Author: Jim McLennan

Chick Fight

  By

★★½
“Fight Club: Ladies’ Night”

You are probably not going to see a more relentless parade of cliched storyline elements than here. Anna (Akerman) is seeing her life fall apart. Her coffee-shop business is failing, her car just got repossessed and her love life is entirely non-existent. Best friend Charleen (Sloan) takes her to an underground fight club for women, who need to deal with their issues in a less feminine form than society allows, i.e. by beating the crap out of each other. There, she incurs the wrath of club bad girl, the undefeated Olivia (Thorne), who challenges Anna to a bout in two months. Luckily, she’s introduced to a boxing coach, Murphy (Baldwin), who used to train Sugar Ray. There’s romance too, in the shape of club doctor, Roy (Connolly), though Olivia has also set her sights on him. Can Anna overcome her inner doubts, and triumph over adversity, after a welter of training montages?

It hardly would count as a spoiler to reveal the result, with almost everything here being horribly underwritten. Anna is given a dead mother necessary to the plot, and a father who has just come out of the closet, which most certainly isn’t. I also question the entire underlying principal of the entire concept. In what universe does it make sense, when you are out of work, broke and on the edge of being homeless, to spend all your time training for an amateur MMA bout? DEAL WITH YOUR EVERYDAY PROBLEMS, PEOPLE. Naturally, all of those get conveniently hand-waved away, in another of the plot’s convenient contrivances. See also: the manner in the which the final fight unfolds, which is seriously foreshadowed in the most unsubtle of manners; the thoroughly unlikely way in which it proves to be a bonding experience between Anna and Olivia; or the disposal of the legal charges against the heroine.

Yet, there are a couple of elements which meant it did manage to hold my attention – though it was touch-and-go at some points. Akerman does a good job of selling her character, giving her an airy, if likable, persona that does leave you wanting to see her prevail over her misfortunes – even if they are, largely, of her own making [struggling business owners shouldn’t have a Prius]. But the most pleasant surprise was the action. I was expecting little or nothing on that front, yet mad props are due to fight choreographer Shauna Galligan, who delivers brawls that wouldn’t be out of place in a Scott Adkins or Jason Statham film. That begins early, with Anna’s first fight lasting only about five seconds – and if you can make the chick from Twilight look like a serious bad-ass in the cage, you’re clearly doing something right. It’s never going to be enough to salvage a script that’s intent only in ploughing along paths that are painfully well-travelled. Yet it did provide some unexpected pleasures, and I was left feeling my time had not been entirely wasted.

Dir: Paul Leyden
Star: Malin Akerman, Kevin Connolly, Bella Thorne, Dulcé Sloan

The Lioness

  By

★½
“Yes, another strippers-on-the-lam flick.”

This will be rather shorter than my typical review. But then, the film is rather shorter than the typical movie. In fact, it only runs 46 minutes and 20 seconds between opening and closing credits. At first, I felt cheated. However, by the end, I was positively grateful for the makers’ economy in this department. A standard running-time, and I’d probably have been gnawing my own leg off to escape. It’s also an object lesson in not taking IMDb reviews at face value. There are currently eight for the movie: all very positive, averaging a score of 8.7. But when you look closer, you realize that every single reviewer has only reviewed this film, with all but one apparently signing up just before posting their reviews. That’s a red flag.

A bigger red flag is, the film sucks. That’s apparent right from the opening scene, where a trio of strippers are debating the stage name one of them, new arrival Megan (Hartselle), should pick. Approaching four minutes are spent on this, so we’re getting close to 10% of the movie’s effective running time in meaningless drivel. It ends with one suddenly proclaiming, “I heard that there’s this stripper, she goes from club to club, stays there a little bid, robs the place. No-one knows who the hell she is.” Cut to Megan looking extremely guilty, and I think a small piece of me died inside. This feeble effort on both script and performances continues the rest of the way, complete with Megan breaking the fourth wall repeatedly to speak to the camera. Which might have been okay if she had anything interesting to say.

Anyway, there’s an opportunistic crime in which another stripper, Goldie (Orebaugh), swipes the night’s takings and runs off, accompanied by Megan. Except, the haul turns out to be rather more than expected, due to the club being used as a front for money-laundering by owner Anna (Ivanova). Consequently, the resulting heat is also above expectations. Stuff subsequently happens, such as another employee, Linda (Gutierrez) wanting in on the take. but I will admit to having largely lost interest after it became clear these “strippers” were going to perform without ever taking their clothes off. They might as well have been nuns. It’s an appropriate summation of the movie: this lioness is more like a toothless moggie.

Dir: Richard Poche
Star: Lacy Hartselle, Gabriele Orebaugh, Giuliana Gutierrez, Desi Ivanova

Red Blade

  By

★★★
“Ninja family values.”

Poor teenage girl Mako (Ogura) is having a pretty crappy time of it. Her parents are feuding over money troubles, she’s getting bullied at school, and then, her father ends up arrested for fraud. But, just when things are their lowest, she gets a paper-cut. For reasons that are never entirely explained, this opens a portal through a storybook to a different world, which proves to be rather better. There, she becomes a ninja trainee, learning the skills under master ninja Saizo (Sakaguch), alongside co-trainees Hiro (Tsukimiya) and Yu (Hanakage). At first, things go very well, with her new talents helping her self-confidence and letting her handle the school bullies.

Then she discovers Hiro and Yu’s stories: they are orphans, training for revenge on Kansuke (Joey Iwanaga), the man who killed their parents. And, it turns out, he is also capable of existing both in this world and the “real” one. He has been duelling with Saizo for hundreds of years (in a thread not unlike another Sakaguchi film, the sublime Versus), and also has a hand in the misfortunes which have befallen Mako’s family. The question is, whether the trio of young women have the necessary skills to take down Kansuke, even with the help of Saizo. And if they do, what will that mean for the “storybook” universe?

This opens with close to a 10-minute, almost wordless fight sequence, in which Saizo takes on a slew of enemies (weirdly, I noticed their corpses seem to vanish after being dispatched, though this may just be because of the nature of this world). Things then go very much into a low gear as far as action is concerned. Instead, we have to deal with Mako’s domestic dramas and woes, then her training: and there’s a lot needed, as someone whose skills initially prove more a threat to her friends than her foes. Fortunately, time in this realm is independent of time in the real world, otherwise she’d probably middle-aged by the time she reached the necessary skills. It’s all pretty low-key, enlivened only by the trio’s first mission, to steal some floor plans. The fighting here is rather too informed by fast cutting and jerkycam to be of note.

However, it does redeem itself very nicely with the final battle against Kansuke and his many minions, which goes through a series of combinations, before settling down into Kansuke vs. Mako. This is really good stuff, and does a much better job of showcasing the skills of the various participants than the earlier action scenes, with Ogura standing out unexpectedly well. I will say, the ending has to be considered among the most abrupt I’ve ever seen, and is only slightly defused by the inclusion of a mid-credit sequence, tying up some of the loose ends. The script for this was written by Sion Sono, who gave us Tag. This isn’t nearly as good, yet the strong finish leaves me looking considerably more kindly on it, than it seemed I would at the half-way point.

Dir: Takahiro Ishihara
Star: Yûka Ogura, Kanon Hanakage, Himena Tsukimiya, Tak Sakaguchi

The Fox and the Eagle by David Kantrowitz

  By

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

I don’t typically buy fourth books in a series, but didn’t actually realize that was the case here until after I’d finished it. From what I can gather, this is set in the same universe at its predecessors, but introduces a new set of characters. It certainly works well enough as a stand-alone entity, and poses no problems read on its own.

There are really two action heroines here. Evangeline Adeler is a CIA agent, who is investigating a strange series of abductions, when she becomes its latest victim. Turns out these are carried out by the Kira’To, aliens from a nomadic asteroid called the Eagle, hundreds of light years away. Humans are being taken  in order to provide “a fresh genetic source” for the Eagle’s inhabitants – inbreeding generally being a bad thing. However, Eva is having none of that, escaping an arranged marriage and winning her freedom after prevailing in a trial by combat. The other heroine is Reveki Kitsune, a teenage girl and farmer’s daughter, who ends up the sole survivor after an attack on her uncle’s spaceship, the Fox, by members of a neo-criminal group called the Syndicate.

Due to this, she inherits the Fox, and meets Eva, who becomes part of the ship’s new crew while looking to find a way back to Earth. Their subsequent adventures take them on a raid to acquire a stash of neptunium, discovering the truth about Vecky’s parentage, and linking up with Tomoyasu, a long-time exile from the Eagle who is seeking to return there in order to stage a coup. The Eagle has a Japanese-based culture, for reasons apparently related to previous injections of abductees from there, This means Tomoyasu can take over if he can beat the current leader in a samurai duel.

It’s a decent slice of space opera, though does get rather confusing during the final battle on the Eagle, where Kantrowitz struggles to keep his multiple balls in the air. At one point, it looked like a major character had been disposed of with a single sentence, though I should have realized from this, that it was a red-herring.  Still, he has some occasionally nice turns of phrase. For example, I particularly liked this line: “The pistol made a sound like someone dropped a steel refrigerator full of beer one hundred feet from a helicopter onto a concrete surface.” I was also amused by the way Eva likes to drop Earth culture references, e.g. “Thank you, Doctor House”, which no-one else ever gets.

She’s definitely the most bad-ass of the characters, and I did feel the split focus of the narrative was a bit of a problem. Her story ends up having to share chapters with Vecky’s and Tomoyasu’s, when I’d have preferred to hear more about Eva – as a newcomer to this setting, I’d have been learning about the galaxy at large, along with her. Everything ends in a bit of a cliff-hanger, with the roles reversed: Eva is no longer the only “stranger in a strange land,” and it’s clear that further parts will be arriving. I’m somewhat interested in more, but would welcome a sharper direction on the writing.

Author: David Kantrowitz
Publisher:Kyrie Devonai Publishing, available through Amazon, both as a paperback and an e-book
4 of 4 in the Reckless Faith series.

Blood Red Sky

  By

★★★
“Vampires on a Plane”

Or, maybe, “Die Hard with vampires”? It’s a bit of both. Mother and son pairing, Nadja (Baumeister) and Elias (Koch), are on their way from Germany to New York, so that Nadja can receive treatment for her rare blood disorder. However, the plane is barely over the Atlantic before it gets hijacked by a group of terrorists. They intend to turn back and crash the plane into London – after parachuting off it – blaming Islamic fundamentalists, because… Well, various theories are suggested, but it’s not really important. What matters, is Nadja ends up getting shot repeatedly. But she doesn’t die. Remember that “rare blood disorder” from earlier in the paragraph? As you’ve probably worked out already (especially if you’ve seen the trailer, so it’s not a spoiler), she’s a vampire, and so is faster, stronger and more lethal than the hijackers now threatening her son’s future.

Excepts, it’s not quite as simple. For the most lunatic and deranged of the terrorists, Eightball (Scheer), figures out what’s going on and decides to fight fire with fire. Injecting himself with Nadja’s blood, he also turns a bit bitey, and it becomes good vampire + passengers versus bad vampire and terrorists. Nadja needs to ensure, not only that the latter don’t prevail, but the cover of darkness does not allow Eightball and any others like him to escape into the world at large. Complicating matters further, the change in course back towards Europe means dawn is approaching, and these are your old school, burst into flames when exposed to direct sunlight vampires.

There’s plenty going on here, and even at over two hours long, it doesn’t feel like the film drags. Director Thorwarth knows his way around escalating tension, and does a solid job. However, it feels as if he left a good deal of potential on the table, mostly due to the structure. This is painfully flashback heavy. It opens with the plane landing on a remote Scottish landing strip, with apparently just two survivor Elias and a Muslim physicist (Setti). It then skips back to mother and son’s arrival at the airport, playing forward from there, except with further flashbacks, detailing how Nadja got infected. These do definitely defuse the tension of the hijack situation; the details of how she became a vampire don’t really matter much.

What I liked was the notion that vampirism doesn’t change you. If you’re a good mother, you’re still a good mother; if you’re a psycho, you’re still a psycho. Just, in both cases, better equipped to defend yourself. The look is, appropriate enough for a German film, Nosferatu-like, with Nadja losing her hair; oddly, Eightball doesn’t, perhaps to assist in identification. Must be a later stage. :) 30 Days of Night is another touchstone, though in the “Unexpected Vampire” subgenre, this definitely falls well short of From Dusk Till Dawn. It did remain entertaining enough, and offers enough new twists on the established mythology to stand on its own.

Dir: Peter Thorwarth
Star: Peri Baumeister, Carl Anton Koch, Alexander Scheer, Kais Setti

Gunpowder Milkshake

  By

★★★★
“Jane Wick.”

Yeah, it’s kinda like that. As in John Wick, the hero(ine) is an assassin for hire, in a world where there exists a significant infrastructure of support for hitmen and hitwomen. After they fall foul of the wrong people, our hero(ine) becomes the target, but has more than enough skills to be able to fend for themselves, and takes the fight to their aggressors. Oh, yeah, and it also borrows significantly from Leon: The Professional, in that the assassin becomes the protector of a young girl. Hmm. But this leverages those two with very large injections of style. Not quite to the level of Sucker Punch, but heading that way. Thiscand enough original ideas, made it work for me, despite the familiar elements. 

It has been interesting to read the reviews, which seem sharply divisive. Critics appear either to like it or hate it, with not much “It was alright.” I think this is one of those films where you need to buy into the approach as much as the concept. For example, it seems to take place in a world inhabited solely by people in the film. There are few if any bystanders. The location is deliberately vague (it was filmed in Berlin), with a deliberate attention paid to the colour palette used. According to the director, for example, yellow represents death – such as the large, yellow duffel-bag with “I ♥ Kittens” on the side, in which the protagonist totes her weapons. If you’re not down with this approach, I can see how this could annoy rather than amuse.

Said protagonist is Sam (Gillan), a killer with abandonment issues ever since her mom (Lena Headey) walked out on her, fifteen years earlier. Sam is tasked by her employer, Nathan (Giamatti), with recovering a haul of stolen cash. But she finds the thief was coerced into action, after his eight-year-old daughter (“8¾!”, as we are reminded on several occasions), Emily, was kidnapped. Likely reminded of her younger self, Sam takes custody of Emily, though the cash is destroyed in the process. This, and a previous job where she killed the son of a very important person, makes her persona non grata, and the hunter becomes the hunted.

Fortunately, she’s not without allies. In particular, there are the Librarians, three women who run the armoury available to all assassins [like the Sommelier in John Wick]. This trio, played by Yeoh, Angela Bassett and Carla Gugino, have a lot of previous history with Sam and her mother, and opt to take her side in the impendng war. Of course – and the development is so obvious, it doesn’t count as a spoiler – Mum also returns. The 5½ women (counting Emily as the fraction), have to stand their ground, first at the library, then in a final battle at the diner, the neutral ground (coughContinentalcough) where Sam’s mother left her, all those years ago. 

The action is good, rather than great. It is, at least, not over-edited and is definitely helped by Papushado’s dedication to style – it all looks striking, which makes it (literally) punch above its weight. Nowhere is this clearer than an amazing slow-motion pan down the length of the diner towards the end, which is the kind of shot you’ll want to rewatch several times, in order to see everything that’s going on. It does feel as if Yeoh was somewhat underused, though I should probably give up expecting anything Crouching Tiger-like these days. That was over twenty years ago, and Yeoh turns 59 in less than a week. That said, she still holds her own with the less mature actresses admirably – says the man, younger than her, who needs a stunt double to change the batteries in the ceiling smoke detector.

Despite the shot mentioned above, the fight in the library is definitely the film’s highlight and in terms of pacing feels like it should have been the climax. With the women defending their turf, it has the feel of an Alamo-like final stand. Instead, things potter on for a further 20 minutes thereafter, with the makers feeling like they have chosen to coast over the finish line, rather than engaging in a final sprint. I felt another area of criticism was the use of music, which often seemed to reach Baby Driver levels of over-emphasis. I once described that film as “like I was trapped inside Edgar Wright’s iPod, while he hummed along to his own mix-tape,” and if this isn’t quite as bad, there’s even less reason for the songs here. They’re a grab-bag that don’t offer a sense of time or place. I blame Quentin Tarantino.

It is notable that the film is split firmly along gender lines. with every one of the protagonists being women, and every one of the antagonists being men. However, it’s fortunate that seem largely to be about the extent of the messaging, and nobody particularly pays attention to this. Everyone is kept quite busy trying to kill each other. It’s also a bit less of an ensemble piece than I expected from the trailer. Especially in the first half, it’s Sam vs. the World, with the Librarians introduced, and then shuffled off to one side until Sam is ultimately forced to turn to them for help. That’s not particularly a criticism. I like Gillan, who was born about 25 miles from where I was, so is likely the nearest I have to a local action heroine. She can carry a film perfectly well, even if I’d rather have heard her natural Scots accent.

Comparing this to Black Widow from a few weeks ago, both films got four stars, but only Milkshake merited our seal of approval. I think it’s because the latter’s strong sense of visual style does give a rewatchability that the relative pedestrian approach of Widow didn’t achieve. You’ll see things here which you have likely never seen before, and while that originality definitely does not apply to all the plot elements, it does at least have the grace to take those things from some very, very good movies.

Dir: Navot Papushado
Star: Karen Gillian, Chloe Coleman, Paul Giamatti, Michelle Yeoh

Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)
Gunpowder Milkshake (2021)

Jolt

  By

★★★
“Crank-ette”

Certainly the kind of action film for which you need to suspend your disbelief. In this case, the closest parallel is, as the tag-line above implies, the Jason Statham vehicle, Crank. In it, Statham’s character was poisoned, and had to keep his adrenaline permanently up for the rest of the film. to avoid dying. Here, it’s almost the reverse. Beckinsale’s character, Lindy, was born with a rare condition, “intermittent explosive disorder”. This is pretty much what it sounds like: uncontrollable aggressive outbursts, like a physical version of Tourette’s. This is a real thing. Not so real? Lindy is also “blessed” with high levels of cortisol, which make her faster and stronger than anyone else. Somewhere in the middle? Lindy controls her IED with electric shocks from a handheld device given to her by her therapist, Dr. Munchin (Tucci). All told, I’m tagging this as SF. #ChangeMyMind

She’s just about coping with life, until her new boyfriend, accountant Justin (Courtney), turns up as a corpse. Turns out he was working for some very shady characters, and apparently paid the price. Time for Lindy to put her affliction to good use, despite the efforts of the cops, such as Detective Vicars (Cannavale) to prevent her. She works her way up the criminal food-chain towards Gareth Fizel (David Bradley – who played Walder Frey in Game of Thrones, so knows about getting hunted by single-minded young women!), cracking heads as appropriate. Yet, things may not quite be what they seem. Not least, after the opening narration by Susan Sarandon, we kept expecting her to show up. You’ll have a wait. It’s also obvious that someone like Lindy has her uses, as a blunt instrument with which to solve other people’s problems.

While the ending is very clearly trying to start a franchise, I’m not certain there would be much more to offer. It is a pleasure to see Beckinsale kicking butt, in a way we haven’t seen in a few years (probably since the last Underworld film, Blood Wars). However, I can’t help thinking she doesn’t seem “right” for this kind of characters, which I would have expected to be all rough edges, rather than Beckinsale’s smoothness. It almost feels as if it was, perhaps, originally written for the likes of low-budget action god Scott Adkins, only for them to do a quick search-replace of “he” with “she” in the script, after Beckinsale showed interest and they got more money. Even there, it might have been more convincing with somebody like Ruby Rose as Lindy, who could bring the necessary edge to proceedings.

To be honest, the action was a little disappointing too – perhaps more so in quantity than quality, as it does have a couple of decent, well-choreographed brawls. I didn’t feel particularly as if there was much sense of escalation to proceedings; I mean, it’s not as if Bradley is going to pose much of a threat, is it? I can’t help comparing it to Black Widow which, despite its flaws, did build to a rousing climax. Here, although I was never bored, it is kinda easy to see why this bypassed cinemas and went straight to Amazon Prime.

Dir: Tanya Wexler
Star: Kate Beckinsale, Bobby Cannavale, Stanley Tucci, Jai Courtney

Dead Sushi

  By

★★½
“A fishy tale”

Perhaps I just expected more from the combination of martial artist Takeda (High-Kick Girl, Karate Girl) and Iguchi (Mutant Girls Squad, The Machine Girl). While this has its moments, it falls well short of the best works of either star or director, delivering neither the action nor the insanity, of which I know both are capable. The set-up is fine. Takeda plays Keiko, the daughter of a sushi master, who leaves home after being told by her father she’ll never amount to anything. She gets a job working in a Japanese hot springs inn, and isn’t much good at that either.

A pharmaceutical company are having a get-together there, but Yamada, a disgruntled employee is also in attendance. His invention which rejuvenates dead cells was successful, but had side-effects, for which he was blamed and arrested. So he has taken revenge by using his creation to animate the sushi being served to the company. Oh, and this is not only infectious, transmitted by the sushi’s bite, it makes them capable of flying. And breeding. It is, of course, up to Keiko and a few hardy allies to fend off the killer delicacies.

It’s mostly the stuff around the edges which is effective here. There’s a little egg sushi, looked down on as inferior by its fish-flavored relatives, who becomes a valuable ally to Keiko. Oh, and it sings. Yes, folks: adorable, singing sushi. You’ll never eat nigiri again. Some of the lines are also ludicrous enough to make me laugh out loud; here are a few examples.

  • When you hurt a sushi chef’s pride, his next dish is death!
  • Sushi has a pecking order too.
  • It is my duty to tell the boss we are under siege by man-eating sushi.
  • The sushi are mating!

However, there’s not much in the way of escalation or progression. Once you’ve seen one plate of attack sushi, you’ve more or less seen them all. About the only other thing the film has to offer isn’t until the end, when Yamada turns himself into a gigantic man-tuna and there’s a battleship made of fish eggs. While I will admit to not having seen either of those before, the imagination seems very sporadic otherwise, though I did like Keiko’s briefly-used sushi-nunchaku. This being a Noboru Iguchi movie, we do get multiple fart jokes, of course.

Takeda’s talents are also sadly underutilized. I don’t know whether Iguchi couldn’t be bothered to get anyone decent for her to fight, or if it’s more that the concept allows limited scope for karate to blossom. With the attack sushi being largely CGI, there’s only so much flailing at thin air anyone can do. Iguchi regular Asami has a supporting role here: while she has shown some solid action skills elsewhere, it’s indicative of something, that she and Takeda look to have about the same level of fighting talent. I was certainly hoping for better from Takeda, and the film in general.

Dir: Noboru Iguchi
Star: Rina Takeda, Kentarô Shimazu, Takamasa Suga, Takashi Nishina

3 Heroines

  By

★★½
“Largely misses the target”

As the Olympics get under way in Tokyo (COVID permitting – this is a pre-scheduled post!), it seems an appropriate point to review this, which tells the story of the 1988 Indonesian women’s archery team. They became the first ever from their country to win a non-exhibition medal at the Olympics. This was quite a big deal, considering at the time, the population of the country was 175 million, and they had been competing in the games for 36 years without any success. However, the resulting movie manages to be more like a soap-opera with arrows than the thrilling sports movie it should be, considering they clinched their medal with a sudden-death shoot-out against the might of Team USA.

They do get that aspect right, but I’m less certain about the veracity of some other elements. For example, much is made of coach Donald Pandiangan (Rahadian), “the Indonesian Robin Hood,” seeking redemption for having missed the 1980 Olympics due to a boycott. Omitted is the awkward fact he did get to take part in the 1984 Olympics… and came 43rd. Anyway, he has the task of licking into shape the trio of potential candidates: Lilies Handayani (Islan), Nurfitriyana Saiman (Lestari) and Kusuma Wardhani (Basro). The archers have their own range of issues to deal with as well, such as an unsupportive family, who just want them to settle down, marry (their choice, naturally), and get a good job. It’s basically a class in Sports Movie Cliches 1.0.1, with the stern, disciplinarian coach butting heads with his young charges, who just want to sneak out. [I was amused to see the local cinema playing Arnie classic, Commando!]

It does have a certain naive charm, and is so sincere about itself that you can’t complain too much. I think the pseudo-musical number into which the three heroines break, complete with singing at their hairbrushes, demonstrate the good natured and non-threatening approach here. But it’s more than two hours long, and the ratio of drama to sport is far too heavily tilted towards the former. Even when we get to Korea, it doesn’t help that in those days, Olympic archery wasn’t the dramatic, head-to-head knockout contest it later became. That would have been way more exciting to watch, than all teams shooting simultaneously, as depicted here.

The director does his best, and the shoot-off is likely the film’s most effective sequence. Though if I was American, I might be offended by its portrayal of one of their athletes shoving an Indonesian rival to the ground during the competition. I am fairly sure this did not happen, instead being fabricated for dramatic effect. But since I’m British, I don’t care. Our gals finished a plucky fifth. Mind you, I can imagine the South Korean women’s team who actually won the event – as they have every single Olympics where it has taken place – are probably wondering, “Where’s our movie?” I guess it goes to show, being a plucky underdog is just more cinematic. Sorry, Korea.

Dir: Iman Brotoseno
Star: Bunga Citra Lestari, Chelsea Islan, Tara Basro, Reza Rahadian
a.k.a. 3 Srikandi