Category: Feature

Girls With Guns Calendars 2025

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Welcome to our fifteenth annual round-up of girls with guns calendars, though the first three were solely on our late, not-so lamented forum which has gone to the Internet graveyard. But this will still be the twelfth one in the site archives, which is kinda impressive. Another year in the books, and at least a couple of decent theatrical GWG films in 2024, a contrast to 2023. But I am still living in Arizona. Plans to move to North Carolina kinda got squashed courtesy of Hurricane Helene, so we’re now looking at less meteorologically troubled areas. Possibly at altitude here in AZ. But as mentioned last year: “We’ll see…”

Not a huge amount to report. If anything, 2024 was even quieter than 2023, but I’m fine with that. I’m at the age where “Nobody I knew died this year” is about the best I can hope for! Had some trips to various places, including Florida. Watched a bunch of films: all told, probably somewhere north of four hundred. Endured another US presidential election in which I can’t vote. Renewed my green card. Failed to acquire a new kitten. Yay!

On the calendar front, numbers seem fairly stable, with almost all of the top entries returning (or, in a couple of cases, promising to return!). Last year, I had to miss Zahal Girls, who didn’t publish anything in time for this review, but I’m pleased to report they are back for 2025.  That balances out the loss of Airsoft Pro. Prices seems to have stabilized too, after the sharp increase last year. 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

Amazon link – $19.95 [though you may be able to find some coupons on TacGirls.com]

The Tactical Girls 2025 Bikini Gun Calendar has 13 months (1/25-1/26) of Beautiful Girls and Exotic Weaponry!  Every Calendar includes a 12×24″ pull out mini-poster of cover model LaTasha – slides out, no perforations to tear or staples to pull. The 2025 Tactical Girls Calendar brings you 13 months of gorgeous pinup models with some of the world’s most exotic weaponry in realistic tactical settings. Includes the EAA Disruptor Pistol, an AR-10 and an AR Pistol from Black Rain Ordnance, an original M1 D Sniper Rifle from WWII / Korea and a Sig MPX.

You’ll find sexy zombie hunters, secret agents, army girls and tributes to your favorite female action movie heroines cradling AR-15 carbines, battle rifles, machine guns, tactical pistols, and sniper rifles, 12 x 24 inches open! Each month includes trivia dates from military, law enforcement and firearms history like The Battle of the Bulge, The Gunfight at the OK Corral and Samuel Colt’s birthday.

GUNS AND GIRLS

GunsAndGirlsCalendar.com – $15.47

This 2025 wall calendar features stunning photographs of beautiful women posing with firearms. Deluxe Edition: Upgrade your calendar experience with the deluxe version, which includes a bonus free poster. Practical Design: This calendar is the perfect size for your home, garage or office wall. Monthly Layouts: Each month offers a new captivating image, along with ample space to write appointments and notes. Collectible Item: As a limited edition, this calendar is a must-have for fans of the ‘Guns & Girls’ series.

WEAPON OUTFITTERS

WeaponOutfitters.com – $39.69

Looks like they’re back to offering both a G- and R-rated version of the calendar this year (the cover of the former is below), as well as another R-rated once called “After Dark Nudes and NODS”, described as “a collection of nude and night vision themed photography.”

DILLON PRECISION

DillonPrecision.com – $19.99

Weapons Outfitters, however, are positively voluble in describing their products, compared to Dillon Precision, who limit the information regarding their product to: “Dimensions: 13.5 X 26.5”. They clearly believe a picture is worth a thousand words…

ZAHAL GIRLS

zahal.org – $38.00

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. The Zahal Girls 2025 Calendar is a curated collection of images that honors the valor and commitment of female IDF veterans. Each page of the calendar unfolds with a powerful portrait that not only reflects the individuality and strength of these veterans but also embodies the ethos of the IDF. With an artistic blend of tactical aesthetics and evocative backdrops, the calendar tells a story of determination, unity, and pride, month by month. It serves as a tribute to the spirit of these remarkable women who have served their country with honor, offering inspiration and insight into the lives of those who protect and serve.

WILD DAKOTA GIRLS

wilddakotagirls.com – $18.00

As with last year, the cover doesn’t include any armament. But the promotional video for this year’s calendar definitely includes some firearms, so that works.

THE JOY OF SHOOTING

JoyOfShooting.com – $27.99, also available in an autographed edition.

This one is on uncertain territory, the link above says ‘2025 calendars coming soon!’, but given I’m writing this in the last week of November 2024… I hope it does survive, as this was definitely one of the more impressive items last year. Check out the link and keep your fingers crossed, I guess!

BULLETS AND BIKINIS

bikinicalendarstore.com – $17.99

12 Months in the Hottest Women in Shooting Sports. 11 x 17 When Opened

CCFR GUNNIE GIRL FUNDRAISING CALENDAR

firearmrights.ca – $19.99

This is another one which should perhaps be coming out between now and the end of the year. They had a call for models in April, and it looks like the shoot was in August, but as yet the website has not been updated with ordering information. I’ll leave this one up, linking to the store in general. Price, info and image below are all from the 2024 edition.

This annual fundraising project by the CCFR Women’s Program is critical to financing ladies range days across Canada. Beautiful colour photos highlight real members with the coolest guns! Includes promotional poster (17×22 in.) and instructions on how to register your calendar for free prizes! 8.5 x 11 in. landscape format. Limited quantities available.

 

The Baztan Trilogy

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The Baztan trilogy consists of three movies, based on the novels by Dolores Redondo. The setting for these is a small area in the Basque country of Spain, not far from the border with France. Much like the small-town English villages such as Miss Marple’s St. Mary Mead, or Death in Paradise‘s Honoré, the murder rate in this charming and picturesque area appears to rival that of a South American war-zone. I guess you can describe the series as Español negro, being a Mediterranean-based version of Nordic noir. Like those, you have a detective with a troubled past, a history that frequently seeps into her current life, They are investigating crimes resulting from what’s unquestionably the darker side of human nature, and the results are uncomfortably close to home.

In this trilogy, the heroine is Amaia Salazar, a former resident of the region who left under circumstances best described as murky. She joined the police force, rising through the ranks and going through a successful secondment to the FBI, where she distinguished herself. Amaia is now back in Spain, with her American artist husband, James. But, as ever in this kind of thing, the pull of her past is strong. She finds herself coming back to the Baztan region in which she grew up. There, the ghosts of history are lurking and ready to pose a challenge – perhaps equal to that of solving the brutal murders which are the reason for her return.

The trilogy includes the books El guardián invisible (The Invisible Guardian), Legado en los huesos (The Legacy of the Bones) and Ofrenda a la tormenta (Offering to the Storm). From 2017 through 2020, the books were made into three movies by Atresmedia Cine and its partners. Five years after the last of the books was published, Redondo wrote a prequel, La cara norte del corazón (The North Face of the Heart), describing Amaia’s youth and her time with the FBI in America. All four novels were optioned to Heyday Films for American adaptations in October 2021, but there has been almost no news since the original announcement. Still, with the Spanish movies all available on Netflix, the need for any English-language versions is questionable in my opinion. Such things rarely improve on, or even equal, the originals.

Hence, below you’ll find reviews of the three Spanish movies in order. Note: I haven’t read the books, so there will be no further discussion of them, or comparison to the films.

The Invisible Guardian

★★★½
“It’s never sunny in Baztan.”

I’ve traveled a fair bit around Spain and Mediterranean Europe in my time, and the weather was never as unremittingly grim as its depicted here. Things seem to unfold in a permanent downpour. Seriously: Chris and I pretty much were turning it into a drinking game by the end: take a swig every time a scene takes place in the rain. Only concern for the health of our livers prevented us. Googling tells me Baztan is fairly wet: around 55 inches a year. But it felt like most of that arrived during the 129 minute running-time of this film. I suspect David Fincher and Se7en have a lot to answer for, with rain = dark and foreboding atmosphere.

There’s certainly no shortage of that here, even setting meteorological considerations aside. It begins with the discovery of a young girl’s corpse by a river, stripped naked except for a local cake placed on her crotch. Pamplona detective Amaia Salazar (Etura) makes the connection to a previous murder and is sent to Baztan to take over the case. It’s the town where she grew up, and she still has family there. Though relations are still strained with her sister Flora (Mínguez), who runs a bakery in the town. She feels Amaia abandoned the family by “running off” to the United States. It’s not long before we discover their mother had issues, physically abusing Amaia as a child.

However, the main focus is the murders, with further victims turning up, all young girls whose bodies are posed in the same, ritualistic way. The investigation reveals these may be the latest in a series of killings going back fourteen years, which appear to be some kind of moral crusade by the perpetrator. Amaia gets into trouble with her colleagues, because one of the victims was having an affair with her brother-in-law, and she also conceals evidence connecting Flora’s bakery to the cake. She ends up being replaced on the case by Montés (Orella). If you think that’s going to stop Amaia, you clearly haven’t seen enough of this genre.

It does feel very much like the film could be relocated to the Scandinavian forests with very little trouble. There is some specifically local colour in the form of the “Basajaun”, a legendary – or perhaps not – creature, reputed to roam the woods. I suspect its going to play a larger part in the subsequent movies: while this does tidy up the main case, there are a number of loose ends, such as a cave containing a lot more remains. Etura does a good job of handling both the personal drama and the police elements: you may not agree with some of the choices, yet you can see why she made them. Amaia has been through hell, and that she still made something of her life is an admirable trait. A solid enough opening, which even lured Chris off her phone.

Dir: Fernando González Molina
Star: Marta Etura, Elvira Mínguez, Carlos Librado “Nene”, Francesc Orella

The Legacy of the Bones

★★★★
“Skeletons in the closet”

We jump ahead about a year for the second installment. Amaia Salazar (Etura) has now had the baby she announced she was expecting during the first film, and is adjusting to the need for balance between her career and motherhood, with her husband, James. After completing her maternity leave, she returns to work, and is put on a case of church desecration with cult undertones, at the request of the enigmatic Fr. Sarasola (Arias). This is tied to the Cagots, a historically persecuted group native to the region. Simultaneously, there is an ongoing string of murderers committing suicide, each leaving behind a one-word message: “Tartalo”. It’s a reference to a baby-eating giant from Basque mythology, and seems to be linked to the cave of remains found in the previous film.

Both cases take a deeply-personal turn, reflecting the family of Amaia’s long-standing association with the area. When tested for DNA, the bones left on the church altar are a match for her genetics, and her abusive mother Rosario (Sánchez), now kept in a psychiatric facility, scrawls “Taratalo” on the floor of the room in blood, after attacking an orderly.  Amaia is forced to uncover some very unpleasant truths about the history of her family – and, indeed, the way the region in general dealt with children perceived as unwanted or problematic. Her newborn son becomes part of the scenario as it unfolds, pushing the heroine close to the edge, as she picks her way towards solving the crimes of both the past and present.

This goes into some thoroughly dark places, building on the heavy atmosphere set up in the previous movie. For example, we already knew that Rosario is dangerous, and a patently unfit mother. But what we see her do in this film, goes beyond the mere abuse we previously saw. It’s fortunate that Amaia has a strong support network elsewhere in her family, such as Aunt Tía (Aixpuru), who can offer advice and assistance to help keep her niece on the relatively straight and narrow. To be honest, the revelations here would shake anyone to their core, and it’s testament to the heroine’s strength of character, that she is still able to function as a police detective, while the foundations of her life are being pulled out from under her.

The script does a very good job of keeping the multiple plot-threads functioning, moving each forward in turn, as information regarding the situation is discovered. While avoiding spoilers, it is a little hard to believe Amaia would be so in the dark about the situation in regard to her own family: you’d think Tia might have said something? However, there is an almost relentless grimness of tone here – and a lot more rain as well, with a flooded town being integral to the plot – which pulled me in with the inevitability of a rip tide. It might just about work as a standalone entity, yet you will certainly get more out of this, if you’ve seen the first movie and know where it’s coming from.

Dir: Fernando González Molina
Star: Marta Etura, Itziar Aizpuru, Imanol Arias, Susi Sánchez

Offering to the Storm

★★
“Gale force disappointment.”

Oh, dear. I think it’s probably been a very long while since I’ve been so underwhelmed by the finale of a trilogy. All the pieces were in place, after the first two entries, for a grandstand finish to the series. But the script basically fumbles things in every conceivable way, pushing to the front elements that you really don’t care about, while all but discarding things that seemed of crucial importance. There is an effort to tie everything together, with the various crimes from its predecessors being linked into an occult conspiracy in which members of a Satanic circle sacrifice baby girls, and receive worldly power in exchange. This aspect is okay, Amaia having to go up against a group whose power is embedded at the highest levels of local society. The creepiest element is perhaps that the sacrifices seem to work, though nobody seems too bothered about this. 

Unfortunately, it doesn’t gel well with the elements carried forward from the first two movies, and a lot of the elements that should be shocking or disturbing simple are not. The worst example is the identity of the cult’s “inside man”, which is so painfully obvious, you may find yourself yelling at the screen, and Amaia as she ploughs on with her investigation, completely oblivious to the threat. Little less blatant is the plot thread where husband James (Northover) is going back to America because his father is ill. We’ve seen enough in this genre to know that there is no possible way Amaia is going to end up accompanying him, regardless of how much she promises she will. The film seems convinced it is the first ever to use this device, to demonstrate how its dedicated, troubled detective has her priorities skewed. 

This somewhat ties into the whole fidelity subplot, which did nothing except make us (Chris especially) lose empathy for the lead character. In this installment, Amaia just does not seem as “heroic” as previously. I get that the pressure on her is building. But I would have preferred it to lean into the saying, “Hard times breed strong women.” There’s just too many occasions on which she breaks down and starts sobbing instead. Some of it may be justified: there’s the uncertainty about the fate of her mother, for example, who was last seen plunging into a flood-swollen mountain river. This is resolved. In about the least satisfactory way possible. At least it is addressed. Remember the “Basajaun”? Because the makers here clearly did not.

At 139 minutes, this is the longest of the trilogy, and you’ll be forgiven if you think it feels that way too. Rather than being led by the film, all too often we found ourselves ahead of it, and then having to wait for the plot and characters to catch up with what we had already figured out. We also ended up rolling our eyes heavily at some of the plot developments, such as the mother of a sacrificed baby acquiring some dynamite and using it to blow open the vault where her child is buried. Wait, what? It’s a shame, that after two films which did so much right, the third does goes wrong in so many different ways.

Dir: Fernando González Molina
Star: Marta Etura, Leonardo Sbaraglia, Carlos Librado “Nene”, Benn Northover

The Bag Girls 2

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★★½
“Not so bag.”

Back when I reviewed The Bag Girls, I was not particularly impressed and spent a fair bit of time riffing off the lead actresses’s names, which says a lot about how forgettable the film was. I expected more of the same here, but especially toward the end, there was some indication of genuine progress. While we’re still not talking great, there were positives, which deserve to be acknowledged. You likely do need to have seen the original, as this assumes you know who the characters are: Dee (The Doll) , Nola (The Boss) and the rest of the quartet are still robbing for a living, sporting bejewelled masks, and referring to each other by high-end handbag names. However, trouble hits when a strong-box they loot turns out to belong to Colombian cartel queen, Solera Castillo (Garcia), who is not happy with this apparent disrespect. Meanwhile, the authorities, particularly in the form of Detective Lewis (Wilson), are also on the trail of the Bag Girls.

It’s a reasonable enough plot, and when the film sticks to this, it’s quite watchable. Women take the lead on the three corners of the story-line’s triangle, anchored by decent performances from those involved. It all ends up in the Bag Girls taking the fight to Castillo’s mansion, after she has begun extracting her own vengeance, while Lewis awaits the arrival of backup. I can’t complain about the imagery of Solera, rising out of her hot-tub to spray automatic gunfire at her attackers, wearing an expression Harley Quinn would likely deem excessively enthusiastic. Though she and the Bag Girls really need to focus on their accuracy, possessing skills that would get them kicked out of Imperial Stormtrooper school. However, the film’s reliance on digital muzzle flashes and CGI blood (if at all), resulting in no property damage is disappointing, though likely inevitable given the budget here still is on the low end.

The problem is the film takes way too long to get to the good stuff, diverting en route to far less interesting subplots and side-stories. There’s an entire separate robbery of some rapper’s party, that is neither necessary to the plot, nor staged in ways that are even slightly interesting. I must also say, the music in large part feels remarkably bland; while I’ve criticized this kind of film before for an excessive reliance on obvious music, this does need something with a harder edge to fit the tone. I do also suspect that, if the events at the end unfolded in real life, a Latin drug cartel would be unlikely to allow the perpetrators to skip away to enjoy drinks on a Mexican beach. Maybe I’ve just seen too many episodes of Ozark. Though this is not about “real life” in the slightest, more a glammed-up version of the gangster lifestyle. If still lacking the resources to sell that dream, everyone involved seems to have made progress from last time, and if not eagerly anticipating Bag Girls 3, I’m not dreading it.

Dir: Wil Lewis
Star: Crystal The Doll, LA Love The Boss, Jenicia Garcia, Chevonne Wilson

2024 in Action Heroine Films

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Let’s be completely clear. 2023 was a dismal year for the genre, probably the worst in the decade or so I’ve been doing these annual previews. Of all the films listed in last year’s piece, there was not a single one – of those which actually showed up – that was half-way decent. Mind you, I haven’t seen The Marvels yet. I kinda lost the will to live for that one, having failed to complete the necessary homework of all those TV series on Disney+. I’ll maybe get round to it… eventually. It was a dismal flop at the box-office, but still remains the closest thing to a hit for an action heroine this year, albeit barely reaching the year-end top thirty. After that? The holdover of Everything Everywhere All at Once was the only other in the top hundred. At #100.

Will 2024 be better? I think it might be, albeit partly because it would be hard pushed to be any worse. There is one obvious tent-pole entry, though I have some qualms about it, and below that, the usual slew of maybes and possibles. Let’s tear in, with the usual caveat that all release dates are vague, approximate and subject to change at a moment’s whim. I’ve also not included a few entries which are apparently scheduled for next year, but about which little or nothing is known, such as The Old Guard 2.

Ballerina (June 7)

Not to be confused with the Korean movie of the same name, this is the John Wick prequel, focusing on Eve, played by Ana de Armas. The storyline revealed so far seems largely boilerplate: “A young female assassin seeks revenge against the people who killed her family.” However, its presence in the Wick-iverse certainly elevates it, and the director is Len Wiseman, best known for his work on the Underworld franchise. So he clearly knows his way around an action heroine. Hell, he married one. :)

Breathe (TBA)

You had me at Milla Jovovich. “Air-supply is scarce in the near future, forcing a mother and daughter to fight to survive when two strangers arrive desperate for an oxygenated haven.” Neither mother nor daughter are actually Milla, however, so I’m going to presume she’s one of the strangers. While we’re on the topic of Jovovich, what happened to George R.R. Martin adaptation In the Lost Lands, starring her and Dave Bautista? It’s supposedly has been in post-production since last January, but the IMDb doesn’t even give it a year any more. Weird.

Christie the Movie (TBA)

This one is still listed as being in pre-production as of September, and the cast list on the IMDb doesn’t even mention the lead actress (which a still shows as Janessa A. Morgan). But what’s interesting is that this is based on cult series Get Christie Love! which originally aired on TV in the mid-seventies: we reviewed the pilot here. I’d certainly not mind seeing a movie version, but the general lack of information leaves me doubtful this will see the light of day next year.

Damsel (March 8)

Dieter brought this one to my attention, and after the trailer looked somewhat ho-hum for much of its running time, the end  – more or less, the still at the top of this article – did get my attention. It will star Netflix’s favourite young woman, Millie Bobby-Brown (of Enola Holmes), as “A dutiful damsel [who] agrees to marry a handsome prince, only to find the royal family has recruited her as a sacrifice to repay an ancient debt. Thrown into a cave with a fire-breathing dragon, she must rely on her wits and will to survive.” The last time we saw one of those subversive fairy tales, it was The Princess, and was great. So fingers crossed…

Echo 8 (TBA)

“An assassin flashes between a nightmarish dream and her reality at a secret underground organization. When her latest mission involves killing a grieving mother, she discovers her target is closer to home than she realizes-much closer.” This is a low-budget labour of love for star Maria Tran, who also co-directed (with her husband Takashi Hara), edited, produced and worked on the fight choreography.

Furiosa (May 24)

There it is. The prequel to the god-tier work which was Mad Max: Fury Road, though with Anya Taylor-Joy replacing Charlize Theron. The trailer for this came in for some criticism when it came out, in particular due to the shaky nature of some CGI elements. Given how the practical approach of Fury Road was one of its outstanding elements, this is understandable. Hopefully it’s something they can fix in post-production. My other concern is Taylor-Joy, who doesn’t have much pedigree in action, and based on the trailer, does not have the same physical presence as Theron. However, it is an origin story, and I would expect the character arc to reflect this. In George We Trust. This may end up being a rare cinema trip for us.

Griselda (January 25)

I’ve not typically included TV series in this feature, but feel this one deserves an exception. We’ve previously a number of films regarding drug-lord Griselda Blanco, both dramatizations of her life and documentaries. This is the former, being a Netflix miniseries, with Sofia Vergara in the lead role. This feels a bit of a double-edged sword. She’s Colombian, like Griselda. But she’ll always be Gloria from Modern Family to us. I think this one might be just a little more blood-spattered though, coming as it does from the makers of Narcos.

Mr. and Mrs. Smith (February 2)

As with Griselda, the TV series remake of the 2005 movie of the same name deserves inclusion. Maya Erskine and Donald Glover star as the marriage couple who are also spies, though based on the trailer, it seems like it begins with them separate. The synopsis offers a different direction too: ” Two strangers land jobs with a spy agency that offers them a life of espionage, wealth, and travel. The catch: new identities in an arranged marriage.” Erskine isn’t exactly Angelina Jolie, so we’ll see.

Rebel Moon – Part 2: The Scargiver (April 19)

The follow-up to part one looks set to continue the story of Kota, who has now assembled her band of rebels to take on the evil empire of the Motherworld. I imagine we can expect more of the same as what we’ve seen so far. Which would be spiffy visuals, albeit accompanying a plot which could use rather more originality. The jury is likely still out on whether Zack Snyder will get his desired cinematic universe of this. Didn’t work out too well for Army of the Dead.

Seize Them! (UK April 5)

The synopsis sounds promising: “Queen Dagan is toppled by a revolution led by Humble Joan . The Queen becomes a fugitive in her own land, and must face hardship and danger as she embarks on a voyage to win back her throne.” However, it is a comedy – the cast include Nick Frost and Jessica Hynes, both out of the Edgar Wright nexus. So how much actual action will be involved here is uncertain: I’m still going to watch it.

The Street Avenger (December 24)

“When a young girl being raised by a single father loses him to gang violence, she tries to take the law into her own hands and finds out being a vigilante is nothing like she reads about in the comics… This is a raw, action-packed adventure that shows the inner strength of a young woman that will stop at nothing to avenge her father.” Okay, I am interested. But let’s see if the makers can deliver on everything the promised in that synopsis…

Tomb Raider: The Legend of Lara Croft (TBA)

Another Netflix series, this will be an animated show, with Hayley Atwell voicing Lara. Not much information, beyond that the series “Follows heroine Lara Croft as she explores new territory.” There is a “First Look” video available, which is included as part of the watch-list below: the animations looks quite nice. Hopefully it’ll be an improvement over the underwhelming Alicia Vikander version of the character.

Trigger Warning (TBA)

Out of the “long in production” file comes this Jessica Alba vehicle, with the following synopsis: “A traumatized veteran who inherits her grandfather’s bar and faces a moral dilemma after learning the truth behind his untimely death.” Filming on this apparently wrapped back in October 2021, so quite what the hold-up, I don’t know. It’s supposed to be a Netflix release, but we’ll see.

Girls With Guns Calendars 2024

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Welcome to our 14th annual round-up of girls with guns calendars. We really need to get out more. :) It’s an indication that another year is nearly in the books. GWG-wise, it has been very quiet, with hardly any theatrical releases to speak of. More of that when we do our 2024 preview next month. Amusing to read last year’s round-up, where I talked excitedly about possibly moving to a different state in 2023. Didn’t happen. Still here. 2024, on the other hand… But I’ve learned my lesson, and will say nothing more predictive than “We’ll see…”

Personally, it has been a largely forgettable year, probably most memorable for experiencing kidney stones! That wasn’t fun, though compared to what I’ve read, could have been much worse. I was pleasantly distracted by the local baseball team failing to suck, and reaching the World Series, which was a nice surprise. I lost some weight, then put it all back on. The struggle is real. But when I come to write my autobiography (yeah, right!), 2023 isn’t going to merit much coverage.

On the calendar front, I wonder if the increased cost of printing has impacted the field, as it seems there are definitely fewer entries. The most obvious departure is Zahal Girls, who seem not to have produced anything for 2024, after being regulars since 2017. Given the current situation in Israel, it’s perhaps understandable. We also lost a couple of others, but we found some new ones – I think the overall net tally was only down one, so there are still plenty for your browsing pleasure.

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

Amazon link – $19.95 [though at time of going to press, there are some coupons on TacGirls.com]

The Tactical Girls® 2024 Bikini Calendar is our Best Girls and Guns Calendar yet, with 13 months of beautiful girls and exotic weaponry! Every 2024 Calendar comes with a 12X24 mini Poster of Cover Girl Hannah on the front that slides out of the calendar, no perforated tearing or staples to pull Tactical Girls® 2024 Bikini Gun Calendar starts in January of 2024 and brings you 13 months of beautiful women with some of the world’s most exotic weaponry in realistic tactical settings.

The Tactical Girls 2024 (17th Edition) Bikini Gun Calendar has 13 months (1/24-1/25) of Beautiful Girls and Exotic Weaponry! The 2024 Tactical Girls Calendar brings you 13 months of gorgeous models with some of the world’s most exotic weaponry in realistic tactical settings. The 2024 Tactical Girls Calendar includes three Cadex precision rifles, the Kel-Tec KSG .410, a reproduction of the Belgian FALO Heavy barrel FAL from DSA, a bullpup GM6 Lynx .50 BMG and the PKM 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. 100% produced and printed in the U.S.A. 10% of the print run of these calendars are donated to deployed soldiers and organizations that support them, notably AmericanSnipers.org.

GUNS AND GIRLS

GunsAndGirlsCalendar.com – $14.91

The 2024 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! BRAND NEW 2024 JUMBO CALENDAR. When hung up calendar is an impressive 17″x 28″ Includes bonus 12 month poster!! Easily add style and functionality anywhere with these super cool posters!!

WEAPON OUTFITTERS

WeaponOutfitters.com – $39.69

After offering four items last year, WO seem to have gone back down to just the one item this year. Not a lot of information on the site about it. The description in full is “2024 NSFW Calendar. 12 months of girls and guns.” That’s it. I guess the accompanying picture is worth a thousand words?

DILLON PRECISION

DillonPrecision.com – $19.99

Weapons Outfitters, however, are positively voluble compared to Dillon Precision, who limit the description of their product to: “Dimensions: 13.5 X 26.5”. There you go!

WILD DAKOTA GIRLS

wilddakotagirls.com – $18.00

Hard to be 100% sure if this qualifies, since they only show the cover. But the video definitely shows Miss October holding a gun. This is good enough for me. :) A portion of profits benefits breast cancer charity. For an additional $25, you can also get access to the Wild Dakota Girls website.

THE JOY OF SHOOTING

JoyOfShooting.com – $27.99, also available in an autographed edition.

The best edition yet! Join me as we celebrate what we love about shooting and freedom! Your 2024 Joy of Shooting Calendar is filled with inspiring photography and carefully selected meaningful quotes to propel you successfully through your year. This is a LIMITED EDITION, so don’t delay. (More than half the remaining calendars are already bought by pre-order!). 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.

BULLETS AND BIKINIS

bikinicalendarstore.com – $19.99

12 Months in the Hottest Women in Shooting Sports. 11 x 17 When Opened

CCFR GUNNIE GIRL FUNDRAISING CALENDAR

firearmrights.ca – $19.99

This annual fundraising project by the CCFR Women’s Program is critical to financing ladies range days across Canada. Beautiful colour photos highlight real members with the coolest guns! Includes promotional poster (17×22 in.) and instructions on how to register your calendar for free prizes! 8.5 x 11 in. landscape format. Limited quantities available.

AIRSOFT GIRLS

Airsoftpro.cz – $20.25

Airsoft theme calendar for 2024. The calendar contains 14 photos of beautiful sexy women with airsoft guns – the opening, closing and 12 photos for each month of the year. The author of the calendar is the famous Czech photographer Filip Matušinský (www.matusinsky.cz). The dimensions of the calendar are 42 x 29,5 cm.

The Women of Mission: Impossible

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The Mission: Impossible franchise is one of the longest-running action franchises in existence, especially with the same man starring in all the entries. By the time the second part of Dead Reckoning comes out next summer, it will be more than twenty-eight years since Tom Cruise chose to accept his first self-destructing mission. Over the course of the six films so far, plus at least two more to come, it hasn’t been all about Ethan Hunt. There have been some memorable supporting actresses, with every entry having had something to offer in the action-heroine department. As we head towards the release of #7, it seems a good point at which to honour the Misses of Mission: Impossible.

Mission: Impossible (1996) – Emmanuelle Béart as Clare Phelps

The franchise got under way with a film which was more a traditional spy thriller, director Brian De Palma’s fondness for Albert Hitchcock being apparent. The main M:I lady was French actress Béart, in what was easily the most high-profile role of her career. She plays Claire, the wife of team leader Jim Phelps (Jon Voight), and apparently the only survivor besides Ethan Hunt when a mission goes horribly wrong. She then teams up with Hunt to uncover a mole in the organization, though Claire definitely feels under-used. It’s never quite clear what her talents are, beyond dropping a malicious substance into a CIA employee’s coffee, allowing Hunt to do the famous vault heist while dangling from a cable. While one of the prettiest of M:I women, I was somewhat creeped out by her being 25 years younger than Voight.

Mission: Impossible 2 (2000) – Thandie Newton as Nyah Nordoff-Hall

This starts brightly enough, with Hunt foiling cat burglar Nordoff-Hall as she tries to steal stuff, beginning a relationship which feels quite 007-ish in the banter, and the way they chase each other in their automobiles. However, things fall apart thereafter, with the character doing little more of note, except serving as a human container for the biowespon which is at the film’s core. Her skills are never put to significant use, even when Hunt is carrying out a robbery of his own, and it doesn’t help that Newton is terrible, fully deserving her Razzie nomination. She’d go on to be much better in Westworld, but the performance at this point in her career is grating and unpleasant. Unlike Phelps, she does at least survive the film; however, the fact there wasn’t even a mention of her in the third installment, should tell you how much of an impact she made here.

Mission: Impossible III (2006) – Maggie Q as Zhen Lei

Director J.J. Abrams had already crafted a well-known spy heroine in Alias, and for his first feature, included a trio of strong female characters. These begin with Lindsey Farris (Keri Russell), an IMF agent captured by the villain, whom Hunt has to rescue – she helps her own cause, though let’s just say, isn’t in the film for long. At the other end, Hunt’s nurse fiancee, Julia Meade (Michelle Monaghan), proves surprisingly adept after a quick lesson about firearms use from her other half, taking out a pair of bad guys in short order. She is also remarkably unfazed by being kidnapped out of her hospital job, taken to Shanghai, and then discovering her fiance has been living an entirely separate life, kept secret from her, as a globe-trotting agent. I would be considerably more miffed by all of that…

In between though, this marks Q’s first foray outside of Hong Kong action into Hollywood. We had already become a fan of hers, although a little like Michelle Yeoh in Tomorrow Never Dies, it’s clear the actress was here more to look good than to kick butt in the manner to which we had become accustomed. Still, Q acquits herself well as part of the team helping prevent the “Rabbit’s Foot” Macguffin from falling into the wrong hands. Amusing anecdote: while tasked with piloting an impressive $350,000 Lamborghini, Q had never learned to drive. This may have been a factor in her having a bit of a prang in it during filming. It certainly opened doors for Q, and it wasn’t long before she had another memorable role in another major Hollywood franchise, Live Free or Die Hard.  She was also invited back to not one, but two further installments to reprise the role. However, scheduling conflicts with her TV work – not least, Nikita – meant she was not able to accept the jobs.

Mission: Impossible – Ghost Protocol (2011) – Paula Patton as Jane Carter

This one likely counts as s two-for-one special, since we also get French actress Léa Seydoux in the role of assassin Sabine Moreau. She gets proceedings under way with the very cold-blooded killing of IMF agent Trevor Hanaway, and she swipes the Russian nuclear codes he was carrying. This makes things very personal for another IMF agent, Paula Patton, who was Hanaway’s handler, and this brings in a good helping of the movie’s (limited, to be honest) emotional content. Patton joins Hunt’s team as they attempt to obtain information from the Kremlin, but that operation goes very badly wrong, ending in a massive explosion for which IMF are blamed, causing the entire organization to be disavowed and go dark.

Off the books, Patton and Hunt go to the world’s tallest building, the Burj Khalifa in Dubai, where Moreau is planning to sell the launch codes to terrorist Hendricks. In a particularly complex plan, even by the standards of the franchise, Patton pretends to be Moreau and meets Hendricks, while Hunt meets the real Moreau, and eventually captures her. This leads to an effective brawl between the two women in a hotel room high up the building. The suite’s window had earlier been removed, for the film’s signature sequence of Hunt scaling the building. You will not be surprised to learn that one of the two combatants takes an extremely long fall as a result. However, as with Maggie Q, previously agreed contracts meant that Patton was one-and-done for the series, even though the makers did want her to return.

Mission: Impossible – Rogue Nation (2015) – Rebecca Ferguson as Ilsa Faust

Even though Faust (above) is the best female character in the franchise to this point, this section will be relatively brief. That’s because I already wrote about Ferguson in detail at the time the movie came out, so I direct you to the previous piece for a full assessment. Here, I’ll just point out that she’s every bit an equal to Hunt – she is, more or less, the British equivalent thereof – and saves his Yankee ass on more than one occasion. Not least when he’s floating, limp as a pool noodle, in an underwater cooling system. Having rewatched this recently, what I said at the time still stands: “It’s a combination of old-school grace and new-school ruthless efficiency which helps make for a winning product.” There’s a reason Ilsa became the first woman to return for a meaningful role in a second installment.

Mission: Impossible – Fallout (2018) – Vanessa Kirby as Alanna Mitsopolis, the White Widow

There are quite a few candidates here. As well as the returning Ferguson and (in the later stages) Monaghan, there’s also a female head of the CIA, Erika Sloane, played by Angela Bassett, who is every bit the hard-ass you would expect. But I want to call out Kirby’s arms dealer, not least because that’s rarely a profession in which cinema ever shows a woman operating. Alanna is assisted by her brother, Zola, who provides the muscle. But it’s entirely clear who is the brains, and who is running the organization. It also appears to be a generational business. In a nice throwback touch, she’s the daughter of Max, played by Vanessa Redgrave, who was arrested by Ethan Hunt all the way back in the first movie. Kirby had just had her eighth birthday when that came out, which gives you some idea how long the franchise has been running!

Mission: Impossible – Dead Reckoning Part One (2023) – Hayley Atwell as Grace

The seventh entry is split into two parts, with the first half out in July 2023, and the second… at some point after the writers and actors go back to work. There is no shortage of strong women in the opening installment, with a full quartet to choose from – though, let’s just say, there will be less competition in the next part. Ferguson and Kirby reprised their roles, but the main female role goes to Atwell, who should be familiar here due to her role as Agent Carter. While Simon Pegg’s description of  Atwell’s training as “Proper Matrix shit” appears. sadly, to have been hyperbole, her lady thief held her own. She fools Ethan Hunt more than once, and is a key part of the film’s two big set-pieces, a car chase through Rome and the finale involving a series of dangling train carriages.

But, wait! There’s more! For even more action-oriented is Paris (Pom Klementieff), the main sidekick of the film’s bad guy, Gabriel – okay, technically, the movie’s villain is an AI, but let’s not get into that. While a woman of few words, she looks great, and has some of the best facial expressions. In particular, when she’s pursuing Ethan and Grace through Rome, driving a giant Hummer, she seems to rejoice in the resulting carnage, if her mayhem-induced grin is anything to go by. After being spared by Hunt, and later paying back that debt, her fate at the end of the first movie is… uncertain. But word is that Klementieff was signed for both films, and I’d love to see more of her in the franchise finale.

Decoy: The first American policewoman

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“Down the line, you name it, we’ve done it. Today, tomorrow, next week, we’ll pose as hostesses, society girls, models – anything and everything the department asks us to be. There are 249 of us in the department. We carry two things in common wherever we go: a shield, called a potsie, and a .32 revolver. We’re New York’s finest. We’re policewomen.”
   — Patricia Jones, Episode 1

If you asked people what was the first American TV show to feature a policewoman, I suspect not many people would get the answer correct. Some might go with Cagney and Lacey. Others might be able to dig a little further back into their memories, and come up with either Get Christie Love! or Police Woman. Maybe some would include The Mod Squad. But the actual pioneer dates back more than fifteen years before Angie Dickinson began patrolling the streets of Los Angeles. The honour goes to Beverly Garland, the star of Decoy. While now largely forgotten, the show ran for 39 episodes on syndicated television, from October 1957 through the following July. It was also one of the first shows to film on location around New York, and the footage of those scenes is a remarkable time-capsule of life in that era.

Garland was already a well-established actress, her career having started with a role in 1949’s noir classic, D.O.A. She was Emmy-nominated for for her work on 1955’s Medic, and  around the same time, was employed on a number of occasions with B-movie legend Roger Corman. Two of those films have already been covered here: Gunslinger and Swamp Women. I will not, however, be covering their work together on It Conquered the World… She later said of Corman, “Roger was always very professional, except when it came to putting us up in a good hotel or giving us a decent meal.” On that basis, the humdrum tedium of a television series might have come as a welcome break, albeit with a punishing schedule that offered little slack. She fell ill one week, during the filming of episode “Across the World”, and rather than pause filming, the script simply was rewritten to minimize her involvement.

With a lot of voice-overs, the style feels reminiscent of Dragnet, which had been a very popular show for most of the fifties. Each episode opens with a stern reminder: “Presented as a tribute to the Bureau of Policewomen, Police Department, City of New York,” and centre on the cases worked by Patricia “Casey” Jones (Garland). As the title suggests, most of them involve Jones going undercover in some guise. That covers an extremely broad range of assignments, from a photographer to a junkie, a nurse to a blackmailer, a high society girl to a prisoner. However, some of the episodes do not require such subterfuge, though there is a tendency for these crimes she is given for investigation to be fairly gynocentric, e.g. trying to find a delinquent father.

As well as the voice-overs, Jones would quite frequently break the fourth wall and address the audience directly – the quote at the top of the article is one such monologue. It feels quite groundbreaking, and is definitely helped by Garland’s commitment to delivering lines which, in other hands, could potentially seem cheesy. I was also genuinely impressed how gritty and, on occasion, dark the stories were, especially considering the era. Death is a frequent visitor, and the topics concerned get heavy, including drug abuse, mental illness and domestic abuse. While everything more or less ends up all right in the end, in that the guilty receive their just deserts, there is considerably more moral gray than I expected. Considering each episode is typically only 24 minutes long, they pack a lot in, and still manage to achieve a considerably emotional wallop on occasion.

Outside of Garland, there were no real “regulars”. The IMDb lists the next most frequent actors, such as Frank Campanella, who played Lieutenant Cella, as appearing in only three episodes. However, there were a lot of faces who made guest appearances, that would go on to more significant roles later in their careers. Those include Ed Asner, Peter Falk, Larry Hagman, Diane Ladd, Al Lewis and Suzanne Pleshette. They helped the show receive warm reviews, Billboard praising Garland in particular: “Aided by a versatile acting range – and a camera-soothing face which combines the high-cheekboned femininity of Greer Garson with the sexiness of Sophia Loren – she manages to be simultaneously a convincing New York City cop and the kind of girl who would make a charge account at Cartier’s worthwhile.” They proclaimed, “Not since Marilyn’s famed walkaway in Seven Year Itch has the camera ogled such a distracting New York pedestrian.”

It’s difficult to be sure whether or not the show was a success, operating as it did outside of the traditional network in the syndicated marketplace. The pre-sales appear to have been brisk with one bulk pre-release sale covering half of the $1.2 million cost for the entire 39-episode run. However, in May 1958, as production was drawing to a close on the first season, the plug was pulled on further episodes, allegedly because producers lacked sufficient funds to continue. The concept of a series about a policewoman would go back into the vaults for years, but Garland would continue her career over the coming decades, both in television and movies. She eventually became the go-to actress when a mom was needed, filling that role in My Three Sons, The Scarecrow and Mrs. King and Lois & Clark: The New Adventures of Superman.

Her legacy in this show stands the test of time surprisingly well. While it may feel dated in a number of aspects (there’s so much smoking!), the character of Casey feels decades ahead of its time. There’s no fluff, in the sense of romantic liaisons: indeed, we know very little about Jones’s life outside of the force. The short-form approach just doesn’t have time to mess around with extraneous filler like that. While it frequently deals with moral issues, the show doesn’t use itself as a platform to lecture the viewer: you’re left to draw your own conclusions. Certain recent works could learn a thing or two there. She’s respected by her colleagues, and it’s no surprise Garland would say that women often told her she inspired them to join the police force. It’s a show that deserves more recognition than it has received, and with many of the episodes in the public domain, is ripe for rediscovery.

Amy Johnson: Britain’s Amelia Earhart

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This article was inspired by my mild irritation at documentary film Fly Like a Girl which, while a worthy item, was almost exclusively American-focused. You could have watched it all the way through, and come to the conclusion that Americans not only invented flight, they were the only ones to take to the air over the following century. That isn’t the case. Names like Jean Batten (New Zealand), Nancy Bird Walton (Australia), Hélène Dutrieu (Belgium) or Beryl Markham (Britain), all deserve recognition for their pioneering roles, rather than it being just Amelia Earhart. Which brings us to Amy Johnson who, both in life and death, was not all that dissimilar from “Lady Lindy”: shattering the glass ceiling for female aviators, breaking records and achieving huge national fame, before disappearing in a plane accident, with neither woman’s body being recovered.

It was a different era in which Earhart and Johnson operated: the world was still being explored, with many feats remaining to be accomplished. It was only in 1927 that the first solo trans-Atlantic flight occurred, and society was eager for similar examples of derring-do. Amy had grown up in a comfortably middle-class home in the North of England, going to university, but was unable to find a career that satisfied her. But she loved to fly, initially as a pastime, but with increasing fervour, getting her pilot’s license in 1929, and also becoming the first British woman with a ground engineer’s license. She began planning to be the first woman to fly solo from England to Australia, hoping to beat the existing record for the trip, Bert Hinkler’s 15½ days. It was a journey of 11,000 miles, despite her longest flight to this point being just a couple of hundred, from London to the family home in Hull.

The necessary financial backing proved hard to obtain, but she eventually raised the necessary funds with the help of her father, plus oil tycoon and aviation supporter Lord Wakefield, founder of the company which would became Castrol Oil. On May 5th, 1930, she took off from Croydon Airport, with little fanfare or attention. Among her equipment were a revolver, to fend off bandits, and a letter offering to pay a ransom – presumably if the revolver didn’t work. However, brigands proved not the biggest danger she’d encounter. She was forced down in the desert by a sandstorm as she approached Baghdad, with her plane stalling out twice. “I had never been so frightened in my life,” she said of the experience.

Repeated mechanical problems, many of which were caused by the repeated failure of an undercarriage strut, also threatened to derail Johnson’s attempt. But with good fortune and innovative thinking, she was able to continue. Perhaps the greatest example came in Burma, after she ripped up her wing in a rough landing, with no replacement cloth to hand. However, after the First World War, a stock of airplane fabric had been left behind, and recycled into shirts by the local women. Amy was able to re-recycle the shirts back into the necessary material to complete repairs and carry on. By now, word of her exploits was spreading, and she began to be feted on her arrival at each stop. Back in Britain, too, the papers began to report on her exploits, and got into competition for the rights to Amy’s story. The Daily Mail won, with a bid of two thousand pounds.

On May 24, she landed in the northern Australian city of Darwin. Johnson had not beaten the record, taking 19½ days for her flight, but had captured the public’s imagination and interest, in a way few women of the time managed to do. A six-week tour of Australia followed, during which she met her future husband, James Mollison, for the first time. She was equally celebrated on a slower, less arduous journey back to Britain, finally returning to Croydon on August 4. Although Johnson dutifully put up with all the banquets and speeches, she was never comfortable with her fame or the adulation, later saying, “I hated all the theatres, cinemas, first nights, and parties. It’s an unnatural and artificial life. I’m glad those days are over.”


The flight remained Amy’s defining moment, though it was far from her only, or even most successful, adventure. After marrying Mollison in 1931, she promptly broke his record for the solo flight from London to Cape Town, South Africa at just under four days and seven hours. With co-pilot C.S. Humphrey, she also set the UK-Japan mark, flying seven thousand miles in ten days. Finally, in May 1936, she reclaimed the Cape Town record, with a flight of three days, six hours and 26 minutes. But Amy simply lived to fly, regardless of the distance. The disappearance of her friend Amelia Earhart in 1937, did dampen her enthusiasm somewhat, though she found a new passion for unpowered flight, taking up gliding and appreciating the tranquility it offered.

World War II broke out in 1939, and Amy wanted to do her part. While Britain would not let women join their air force (unlike the Russians ended up allowing), they were allowed to be part of the Air Transport Auxiliary (ATA). Their duties included moving planes around the country as needed, such as from the factory to the air fields from which they would operate. Amy signed up, receiving a salary of six pounds per week. But on January 5, 1941 – two years to the day after Earhart was officially pronounced dead – Amy took her final flight. It appears she lost her way in fog, on a flight from Blackpool to Oxfordshire, and bailed out of her plane, but landed in the River Thames and drowned. Her body was never recovered, but she remains a heroic figure, representing courage, perseverance, dedication and humility in equal measure.

Below are a selection of film clips documenting her life and death, including sections of 1932 short Dual Control, which featured both Johnson and her than husband, Jim Mollison.

There have been two feature films based on Johnson’s life, made over 40 years apart, and interesting as much for their differences as anything else. Below, you’ll find reviews of both movies.

They Flew Alone

By Jim McLennan

★★½
“Puts the plain in aeroplane.”

This bio-pic of aviator Amy Johnson appeared in British cinemas a scant eighteen months after she disappeared over the River Thames. That put its release squarely in the middle of World War II, and explains its nature which, in the later stages, could certainly be called propaganda. There’s not many other ways to explain pointed lines like “Our great sailors won the freedom of the seas. And it’s up to us to win the freedom of the skies. This is first said during a speech given by Johnson in Australia, then repeated at the end, over a rousing montage of military marching and flying. I almost expected it to end with, “Do you want to know more?”

From the start, the film does a decent job of depicting Johnson (Neagle) as a likable heroine, who refuses to bow to convention – she’s first seen rebelling against the straw hat that’s part of her school uniform. We then follow her through university, though the degree apparently only qualifies her for jobs in a haberdashery or as a secretary (must have been a gender studies…). Unhappy with these dead-end occupations, she takes up flying, earning her pilot’s license and buying her own plane. It’s about here that the film really hits trouble, because director Wilson has no idea of how to convey the thrill of free flight. Endless series of newspaper headlines, ticker tapes and cheering crowds is about all we get, along with obvious rear-projection shots of Amy looking slightly concerned in the cockpit.

It’s almost a relief when the romance kicks in, represented by fellow pilot Jim Mollison (Newtron), who woos Amy while looking to set flight records of his own. Problem is, he’s a bit of a dick: quite why Amy falls for him is never clear. It’s clearly a mistake, with his drinking, womanising (or as close as they could depict in the forties!) and resentment at her greater fame and desire for independence eventually dooming the marriage – in another of those newspaper headlines. However, there is one decent sequence, when the husband and wife fly as a pair from Britain to America, largely through dense fog. This is edited nicely and, in contrast to all other flights, does generate some tension.

The bland approach includes Johnson’s final mission, depicted here as her running out of fuel while seeking somewhere to land in fog, bailing out, and drowning in the river. Cue the montage mentioned above, though the film does redeem itself with a final caption, worth repeating in full. “To all the Amy Johnsons of today, who have fought and won the battle of the straw hat – who have driven through centuries of convention – who have abandoned the slogan ‘safety first’ in their fight for freedom from fear – from want – from persecution – we dedicate this film.” It’s an honourable thought, considerably deeper and more well-executed than something which generally feels like it was rushed out, without much effort put into it.

Dir: Herbert Wilcox
Star: Anna Neagle, Robert Newton, Edward Chapman, Joan Kemp-Welch
a.k.a. Wings and the Woman

Amy

By Jim McLennan

★★★
“What rules?”

It’s interesting to compare the approach taken in this biopic of aviation heroine Amy Johnson, made in 1984, with the one over 40 years earlier (and shortly after her death) in They Flew Alone, and note the similarities and differences. Both are relatively restrained in budget. The earlier one because it was a low-cost production, made during a war; the later one because it was made for television – and the BBC at that, never a broadcaster known for its profligate spending! As a result, both are limited in terms of the spectacle they can offer, and end up opting to concentrate on Amy as a character. It’s the cheaper approach.

This benefits from a little more distance, and doesn’t need to paint an almost beatific picture of its subject for patriotic propaganda purposes. It begins with Amy (Walter) already fully grown up and seeking to raise funds for her record-setting flight to Australia, despite only a hundred hours of solo experience. Actually, 102, as she points out to a potential sponsor, also delivering the line above. when it’s pointed out she’s not even supposed to be in the hangar. The film does a somewhat better job of capturing Amy in flight, with wing-mounted camerawork that’s an improvement over the obvious rear-projection used in Alone. Yet there’s still too much reliance on newspaper headlines, to avoid having to spend money, though there is some deft use, of what’s either genuine newsreel footage or artfully re-created, sepia facsimiles.

There is a similar focus on her failed marriage to fellow aviator, Jim Mollinson (Francis, who really does not sound Scottish at all), and he doesn’t come off much better than the character did in Alone. Jim is portrayed again as a drunken womanizer, though this version plays down the idea of him becoming fed-up at being overshadowed by Johnson’s exploits. It feels like there’s a slight hint of a romantic relationship between Johnson and earlier co-pilot Jack Humphreys (Pugh). There’s also a statement that she had an operation to prevent her from having children, which I had not heard before. But it does depict Amy as quickly becoming fed up with the endless appearances required by her Daily Mail contract post-Australia flight, which seems accurate: she was happier out of the public eye.

The biggest difference between the two films is probably the way they depict her death. This… simply doesn’t. It ends instead, in a 1940 meeting with her ex-husband, while they were both ferrying planes around Britain for the Air Transport Auxiliary. Barbs are traded, and Jim seems annoyed when a fan comes up seeking Amy’s autograph and ignoring him completely. She leaves for her flight, despite being told regulations won’t let her take off due to the conditions. “What rules?” she says, before a caption details her death in 1941. It’s understated, and that’s in line with the approach taken here – perhaps too much so. While I think it is slightly better than Alone, this feels mostly due to better technical aspects. I still can’t feel either film gave me a true understanding of what she was like, or what made her tick.

Dir: Nat Crosby
Star: Harriet Walter, Clive Francis, George A. Cooper, Robert Pugh

2023 in Action Heroine Films

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It’s always interesting to look back at the previous year’s entry in this series, and see what lived up to or even surpassed expectations, what didn’t, and what failed to show up entirely. The first category would include The Princess, the second is headlined by Bullet Train, which ended up not even qualifying for inclusion here, and also includes the dismal Interceptor. As for the the no-shows… pour one out for Batgirl, which the studio spent $90 million on, before deciding not to release it at all, even though it was already in post-production.

This should act as a salutary lesson that everything you are about to read is subject to change…

The Abyss (September)

This is the first major Swedish disaster movie: “At the center of events is Frigga (Tuva Novotny), who tries to balance her risky job as a security manager in the Kiirunavaara mine with her family life, her new love Dabir and her ex, who doesn’t want to let go. But when the ground suddenly starts to shake under their feet, the puzzle of life doesn’t matter and the struggle to not be pulled into the abyss begins.” I’ve enjoyed some of the other Scandinavian disaster-porn films, so this one has my interest.

Becky 2: The Wrath of Becky (TBA)

You will be unsurprised to hear that this is a sequel to Becky, which was an unexpected pleasure and a bit of a sleeper hit from 2020. While there are new directors, Lulu Wilson and Seann William Scott return for this: “Becky has been living off the grid for two years. She then finds herself going toe to toe against Darryl (Scott), the leader of a fascist organization, on the eve of an organized attack.”

Black Canary (TBA)

Unlike Batgirl, this project seems to have survived the carnage in the Warner Bros DC Cinematic Universe, even if I’m aware of nobody who was actually asking for this to be a spin-off from Birds of Prey. If you’d asked me who Black Canary was in that film, I probably couldn’t have told you. No plot details, Jurnee Smollett stars, and that’s about all we know: even the reported 2023 release date has not been confirmed.

Bond of Justice: Kizuna (TBA)

This one has been a long time in the making – it had a Kickstarter campaign back in 2015, and Sonny Chiba is in it, and he has been dead for 18 months! – but we do at least now have a trailer for this one. The synopsis says, “A rookie detective’s friend is brutally murdered by the Japanese mafia, she must take revenge for her and bring justice to the world, as an assassin.” As you do.

Dominique: Rise of the Phoenix (January)

“A Ukrainian woman, hunted by a Russian criminal, as she attempts to begin a new life in South America. But in a land plagued with violence and police corruption, Dominique will be forced to face her past to protect a family who takes her in.” I’m a bit confused. This is described as being a sequel to Dominique, which was mentioned in last year’s preview, but never seemed to show up. Either way, it’s from Michael S. Ojeda, who gave us The Russian Bride and Savaged, so has a track record here.

Heart of Stone (TBA)

“Rachel Stone (Gal Gadot) is a CIA agent, the only woman who stands between her powerful, global, peace-keeping organization and the loss of its most valuable — and dangerous — asset.” So, a bit vague on details: the above could have been generated by a fairly lazy plot generating AI. Still Gado, pictured top, is typically worth a look and the (equally vague) first look trailer suggests it’s certainly in our wheel-house. It will be a Netflix release: filming wrapped in July, so probably the middle to latter half of the year is my guess.

In the Lost Lands (TBA)

“A sorceress travels to the Lost Lands in search of a magical power that allows a person to transform into a werewolf. ” So this is what Milla Jovovich is doing, in her post-Resident Evil career. It’s directed by husband Paul W.S. Anderson, and is an adaptation of a short story by Game of Thrones author George R.R. Martin. Milla was linked to this project a few years ago, and Dave Bautista plays her faithful sidekick. The budget is reportedly around $55 million, so should be able to pay for significant amounts of ass-kicking.

The Marvels (July 23)

The sequel to Captain Marvel, which in case you had forgotten, was one of the more underwhelming of the superhero comic-book movies. Wikipedia says, “Following the events of Ms. Marvel, Carol Danvers, Kamala Khan, and Monica Rambeau begin swapping places with each other every time they use their powers and must team-up to figure out why.” Which might make more sense if I’d seen a single minute of Ms. Marvel. I feel no great sense of loss at this omission. File this review under “contractual obligation,” and keep expectations in line with that.

The Mother (May)

“While fleeing from dangerous assailants, an assassin comes out of hiding to protect her daughter she left earlier in life.” At least this one seems to have a bit of an excuse for being carried forward, with shooting being shut down last January due to the COVID variant. In addition to Jennifer Lopez in the title role (insert “Jenny with a Glock” joke here), the case now includes Joseph Fiennes, Omari Hardwick, Gael García Bernal, and we now have a teaser trailer for the film, directed by Niki Caro, of Mulan fame.

Night Train (January 13)

“A single mom struggling to make ends meet as a Hollywood teamster evades capture by a ruthless FBI Agent while running black market medical supplies in her legendary souped-up pickup truck.” This looks to be the first entry of 2023, but looks kinda bland and fairly cliched. However, it stars Danielle C. Ryan, who has shown promise before, but if her recent Double Threat (review pending) is any guide, is an action actress in need of better material. Maybe this will be it? Or maybe not.

The Street Avenger (TBA)

As suspected, this one was a no-show, and I note that the IMDb page has replaced previous lead actress Mischa Renee with Karina Encarnacion. The supporting cast is a veritable who’s who of straight to video names, including Tom Sizemore, Kevin Sorbo and Robert LaSardo. But, hey, it’s still got Danny Trejo. The IMDb page now says, I suspect more in hope than anything, “This is a raw, action-packed adventure that shows the inner strength of a young woman that will stop at nothing to avenge her father.” Release date: 25 December

Trigger Warning (TBA)

According to Deadline, “Trigger Warning, directed by Mouly Surya, tells the story of Parker (Jessica Alba), an active-duty Special Forces officer described as a female John Wick. Parker takes ownership of her grandfather’s bar shortly after he dies, and soon finds herself at odds with the violent gang that killed him.” I did find an interview from May 2022 with co-star Alejandro De Hoyos, who plays Grandpa, where he says, “Jessica Alba kicks ass. It’s nice to see a female role that shows so much strength and training. Sometimes you see movies with fighters doing action and they don’t seem very efficient. You know they’re not really trained. But Jessica had plenty of physical and mental preparation for this and it shows.” We’ll see this one on Netflix at some point.

Wildwood (April 23)

“Beyond Portland’s city limits lies Wildwood. You’re not supposed to go there. You’re not even supposed to know it exists. But Prue McKeel (Carey Mulligan) is about to enter this enchanted wonderland. Her baby brother Mac has been taken by a murder of crows into the forest’s depths, and she — along with her hapless classmate Curtis — is going to get him back. Prue might think she’s too old for fairy tales, but she’s just found herself at the center of one.” What’s interesting about this is it’ll be stop-motion animation, from renowned Laika studio (Coraline and Kubo and the Two Strings).

Below are the available trailers, first looks, etc. for some of the films discussed above.

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