Author: Jim McLennan

Life Blood

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★★½
“Still a better love story than Twilight“

There’s a fascinating idea at the core here. Namely, that vampires were created by God, in order to mitigate mankind’s sin by preying on the most evil examples of humanity. They’re effectively angelic enforcers. The potential in this is great. The execution, however… Well, it largely comes down to two such vampire/angels sitting around a gas station for the majority of the running time. This isn’t the only aspect which is poorly considered. It starts in 1969, when lesbian couple Brooke (Lahiri) and Rhea (Monk) are at a New Year’s party. Brooke kills a rapist, stabbing him (literally) 87 times, and the pair then flee. In the desert, they are visited by God (model Angela Lindvall), who makes Rhea into one of her enforcers.

However, Rhea insists Brooke gets the same treatment. You’d think God, with all that infallibility and omniscience might figure out giving such power to someone who just stabbed someone (I repeat, literally) 87 times, might not be a good idea. But, whatevs. The pair then lie dormant in the desert sands for forty years, because… Er, I dunno. Reasons? Eventually surfacing, Brooke revels in her new found abilities and quickly turns them to murderous ends, while Rhea tries to restrain her lover, being more in the “with great power comes great responsibility” camp. God, meanwhile, is apparently otherwise engaged, probably writing a monograph on free will.

After Brooke has offed her first victim, an unfortunately passing hitch-hiker, they hijack a camper and hole up in the gas station mentioned. This is necessary in order to avoid daylight, which in this version, still has that unfortunate effect on vampires; quite why God didn’t address that in her wisdom is also unexplained. There, they are eventually located by local police officer, Sheriff Tillman (cult legend Napier), who has followed the trail of mayhem. Rhea is going to have to decide whether to stand with Brooke, or go against her.

It gets some of the little things right, and has an off-the-wall sensibility that’s kinda endearing, and rather trashy. For instance the Sherriff’s favourite TV show is Chicks Chasing Chickens, which is exactly what it sounds like, and is the most amusing fake TV show since Ow! My Balls! God turning up in an seethrough nightie from Victoria’s Secret was also… interesting. Lahiri seems to be having fun with her role too, all lip-gloss and gleeful violence.

Unfortunately, Lahiri is flat-out terrible – with the emphasis on “flat” – and the plot doesn’t have a clue what to do with itself for the middle hour [It may be relevant in terms of the apparent lack of plot direction, the original title was the inexplicable Pearblossom, then became Murder World before settling on the eventual title]. The two leads lurk around the gas-station, bickering with each other and the cashier (Renna, who could be a low-rent version of Sean Astin), while occasionally offing people who show up. It’s far short of enough, and leaves almost all that potential, sadly unfulfilled.

Dir: Ron Carlson
Star: Sophie Monk, Anya Lahiri, Charles Napier, Patrick Renna

The Fatal Raid

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★★★
“Back in black”

“Guess who’s back, back again. Jadey’s back, tell a friend…” Okay, that’s as close as you’re ever going to get as a rap from me. But I was genuinely delighted to see this stared Jade Leung, who was perhaps the final top-tier member of the Hong Kong Girls With Guns club. I thought she had gone the way of Cynthia Khan and Yukari Oshima, vanishing off the radar entirely. It turns out, she had been making TV series and stuff. Leung returned to big-scale movies in 2016’s Special Female Force (review coming in due course), and followed up with this. It was, apparently, originally intended as a sequel to Force, though that notion appears to have quietly been forgotten, perhaps due to SFF‘s less than stellar box-office returns.

She plays Madam Fong, who was part of a botched clandestine operation by Hong Kong police in nineties Macao, which led to several deaths. However, due to the off-book nature of the op, this means no compensation could be paid to the officers’ families. This has sat very badly with another party to the operation, Inspector Tam (Tam), over the decades since. Finally, he gets the chance to do something, as Fong, along with policewoman Alma (Ho) and Interpol agent Zi Han (Lin) are sent to Macao to protect a high-ranking Hong Kong official. They come under target from a group of drug-crazed anarchists… yet there may be more going on to this than meets the eye.

It’s all kinda okay. The action sequences are solid, starting with a stakeout which turns hyper violent, and building through some severely intense gun-battles. There is also some flippy, spinny stuff which looks like a cross between lucha libre and MMA, and is rather impressive. The problem is mostly the stuff between the action, with a plot that doesn’t really make much sense, and characters that I frequently had trouble distinguishing from each other. Admittedly, the latter may partly be a result of the story’s failure to hold my interest. By the end, I was more or less checked out, only truly paying attention when the sound of gunfire brought me back in. To the film’s credit, there was quite a lot of that, and some seriously heavy weaponry to boot.

It was quite easy to see how it could have been a sequel to Special Female Force. That similarly opened with a mission that went savagely wrong, and also had a character who was the daughter of someone killed in the incident. But it definitely has a less comedic tone, veering considerably closer to the “heroic bloodshed” sub-genre. I must confess, it did get a bonus half-star for the very last shot, which, out of nowhere, promised a potential reboot of the Black Cat franchise. I likely got considerably more excited about that, than anything else this had to offer. Still, it was just nice to see Leung again, almost regardless of quality.

Dir: Jacky Lee
Star: Jade Leung, Patrick Tam, Jeana Ho, Lin Min-chen

Recovery

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★½
“PTSD might be preferable.”

Dear god, this is tedious. It takes forever for anything to happen, and when it does, the impact is less than overwhelming. Ronnie Price (Pearson, occupying territory somewhere between Angelina Jolie in Girl, Interrupted and Michelle Rodriguez) is a former GI, suffering from PTSD after three tours in the Middle East, who took to “self-medicating” herself with heroin in an attempt to deal with what she went through. This doesn’t do too much for her anger issues, and after one brush with the police, she’s made to choose between prison and a spell in a remote, women-only rehab facility. Reluctantly, she chooses the latter, though it’s not long before her PTSD flashbacks kick in, and threaten to make her stay a brief one.

Before she can be expelled and handed back to the authorities, a blizzard conveniently settles in to the area, cutting the remarkably understaffed clinic off. Then, some of the other residents start turning up dead, and Ronnie’s history of violent rages makes her the prime suspect for the attending physicians, Dr. Barnes (Quattrocki) and Taylor (Starr). With no help from the outside, she’s going to have to prove her innocence, and also use her military skills to protect the rest of the patients from the real killer.

Some credit is probably due – presuming this was a deliberate choice, at least – to both director and lead actress, for making the heroine thoroughly unlikable. When we first meet, Ronnie she’s not a nice person at all, with no apparent interest in getting clean, and only there at all because it seems easier than the alternative of jail. The main problem is, Ronnie never seems to develop from that point. There’s no sense of her coming to terms with her situation and resolving to be a better person, or rising above her issues to acts of heroism and valour.

Instead, it feels as if the audience is supposed to empathize with Robbie, simply because she’s being falsely accused of murder. She can’t even be sure of her own innocence, due to the blackouts. She certainly still isn’t a nice person, and there is hardly anyone else in the film capable of eliciting any empathy from the audience: Dr. Barnes perhaps comes the closest, though she too has her problems. After being largely a dull, druggie drama for the first hour (how many group therapy sessions do we need to see?), it shifts genres for the final third, and becomes a slasher film.

Unfortunately, Liang seems to have no experience of, or expertise with, the horror genre. This would explain why the last act descends into little more than a series of uninspired cliches, Ronnie and the women creeping around the poorly-lit corridors of the hospital and doing battle. I did find slight interest in the realistically brutal approach to the violence: when the “heroine” [quotes used advisedly] administers a beatdown, it feels like the kind of thing a borderline psychotic ex-soldier might do. But as a whole, the cover is a far better film, than the film actually is.

Dir: John Liang
Star: Stephanie Pearson, Hope Quattrocki, Liz Fenning, Mike Starr

The Odds

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★★
“Odds against.”

A woman (Butler) agrees to take part in a contest. live-streamed for betting purposes, where 20 players are put through a series of tests, designed to push them to the physical and mental breaking point, with the (literally) last person standing getting a million dollars. Her only associate is the Game Master (Fuertes), who oversees the challenges and relays the results from the other location to her. Initially, it seems like he is on her side, cheerleading and encouraging her. But the further into the event she proceeds, the more questionable his actions become, to the point where she begins to doubt everything he tells her.

It’s a not-exactly subtle metaphor for abusive relationships: once you’ve realized this, the impact is like being repeatedly whacked across the nose with a newspaper. I get it. I GET IT. I GET IT!!! Which is why it starts off with the man being super-nice and friendly, only to become completely controlling, and potentially “gaslighting” the woman with false information, playing his own game of manipulation in an effort to keep her obeying him. All far too obvious: a pity, since a straightforward rendition without the undertones, could have been perfectly fine. The unnamed woman is apparently taking part to make up for past transgressions involving her child, which is plenty to have driven the story, yet this aspect is largely forgotten as we move on.

The structure of the game doesn’t make sense either. After the five preliminary rounds (involving fire, rats, drilling, drowning and de-digitification, should you want to know), it turns into a game of Russian Roulette. Whose outcome is entirely determined by luck, rather than being any particular measure of endurance. Might as well have watched the heroine playing a slot-machine for a bit. Even the film eventually seems to realize the limited interest of repeatedly watching someone pulling a trigger and it going click. For it opts to skip through the rounds with increasing speed, in order to reach the final denouement, where everything you’ve learned might or might not be wrong.

This is clearly one of those films which were written to be cheap, with two speaking roles and a single location. I don’t fault it for that: it’s wise for any film-maker to build something which fits the available resources, and the main thing is that both leads here are decent. Butler, in particular, has an intensity about her which goes a long way to making you understand why someone might sign on for something like this. But my level of interest was far from consistent. It started off high enough, lured in by the interesting concept. However, it dropped off due to the unimaginative nature of the challenges. Things perked up for a bit when I realized the metaphor aspect. At least until I realized it was going to grind the whole thing into the ground, which also made it too easy to predict what would happen next. That’s where enthusiasm settled, and I’m willing to bet you can find more effective uses for your viewing time.

Dir: Bob Giordano
Star: Abbi Butler, James J. Fuertes

Birds of Prey (film)

  By

★★½
“For flock’s sake…”

Or, to give this its full, rather misguided name: Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn). I am not convinced that films are improved by giving them gimmick titles including made-up words. It smacks rather of desperation on the part of the makers. Though this is… alright. It did not actively annoy me in quite the same way Captain Marvel did, but it is still disappointing. Robbie’s Harley Quinn was easily the best thing about Suicide Squad. She’s also the best thing about this, but it feels at a considerably lower level. All the edges seem to have been filed off, with Robbie (who produced this and came up with the idea) apparently intent on making her much more of a heroic figure than the barely-restrained psychopath I was hoping to see.

The main problem, however, is over-stuffing of storylines, with so many threads being weaved in, that they all inevitably suffer as a result. Let’s enumerate them. There’s Harley, who breaks up with the Joker, only to discover his protection was the only thing which had been keeping her safe. Detective Renee Montoya (Perez), whose case-load includes investigating crossbow vigilante killings, mob boss Roman Sionis (McGregor) and Harley herself. Sionis’s singer-turned-driver Dinah Lance, a.k.a. Black Canary (Jurnee Smollett-Bell), who… Well, I’m really not sure what purpose she serves here. The crossbow killer is Helena Bertinelli, a.k.a. Huntress (Winstead), seeking vengeance for the death of her family. And Cassandra Cain (Ella Jay Basco), a young pickpocket who steals and eats a diamond containing coded information sought by Sionis.

None of these are adequately developed, even Harley’s. Her story is adequately and brightly sketched out in an animated opening sequence, and then gets scant service as the script tries to keep all its balls, sorry, ovaries in the air. For the feminist leanings are probably the most painful aspect. As depicted here, the “emancipation” of the title seems less about building women up, than tearing men down. Virtually without exception, every male character is more or less a bastard, from the obvious ones like Sionis’s sidekick with a fondness for face-peeling through to Montoya’s former partner who stole credit for her work. Even the kindly store-owner turns out to be happy to sell Harley out. Is this emancipation? To steal from The Princess Bride: “You keep using that word, I do not think it means what you think it means.” 

Along those lines I was initially prepared to criticize Margot for pre-release statements, like it being “hugely important to find a female director for this.” However, that snippet is a bit misleading, since the full quote in context goes on, “…if possible. But at the end of the day — male, female — the best director gets the job and Cathy was the best director.” I’m fine with that. Though it has to be said, I’m not sure what made Yan the best, given her only feature before this was Dead Pigs, a comedy-drama about an incident where 16,000 deceased porcines were found in a Chinese river. But the direction here is serviceable enough: it doesn’t get in the way of Margot Robbie, which may be what the star  wanted all along.

The action is a bit of a mixed bag. There are a couple of very good brawls for Harley, most notably one in a police evidence warehouse (even if the cops seem curiously unwilling to draw and use their firearms. What is this, the United Kingdom?) where Robbie and her stunt doubles get to showcase some stellar moves. But the final fight has much the same problem as the plot in general. In trying to make sure each of the four fighting leads get their chance to shine (Cassandra basically cowers in a corner for the duration of it), the climax basically succeeds in selling all of them short. There is quite a nice “funhouse” atmosphere there, since it takes place in an abandoned amusement park, though it feels like some of the potential wasn’t fully developed.

It does seem to draw some inspiration from Leon, in the relationship between Harley and Cassandra, which is not dissimilar to the one between Leon and Matilda. In both, the adult is forced to tap into a previously unknown nurturing side after a  young girl is dropped into their care, though they are hardly the ideal parent. But probably the most obvious nod is at the end, where Cassandra pulls a very similar “ring trick” to the one which takes care of Stansfield at the end of Leon. As soon as she said it, I figured out what Cassandra meant, before Harley did. However, this maternal element does play into the softening of Harley, one of the disappointing aspects. Given the freedom of an R-rating. I’d have expected a bit more in the way of mature content than a potty mouth and some intermittently brutal violence. At times, it feels more like Robbie is cosplaying Harley, rather than playing her.

Robbie’s avowed aim was to make a “girl gang” pic, perhaps inspired by things like Switchblade Sisters, Faster Pussycat or the pinky violence genre. But what she didn’t bring from them, is that those all had strong leadership. There was no doubt that Tura Satana or Meiko Kaji were the stars: the films accordingly orbited around them and their fabulous screen presence. Her previous movies have shown us, Robbie can deliver that, which makes it all the more of a shame that she abdicated the throne here. Sadly, this ends up closer to an episode from the last series of Doctor Who, with its “very flat team structure.” Or to borrow from Monty Python and the Holy Grail, an anarcho-syndicalist commune where Harley and her pals take it in turns to act as a sort of executive officer for the week. Maybe the title, with its supposed heroine relegated to the tenth and eleventh words, was accurate after all.

Dir: Cathy Yan
Star: Margot Robbie, Ewan McGregor, Mary Elizabeth Winstead, Rosie Perez

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The Hunt

  By

★★★★
“Don’t believe the political hype.”

This was a genuine and pleasant surprise. The original release was pushed back due to some severe controversy: not many films get Tweeted about by the President of the United States, who stated this was “made in order to inflame and cause chaos.” Needless to say, the studio ended up riding that publicity when the movie eventually came out. The current pandemic ended up trumping that (pun intended), so the film hit the home markets, just a week after its theatrical release. To my surprise, it’s considerably more nuanced than the “Red State vs. Blue State” concept I expected. And Gilpin has clearly put her GLOW training to good use, becoming quite the thirty-something bad-ass here.

It is, at its heart, another variant on The Most Dangerous Game, with a dozen people being kidnapped from their everyday lives, and taken somewhere that looks much like Arkansas, to be hunted by the rich for sport. The film is very good in the earlier stages at disconcerting the viewer by shifting their focus: you’ll settle in with one character, only for them to be wiped out in brutal fashion. Gilpin’s character, Crystal Creasey, isn’t even seen until more than 25 minutes in. But she makes up for her late arrival in no uncertain style, quickly establishing that the people behind the hunt, led by Athena (Swank), might have made a mistake by selecting Crystal as their entertainment.

What I found interesting is how even-handed this is. Yes, it’s about the elite hunting common people, and on its surface, i.e. the trailer, could be seen as Democrats hunting Republicans. But they’re hardly depicted as heroic, and indeed, it turns out, there’s considerably more to this. The whole thing started as an off-colour joke by Athena that got out, causing the wrath of #CancelCulture, as propagated through social media and conspiracy circles. She then decided, if we’re going to be blamed for something we didn’t do – why not do it anyway, and targets those who were her harshest critics on social media? Neither side gets out unscathed: not the liberals with their virtue signalling and hypocrisy, nor the conservatives with their paranoia and self-deceit. Yes, it is certainly guilty of picking at the raw scab which is the divided state of the nation (something for which the media, in general, must take much of the blame).

But the horror movie as social commentary is something that has been around for at least fifty years, since Night of the Living Dead.  As I’ve previously made clear, I’m fine with that, providing the film works regardless. And you could safely ignore all the satirical aspects, and you’d still have something among the upper tier of movies inspired by The Most Dangerous Game. It all builds to a kitchen battle between Crystal and Athena, that for sheer savagery, is one of the best woman-on-woman brawls I’ve seen since Kill Bill, Volume 2. Providing you are not too blinkered in your political views, the payoff here should be worth putting them to one side for ninety minutes.

Dir: Craig Zobel
Star: Betty Gilpin, Ike Barinholtz, Amy Madigan, Emma Roberts

Hunter, Warrior, Commander by Andrew Maclure

  By

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

This may be a first, in that the heroine here is non-human – contrary to what you (and, indeed, I!) might expect from the cover. I think I may have covered various crypto-humans before, such as vampires or elves. But this is likely the first entirely alien species. I began to suspect on page 1, when I read that Sah Lee “sank her pin-sharp teeth through the thick fur of the calf’s throat, and tasted the sweet metallic tang of its young blood.” This is clearly not your average twelve-year-old. And so it proves. The story really kicks under way two years later, when Sah Lee leaves her rural village on the planet of Aarn to attend school in the city of Aa Ellet.

She is out of town on a class trip, when demons descend from the sky, causing massive death and destruction. Of course, they’re actually an alien tribe known as “outcasts”, who specialize in this kind of thing. But Sah Lee being a pre-first contact civilization, demons it is. Eventually, the rest of the galaxy, led by the super-advanced group known as “the People”, come to the rescue, but by that point, the planet is uninhabitable and most of the Aarnth dead. Sah Lee is taken aboard a ship, and vows to take revenge on the outcasts by any means necessary, which involves joining one of the galactic armies. But there will be a period of sharp adjustment from the pastoral life she had on Aarn, to being an interstellar soldier. Not drinking out of the toilet will be a start.

It’s not quite clear what Sah Lee is. Mammalian, to be sure – and that’s significant, since one of the features of the universe depicted here is that it is peopled not just by mammals, but reptilians, avians and even insectoid species, generally (but not universally) getting along. Thank heavens for universal translators. Anyway, something cat-like is probably my best guess, though quite how… furry she is, is never established. It doesn’t matter much though: her story is what’s important. And this is at its best in the relatively early stages: seeing an alien invasion from the side of the natives, then following Sah Lee as she has to adjust to a radically new and unimaginably different life. It makes me wonder what first contact will be like for Earth, when it finally happens. Potentially not good.

It’s rather less effective one she settles in, becoming fairly standard space opera. Through a special relationship with the People, Sah Lee has a cutting-edge AI and tech which does make her a bit super-powered. She breezes through every situation, even getting harshly disciplined after breaking military protocol (albeit for good reason). I’m also very unsure of the timeframe here. By the end, she’s basically in charge of her own army, and I’m guessing she is no longer a teenager. Not least because the galaxy as a whole has more or less conquered disease, meaning that violent death is about the only thing preventing near-immortality, with one character being over 172,000 years old. But again, it’s just not clear.

It is, at least, a self-contained story, rather than being volume one of a saga. The book reaches its end at an appropriate and generally satisfying point, which could go on, yet doesn’t have to. I’d have been very interested at the half-way point, when this was offering a different and original perspective on a super-advanced society – looking at it from the bottom up. Now Sah Lee is no longer in that position, she has become considerably less appealing.

Author: Andrew Maclure
Publisher: Amazon Digital Services, available through Amazon, as an e-book only.

Ready or Not

  By

★★★
“Samara saves the day.”

When I settled in to view this, I didn’t realize it starred Weaving, who was the best thing about the very entertaining Guns Akimbo. She’s also the best thing about this, and it largely solidifies my opinion that she’s one to watch in the future. By the end of this, her character has gone through an absolute meat-grinder of punishment, and she is literally drenched in gore. It’s all a very slight work, a comedy-horror that skews heavily towards the first of its genres, and is little more than a disposable bit of fluff. But I’m a sucker for a spot of wedding-dress mayhem – see also Queen’s High and Bloody Mallory.

Weaving plays Grace, about to be married to Alex (Brody), a son from the rich Le Domas family, who made their money in cards, board games and sports teams. The wedding is taking place at their immense country mansion, with his family largely looking down their noses at Grace, believing her to be a gold-digger. Family tradition has new members pulling a card with a game on it, which they must then play. Except, Grace draws “Hide and Seek”. Which means she gets to hide, and quickly discovers that if found, she’ll be killed. This is the result of a pact with the devil made generations ago, the source of the Le Domas fortunes, which on occasion requires a sacrifice. Tonight being that occasion, and Grace being that sacrifice.

The main problem here is, the family are so inept as to pose no credible threat whatsoever. They may have the benefit of numbers, and operate on home-turf as well. Yet they are, in fact, more of a danger to each other or their (rapidly diminishing number of) servants than to Grace. In their defense, it’s not often that their sponsor demands blood, so it’s not as if they’re experienced at ritual murder. Still, is a basic degree of competence too much to ask? Instead, they spend much of the night bumbling around and/or bickering with each other, and it’s not as funny as it thinks. I will exempt Aunt Helene (Nicky Guadagni) from this, who has both an appropriately brutal approach and a nice line in deadpan familial snark. e.g. on being greeted by a disliked relative, she responds with, “Brown-haired niece. You continue to exist.”

I get the feeling there is some class criticism going on here, albeit at a lower level than, say, Knives Out, so that can safely be ignored. For it’s the Samara show, and whenever we are watching Grace’s beautiful wedding-dress disintegrate into a blood-drenched mess, it’s an unexpected delight, especially since Alex is next to useless. I’m not sure I’ve seen such a character arc, going from victim to bad-ass so completely, since Evil Dead II. I also did enjoy the ending, which looked like it was going to zig, before zagging in no uncertain terms. While it would have been nice to see Grace administering the startlingly messy coup de grace, I’m okay with settling for what we get.

Dir: Matt Bettinelli-Olpin, Tyler Gillett
Star: Samara Weaving, Adam Brody, Mark O’Brien, Henry Czerny

The Kitchen

  By

★★½
“Rather over-baked”

Regardless of its flaws, this does at least show that comic-book adaptations needn’t involve superheroes and Thanos snaps. This is instead a crime story, beginning towards the end of the seventies in Hell’s Kitchen, a working-class area of New York. Following a failed armed robbery, the husbands of Kathy (McCarthy), Ruby (Haddish) and Claire (Moss) are sent to jail, leaving the wives to fend for themselves. To make ends meet, the trio begin to move in on the territory of local boss Little Jackie, who has been taking money from local businesses, without delivering the promised protection. When Jackie goes after them, he is killed by the women’s ally, Gabriel (Gleeson), who begins a relationship with Claire. But the husbands’ return to Hell’s Kitchen looms on the horizon, as the women’s growing power also brings them unwelcome attention – both from the authorities and the Mafia who dominate the city.

More than slightly reminiscent of Widows, this is considerably less plausible. The area at the time was controlled by the Westies, a powerful Irish-American group, and the film gives you little or no reason to believe why they’d roll over and let a bunch of amateurs – and women at that – muscle in and take over. In reality, I strongly suspect they’d be squashed like bugs at the first collection of protection money. One woman leading a crew might be possible (see Dangerous Lady for a good example); tripling down, as the movie does, stretches credibility to breaking point. It doesn’t help that there is only one decent character arc between them. That belongs to Claire, who goes from abused wife and perpetual victim, to the group’s enforcer under the tutelage of Gabriel. One of the film’s best scenes has him giving a lesson on dismembering a body to dispose of it. Kathy can’t watch at all, and Ruby is similarly appalled; Claire is entirely fascinated. It’s clear something has been awakened inside. And her incarcerated husband isn’t going to like it much.

It’s a shame she is largely relegated to the sidelines, being the most interesting of the trio – as well as the one most suited to this site, as the poster suggests. Instead, it’s mostly the blandly uninteresting Kathy who takes centre-stage. Even Ruby would have been an improvement, her black heritage adding an element of racial tension, with her husband’s family reluctant to accept her into their bosom. We’re also asked to accept them as heroines without explanation, ignoring the inherently scummy nature of the protection racket which they operate. But they’re nice about it, so that’s okay! Then again, I’ve never bought into the “They’re just taking care of their family” excuse, especially when, as here, efforts to get gainful, legal employment are all but absent. Berloff seems to be aiming for a Scorsese-like approach, down to the use of contemporary pop songs as a commentary on proceedings. While there are worse auteurs to ape, you’ll likely be left with little more than a desire to go watch Goodfellas.

Dir: Andrea Berloff
Star: Melissa McCarthy, Tiffany Haddish, Elisabeth Moss, Domhnall Gleeson