Author: Jim McLennan

Fear of a Black Planet

  By

★★
“Not everything is black and white…”

It’s interesting to look at the film’s IMDb page, and contrast the reviews, where there’s nothing less than an 8/10, with the rating, where 73% of votes are a 1/10. One “review” was actually a rant about other reviews which appear to have been removed? Something odd there. There’s no doubt, the film is not so much tackling a contentious topic, as driving head-first into it at 80 mph. Even the title (obviously inspired by the Public Enemy LP of the same name) is an incendiary one, guaranteed to raise the hackles of many – and, to be honest, not without reason, because of the assumptions it makes. It’s a shame, since the film is at least slightly more nuanced than the title makes it seem.

We’re still deep in problematic territory, however. The topic of race relations in post-Trump America is not something a 70-minute film can address in any meaningful way. While I have to admire the intent, it feels like this was doomed to fail from the get-go, and delivers only the most ham-handed of commentary. Fay (White), a newly graduated black cop, is on the way to visit her father’s grave when full-on race war breaks out. She takes shelter in the warehouse belonging to artist Nova (Kott), only to find it’s not much of a safe haven. For Nova turns out to be part of a white militia group, run by Lestor (Benton). They’ve got a van and are plotting something not very nice with it.

The issue here is the script, which has so many flaws it’s hard to pick out the worst. It’s probably Fay’s repeated failure to nope the hell out of there, despite prolific opportunities. Though the competition in this category is tough. Why does Nova let a “monkey” in to their lair, on multiple occasions? Why do the militia not permanently dispose of Fay the first chance they get? Shouldn’t they – oh, I dunno – lock the door to prevent Fay’s white boyfriend, Ric (Price), from coming in? It’s not as if civilization outside has collapsed into anarchy and utter chaos. Oh, my mistake: it supposedly has. Or maybe not immediately recruit Ric onto their team? Guess you just can’t get the white supremacists these days…

None of these have anything to do with the film’s apparent message: it’s basic storytelling. The performances are fine, and the direction occasionally impressive; the ending works better than it should. However, these aspects deserve a much better plot, and aren’t enough to salvage the endeavour as a whole. With regard to the messaging, it’s not as painfully didactic as I expected from its title, tending to let its morality flow from the situations. Though any pretense at balance is limited to a two-minute appearance by a vigilante apparently affiliated to the Black Hebrew Israelite movement, going by his multiple references to “white devils”. The reality, of course, is that 90% of people, black and white, don’t hold these kinds of extremist views. Here, 90% do, making it as much a dubious fantasy as Birth of a Nation.

Dir: Detdrich McClure
Star: Jay White, Amanda Kott, Joshua Benton, Keli Price

Infinite Storm

  By

★★
“An uphill slog.”

The “based on a true story” label covers a broad range of cinematic outcomes. However, a general rule of thumb is, the closer a movie stays to the facts, the less interesting the result will be. On that basis, I suspect this is a true and accurate deduction of the life of Pam Bales, and one particular incident therein. Because it’s largely lacking in excitement, and worse, seems to know it. Unless you have a fondness for watching someone trudge uphill for 30 minutes, then downhill for another sixty, I’d recommend giving this a pass. Despite some attractive scenery (Slovenia standing in for New Hampshire), there’s not enough to generate the necessary amount of drama or tension.

Pam (Watts) heads out on a solo hike of Mt. Washington. While she’s an experienced hiker, and a member of the local volunteer search and rescue team, she is still not prepared for the sudden change in weather conditions that descends, engulfing her in a blizzard. Managing to extricate herself from a crevasse into which she falls, she then stumbles across another hiker (Howle), ill-outfitted for the storm, just sitting in the middle of the trail. She has to try and negotiate a way down and off the mountain for both of them, a task made harder by her new charge’s odd aversion to being rescued. He won’t tell her his actual name, forcing her to call him John by default, and at one point deliberately plunges off a precipice.

There does turn out to be a reason for this suicidal behavior, which is fair enough. Less satisfactory, is the script’s decision to give us a back-story about Pam and her children. It feels as if they think simple heroism is not something a person – in particular a woman – can simply have; there has to be some more or less buried trauma in their past, to justify their bravery. I didn’t feel this added anything of real significance to her character – and worse, I didn’t care and, to be honest, found it kinda dull. It’s as if the makers didn’t have faith in the ability of their core story to hold the viewer’s attention. Sadly, I can’t argue with them on that point.

In particular, it doesn’t offer any particular progression. This is just Pam stumbling her way about, against the environment and the elements for an hour and a half. At the end, there’s a particularly “Eh?” moment, where a caption informs us that it only takes one person to change a life, not long after Pam has declared that the universe is an infinite storm of beauty. I’m not sure how the film got there from what it depicted over the previous ninety minutes. I always say that the vastly overrated 2001, is the only journey to the outer planets, which feels like it was filmed in real-time. Along the same lines, Infinite Storm is the only mountain climbing movie I’ve seem, which feels like it was filmed in real-time 

Dir: Malgorzata Szumowska
Star: Naomi Watts, Billy Howle, Denis O’Hare, Parker Sawyers

Avarice

  By

★★★
“An arrow-ing experience.”

I’m not 100% sure, but I suspect this may be the first film I’ve tagged as both in the “sport” and “home invasion” genres. It’s not a crossover you see every day. However, it is fair comment in this case, even if takes its own sweet time to get there. Kate Matthews (Alexy) has various bits of static in her life. Her husband, Ash (Ford), spends too much time at his Very Important job in high finance, rather than on their relationship. Daughter Susan is being a teenager. Kate just lost an archery tournament. Oh, and their house has been invaded by Reed (Nell) and her band of thugs, who are now intent on forcing Ash to transfer thirty million dollars into their offshore bank-accounts.

The early stages of this are more than a bit wobbly. We’re given no particular reason to side with Kate, whose issues seem very much of the type typically deserving the hashtag, #FirstWorldProblems. Having helped raise a teenage daughter myself, Susan’s behaviour is very much at the mild end. You have never truly parented, until you get a phone call in the middle of the night, telling you your offspring has been arrested. Slight sullenness isn’t cause for sympathy. On the other side of the coin, the villains seem to be hired for their muscles rather than their brains. More than once Kate is tied up and manages to free herself, which should surely be covered in Henching 1.0.1.

Reed is an honourable exception, being both competent and extremely ruthless: let’s just say, Kate’s family gatherings will not be the same size after this event. Once she begins to take charge, the movie shifts up a gear, and this is also around the point at which Kate’s pastime of choice begins to become relevant. To be clear, it does take about an hour for the first arrow to be fired in anger, and I was wondering, given the cover, whether this was going to be another case of archery teasing: all show and no bow. The final third does make an energetic attempt to make up for this earlier shortfall, and to quite satisfactory effect. Some of the subsequent pointy violence is rather effective.

This is especially the case when Kate, for justifiable reasons (again: think smaller family gatherings…) decides to take the fight to the invaders, and goes into the warehouse from which they are operating. While a bit contrived, this provides a fine location for a spot of stalk ‘n’ shoot, as she picks off the minions one at a time. If you’re hoping this is going eventually to lead to a battle between her and Reed, you will not be disappointed, and it goes to prove that a bow and arrow can be just as effective in close combat, if you are prepared to adapt. Mind you, I’d have dumped Ash’s sorry ass, since he proves to be less than useless. That’s just me though.

Dir: John V. Soto
Star: Gillian Alexy, Luke Ford, Alexandra Nell, Ryan Panizza

Reign of Chaos

  By

★
“Future schlock.”

There are spells where I find myself going through a stream of mediocre movies, wondering when I’ll see something genuinely good. Then, I stumble into the likes of this, which leaves me yearning for the heady delights of mediocrity. It was in trouble right from the start, with five minutes of opening voice-over that did nothing but leave me confused. Then again, if your story requires five minutes of opening voice-over in the first place, you should probably rethink your storytelling techniques. The same could be said for a post-apocalyptic scenario in which food is in short supply, yet black pleather cat-suits are apparently easily available, in a range of sizes to fit all needs.

A plague has swept the land, turning the bulk of the population into flesh-eating “Joiners”. That is not the worst of it. For it turns out, Chaos is harvesting souls to usher in an unending period of unimaginable torment. Perhaps one where pleather cat-suits might be slightly difficult to come by. Humanity’s sole hope is the three descendants of the Greek goddess Nike: Nicole (Finch), Lindsay (Wood), and Alina (Di Tuccio). They are brought together under the tutelage of Rhodri (Cosgrove), trained in the arts of battle and sent off to face Chaos in their pleather cat-suits. He turns out to be a pasty-faced baldie, like Voldemort with a nose, though the final battle is so underwhelming you may wonder if the final reel went missing.

Let me be clear: there is hardly an element of this which reaches even the level of semi-competent. The most obvious flaw is a world, supposedly collapsed into anarchy and… dare I say it, Chaos, which looks utterly indistinguishable from our current one. Lawns are well-maintained, there is not a broken window is to be seen, and the neighbourhood even has a well-stocked boxing gym open. It’s truly the least convincing apocalypse ever. Into this fit our trio of heroines, who are, similarly, the least convincing saviours of the world ever. Their combat skills are negligible, and I have to assume they were cast solely for their ability to wear a pleather cat-suit (something I allow they do better than I could). Admittedly, their performances are not exactly helped by having to deliver laughable lines, such as, “Goddess power, bitch!”

The above is written as someone who has watched and, indeed, made his fair share of poverty-row cinema. The number one rule of this is: just because you can write it on the page, does not mean you can film it. You need to be permanently aware of the limitations which your lack of resources impose, and operate within them. The makers here seem to have no such idea, writing their way into a corner which a hundred times their budget would have struggled to escape. Ambition is laudable. This instead plays like a child in a cardboard box making “Vroom! Vroom!” sounds, and does not a Ferrari make.

Dir: Rebecca Matthews
Star: Rebecca Finch, Rita Di Tuccio, Georgia Wood, Peter Cosgrove

My Day

  By

★★½
“Where the streets have no name.”

Sixteen-year-old Ally (Smith) is living her life very much on the fringes of society. Coming from a broken home, she is now homeless on the streets of London, relying on the dubious charity of questionable friends. Though Ally does have her limits as to what she’s prepared to do, she has no issue with occasional bits of work, delivering drugs for dodgy couple Carol and Gary. It’s this that gets her into trouble: a job goes wrong, after the customer tries to rape her, and Ally flees – without either the drugs or the money. Carol and Gary are bad enough. Yet even they live in mortal fear of their boss, Eastern European gangster Ilyas (Adomaitis). He wants his merch back – and Ally, as interest, for sale to his sex trafficking friends.

Ally ends up in Ilyas’s clutches, increasingly strung out on heroin. Luckily, help to escape comes from a couple of unexpected sources. First is Carol and Gary’s son Kevin (Jackson), who has bigger plans outside the estate on which he currently lives. Then there’s old age pensioner Frank (Kinsey – whom I remember from close to fifty years ago, playing a soldier on classic Brit-com, It Ain’t Half Hot Mum!), who has befriended Ally for his own reasons, is concerned by her sudden absence, and sets out to track her down. Are either of them prepared to cope with someone as morally bankrupt and brutally violent as Ilyas?

This is likely a fringe entry here, considering Ally spends much of the time lying on a squalid mattress, off her head. Yet there are likely just enough moments to qualify, and she has absolutely no aversion to using violence herself when necessary – beyond what any of her male allies can deliver. Although Ally is not a particularly likeable character, there is still enough of a moral code that I did find myself eventually warming to her. The problems here are more in the other cast members, who largely appear to be single-note descriptions, e.g. “kindly old codger,” with the actors not apparently given enough information to flesh them out by first-time feature director Miiro.

I did appreciate a slightly different view of London from the one often shown. Not least, it unfolds on the Western edge of the city, rather than the inevitable go-to when film-makers want to show deprivation, the East End (with an occasional foray Sarf of the river Thames!). Not that it looks notably different: still, it’s the thought that counts. The script somehow manages to end up both a bit too neat, and simultaneously leaving too many loose ends, which may be a result of this being an expanded version of the director’s earlier short. To be honest, it feels fractionally too earnest, in a Ken Loach kind of way, even if depicting a world where everyone is, to some extent, embedded in criminal culture. I suspect that was not the intended point, however…

Dir: Ibrahim Miiro
Star: Hannah Laresa Smith, Mike Kinsey, Karl Jackson, Gediminas Adomaitis

The Girl Who Got Away

  By

★★★
“The plot that got away.”

This isn’t the first movie I’ve seen, in which a woman escapes apparent death at the hands of a serial killer, only for them to track her down years later. However, the twist in the narrative here, which perhaps pushed it over the necessary boundary for inclusion on the site, is that the killer is also female. The victim is Christina Bowden (Johnson), who as a young girl was the sole survivor of Elizabeth Caulfield (Tuckerman) and her “child farm”, for want of a better phrase. Bowden has slowly put her life back together and is now a school teacher. She’s also looking to adopt another troubled teen, Lisa Spencer (McCarthy), and pay it forward. Then she gets a visit from local sheriff Jamie Nwosu (Iwuji).

For Caulfield has escaped during a transfer, and may be heading to finish what she started. Jamie does what he can to offer protection, but the stress is clearly taking an increasing toll on Christina and her psyche. Her relationship with Lisa disintegrates ad she tries to keep her in the dark about her own past.  Then dead bodies start to pile up. At first, it seems Caulfield is the obvious suspect, until the victims become people about whom she wouldn’t even know about, let alone have any reason to kill… If you are anything like me, you’re perhaps a bit ahead of the story, and there are some elements where you wonder why everyone is so slow to put the pieces together.

To the film’s credit it doesn’t stretch these aspects excessively. On the other hand, I still have questions about a number of the developments in the final act, some of which had me muttering “Hang on a moment…” under my breath. I’m prepared to cut it a certain bit of slack, for what had been a slow burn to that point, suddenly turned on the nitrous, and went fairly intense grand guignol. It’s a trade-off I’m usually prepared to make. It does help balance a movie that does feel overlong at 116 minutes, with elements in the early going, that never come to any particular fruition. I’d rather have seen more of Caulfield, who is backgrounded too far to be a truly effective horror threat.

That may at least be somewhat deliberate, as this isn’t exactly the horror movie implied by the poster. It’s perhaps more of a psychological drama, with thriller components. Regardless of genre or marketing, the performances are generally solid though. Johnson does an effective job of playing someone with a rough past, whose future suddenly does not look all that bright either. Over the course of proceedings, it’s certainly one hell of a character arc, and the audience are more or less compelled to go along with her, willingly or not. I can’t say it’s entirely successful as an entity, yet there are moments here that are effective enough. It may have been almost two hours, yet I didn’t feel they were entirely wasted.

Dir: Michael Morrissey
Star: Lexi Johnson, Chukwudi Iwuji, Willow McCarthy, Kaye Tuckerman

Hunting Ava Bravo

  By

★★★
“No business like snow business.”

I do admire a film which does not hang about, and this certainly qualifies. We begin with Ava Bravo (del Castillo) removing a hood to find herself in a very remote, snowbound mountain cabin. A cassette player nearby has a message. She has been abducted by Buddy King (Blucas), a millionaire with a fondness for kidnapping trauma survivors and hunting them through the wilderness. There’s a snowmobile parked five miles North, if she can make it across the winter terrain there. To make it fairer, Buddy has only three bullets for his gun. Oh, and he’s going to be coming up from the basement in ten seconds. Safe to say, this is the kind of start that grabbed my attention. 

It does have some trouble living up to it, with rather too much slack in what follows, even if the running time is under 80 minutes. Things do unfold largely as you’d expect, in what’s another variation on the ever popular Most Dangerous Game concept. Seriously, there have been so many now, I feel I should add a tag for that subgenre. So, we get Eva getting the drop on Buddy, only to find his cassette message was not entirely truthful, and she needs to keep him alive if she wants out. The rest of the film is a struggle between the two of them for dominance, and we learn a little of their histories and what makes them tick.

It probably needs some tighter plotting, e.g. a third party (Medina) turns up when needed by the plot. Though this does get explained, it wasn’t entirely convincing. I have… questions. Let’s leave it at that. This also applies to the ending, where Eva’s geographic knowledge suddenly seems considerably better than it was. However, this is made up for with a decent pair of lead performances, and some sequences which are effective and tense. Del Castillo should be known in these parts as the star of La Reina Del Sur and Ingobernable. This is a bilingual performance, with a chunk of unsubbed Spanish, though it’s mostly cursing.  [Sometimes having a wife of Cuban extraction has its benefits. I’m now fairly fluent in certain phrases you won’t learn on DuoLingo…]

This does come to play in what’s likely the tensest scene. Ava and Buddy stumble across two Hispanic hunters, leading to them both trying to convince the hunters that the other is the dangerous psycho. He has the bruises to support his case, and she is carrying the gun. However, she has the language advantage. It’s a well-written, performed and staged sequence, and shows where the film could perhaps have gone. Moments like this were enough to get me over the less interesting bits of chit-chat, though Ava’s matter-of-fact description of her previous abduction and escape is chilling in its understated nature. If it’s all too uneven to be wholeheartedly recommended, I felt there was enough here to justify its existence. 

Dir: Gary Auerbach
Star: Kate del Castillo, Marc Blucas, Halem Medina

Emily the Criminal

  By

★★★★
“Parks and Illegal Recreation.”

For six months or so, our morning routine involved the consumption of an episode of Parks and Recreation with breakfast. Our favourite character on the show was Ron Swanson, but not far behind was April Ludgate, played by Aubrey Plaza. She was the mistress of deadpan misanthropy, delivering lines like “I’m just gonna live under a bridge and ask people riddles before they cross.” We’ve not seen her in much since the show ended, but the concept of April Ludgate, career criminal, was too delicious to pass up. So here we are, yet I must admit, Plaza is almost good enough to make us forget April. Well, except for one roll of the eyes, which was vintage Ludgate.

She plays Emily, a young woman saddled with an inescapable pit of student loans, for a basically useless qualification, and an unfortunate felony relegating her to food delivery work. A chance encounter brings her into contact with Youcef (Rossi). She earns $200 for making a fraudulent credit-card transaction on his behalf, and is offered the chance to earn ten times that, for a larger, riskier purchase. With regular employment clearly not the solution, Emily embraces her new, illegal career, working with Youcef, much to the disdain of his Lebanese brothers. As their infighting escalates, Youcef decides to cut and run, only to be beaten to the punch. Emily won’t stand for that: “You’re a bad influence,” says Youcef, as he and Emily prepare to rob his brother. He’s not wrong. 

On one level, Emily’s situation is a result of her poor choices. Running up eighty grand in debt for an art degree and committing felonious assault are both decisions she made, of her own free will. These have consequences. Yet I increasingly found myself rooting for Emily, and her refusal to be ground down by the unfairness of life, or those seeking to exploit her – both in the legal and illegal employment sectors. She possesses undeniable smarts, and a righteous anger at the undeserved success of those she sees around her. Her wants are not excessive, and her crimes are… if hardly victimless, non-violent. At least, if you don’t count those who try to take advantage of her. For Emily wields a mean stun-gun.

If the world won’t give Emily a chance, playing by their rules, she’ll simply make up her own rules. She’s not willing to conform just to become society’s victim, and in this, weirdly, it has elements in common with urban flicks like The Bag Girls. There’s also no sense of honour among thieves, though the authorities and police in this movie are notable by their complete absence. Certainly, the threat of arrest is never a consideration for Emily, or at least, doesn’t alter her trajectory. The ending is ambivalent, to put it mildly: crime appears to pay, though it seems Emily may be addicted to the adrenaline high as much as the ill-gotten gains. While the morality here may be questionable, Plaza’s performance still makes it more than worthwhile. 

Dir: John Patton Ford
Star: Aubrey Plaza, Theo Rossi, Megalyn Echikunwoke, Gina Gershon

Girls With Guns Calendars 2023

  By

Welcome to our 13th annual round-up of girls with guns calendars. This one seems to have caught up on me quietly and without warning: Thanksgiving is already in the rear-view mirror, and I’m just getting started. Perhaps it’s a sign that, after a couple of years which were definitely far from normal, things are returning back to something approaching that. Heck, we’ve even been going to concerts and stuff, hanging out with tens of thousands of other people, whose vaccination status was uncertain! We survived, somehow… 

So here we are once more, ready to draw a line through a 2022 which had its moments, and move on to a 2023 which could see me making the most significant move i.e. to a different state, in over twenty years. That’ll be exciting, though I am not looking forward to the packing. I have already made it very clear  to Chris that, the next I move after this, she will be the one carrying me out of the house in a box… :)

As ever, some depart and others arrive. The most notable loss from last year are Liberty Belles. They had been around since 2015, but their website is now empty, and the Facebook page hasn’t been updated since last December. Hens and Guns also appears to have gone dormant. But there are still quite a few for your browsing pleasure, including three brand new arrivals, which we ope will stick around. Therefore, below, you’ll find prices (generally excluding shipping), sample images and links to purchase for all the calendars we could find. We’ll add more if we see them, feel free to email us if you know of any others. 

TAC GIRLS

TacGirls.com – $19.95

The Tactical Girls® 2023 Bikini Gun Calendar is our Best Girls and Guns Calendar yet, with 13 months of beautiful girls and exotic weaponry! Every 2023 Calendar comes with a 12X24 mini Poster with the cover girl Karina Killzone on the front that slides out of the calendar, no perforated tearing or staples to pull

The Tactical Girls 2023 (16th Edition) Bikini Gun Calendar has 13 months (1/23-1/24) of Beautiful Girls and Exotic Weaponry! The 2023 Tactical Girls Calendar brings you 13 months of gorgeous models with some of the world’s most exotic weaponry in realistic tactical settings. The 2023 Tactical Girls Calendar includes the Cadex CDX-40 Shadow Sniper Rifle, the Kel-Tec P50 Pistol, an HK MP5 -10 and the MG3 Belt Fed Machine Gun. These, along with a variety of AR-15 carbines, battle rifles, machine guns, pistols and sniper rifles make for a perfect Holiday gift for the Marine, Soldier, Sailor, Airman, Police Officer, Shooting Enthusiast, Hunter, Airsoft Player or History buff on your list. Fill that 2 foot square empty space on your Man Cave, garage, barracks or tent wall with 13 months of Girls and Guns.

10% of the print run of this calendar is donated to deployed soldiers and organizations that support them, notably AmericanSnipers.org.

GUNS AND GIRLS

GunsAndGirlsCalendar.com – $13.92

The 2023 GUNS AND GIRLS wall calendar is packed with beautiful pin up models and many of today’s most popular weapons, everything from handguns to AR-15’s. This 16-month large format calendar is 17″x 28″ when hung up and a perfect gift for any Armed Service Member, Police Officer or Shooting Enthusiast. Also includes a bonus 12-month poster inside giving you two calendars in one package!

ZAHAL GIRLS

zahal.org – $31.95

We are proud to present our new ZAHAL Girls Calendar which combines the best of both Former IDF Women and the best tactical gear. No gun bunnies! Only IDF veterans. Size is Approx A3

WEAPON OUTFITTERS

WeaponOutfitters.com

Well, they seem to have expanded their selection markedly since last year, with no less than four different options. The link above goes to the search page for calendars on their site, which should cover all eventualities. Here’s a quick summary of what’s available, in ascending order of price:

  • Weapon Outfitters 2023 Calendar ($14.95) – The PG Calendar is much more reserved, with a focus on more gear and kit.
  • WO After Dark 2023 Calendar – PG13 Version ($18.95) – The PG13 Calendar features lingerie, bikinis, and implied studio and outdoor shots.
  • WO After Dark 2023 Calendar – R Rated Version ($29,95) – Our R rated, adult calendars feature nudity and are only for buyers over 18 years old.  
  • Weapon Outfitters 2023 Hailey Lujan Calendar ($44.95) – The 12 Steps to Psyber Psychosis with Hailey Lujan. Lujan is an artsy zoomer who joined up at 17, and has been making the rounds on the internet thanks to her funny video content so we collaborated on a 12 month calendar.  Nothing nefarious (I think) but a themed calendar.  -PG rated -It’s funny -It’s artsy

 

DILLON PRECISION

DillonPrecision.com – $19.99

We couldn’t make up our minds, so our 2023 Calendar has TWO Covers! *There is only one 2023 calendar, product image shows both front and back covers*

WILD DAKOTA GIRLS

wilddakotagirls.com – $17.00

Buying this helps a good cause, with the profits going towards the fight against breast cancer. A worthwhile endeavour. Be a shame if anything were to happen to these puppies. :) They also have various posters available.

 

Daveed Benito Day of Dead Calendar 2023

Poster Foundry, $14.99

The Poster Foundry had a Women with Guns calendar last year. I wasn’t able to find that this time, but I did come across this, which is certainly an interesting twist on the idea. Not certain if all the months are the same, but from what I could tell, there’s enough for it to qualify here!

The Joy of Shooting

JoyOfShooting.com – $27.99 (but a 15% off coupon is available at the link]

Join me as we celebrate what we love about shooting and freedom! Your 2023 Joy of Shooting Calendar is filled with inspiring photography and carefully selected stirring quotes to propel you successfully through your year. Published on high quality paper stock complete with wired binding and vibrant color! As with every year, A portion of the proceeds from all calendars will be donated to non-profits & veteran organizations like Operation Heal Our Patriots. Autographed copies are also available, with bonus content.

The Bullets & Bikinis 2023 Calendar

bikinicalendarstore.com – $17.99

Beautiful Women and their Guns! 12 Months of your favorite Social Media Sensations gracing the pages of this one of a kind calendar. The Perfect Gift idea for the shooter in your life! 11 x 17 When Opened They also have other calendars that might be of interest, e.g. Bikini Spearfishing and Bikini Bowfishing.

Vanquish Magazine – Girls with Guns 2023 Calendar

magforest.com – $9.99 [PDF download only]

A stunning wall calendar for Vanquish Magazine showcasing it’s most gorgeous models. Featured in this Calendar. Cover + 12 Months