – there are elements that don’t work, like Ercell’s relationship with Lizzie. Another issue is that since the days of Cutthroat Island, the genre has been redefined by the Pirates of the Caribbean franchise. Any pirate movie will inevitably be compared to it, and any hero(ine) to Jack Sparrow. It’s an awkward situation, and it feels as if The Bluff is torn between pandering to this, and being its own thing. Whatever Cutthroat‘s issues – and they were numerous – that wasn’t one. But if this can prove the viability of female pirates again, it’ll have been worth the effort. 

Dir: Frank E. Flowers
Star: Priyanka Chopra Jonas, Karl Urban, Safia Oakley-Green, Ismael Cruz Córdova

Overkill: The Aileen Wuornos Story

  By

★★
“Undercooked and overdressed.”

Less than eleven months after Wuornos was convicted on her first murder charge, this TV movie was broadcast on CBS. If you’re at all familiar with the facts of the case, this won’t have much to offer. It does go a little bit deeper into the police procedural, in the shape of Capt. Steve Binegar (Grimm) and investigator Bruce Munster (James). Interesting that it does depict the FBI’s indifference to the case, the investigation basically being left up to the local cops. This gives credence to an article I read, which quoted an unnamed profiler with the bureau as saying there was no such things as a female serial killer. However, said local law enforcement comes up largely smelling of roses.

I’ve a feeling this may be because some members of the police were actively involved in the production, a fact which caused them some trouble due to the conflict of interest. There were, according to The Selling of a Serial Killer, re-assignments as a result, though nothing more formal appears to have happened. This may also have been based on the story Wuornos’s girlfriend Tyria Moore sold, though I’ve not been able to confirm this. The main problem is simply that a TV movie is a profoundly inappropriate medium in which to tell the story of a serial killer prostitute. Particularly one who was a lesbian, though you would be hard-pushed to work that out here. Aileen/”Lee (Smart) and Tyria (Overall) seem much more like room-mates than lovers.

The limitations of the form mean that we don’t really get to see much of… anything, to be honest. The formative influence of Wuornos’s appalling childhood is only seen in a couple of murky flashbacks. The killings themselves come nowhere near the description of them by the authorities as brutal. The closest we get to the grubbiness required for an authentic portrayal is probably the chaste shower scene in which Aileen examines her wounds, behind which we get entirely inappropriate sexy sax music. Though let’s face it: as the picture above proves, Smart and Overall are both far too conventionally pretty, despite being somewhat uglified up. I did laugh at how even the witness sketch impressions of the pair were prettier than the ones actually used by the police. 

As long as you’re fine with an obviously watered-down idea of the story, this isn’t terrible. The actors generally do a good job: I’m not familiar with Smart, but there are points when she is able to capture the body language and mannerisms of the real Wuornos effectively, and her performance does balance between making Aileen sympathetic and demonizing her. I also liked James, an actor I know more from villainous roles such as his replicant in Blade Runner. Seeing him here as a smart detective certainly felt against type. But the whole endeavour feels like a jar of “hot” supermarket salsa. You expect to get something spicy, only to find it has been relentlessly toned down for mass-market consumption. 

Dir: Peter Levin
Star: Jean Smart, Park Overall, Tim Grimm, Brion James