I have lost count of the number of movies in which I’ve been disappointed by the female characters. Often they seemed to be added as an afterthought, a “love interest” for the hero, or just as eye candy. In particular, there is a shortage of them in action movies: it’s strange that, so often, an all powerful crime boss is expected to live the life of a monk. But even when all the elements are put in place, there are many that then proceed to mess up the climax. At the other end of the scale, are films where the characters are completely wrong for the situation in which they are placed.
To illustrate these points, I have taken a closer look at four films, and come up with alternative scenes, characters or sequences which might have been an improvement. Although as they were made, they were all a personal disappointment to me, I should say that I have seen worse, and selected them to make a point, rather than to put them down. At least they tried…
Wild Wild West (1999)
Don’t just stand there, do something!
Before getting on to the actions – or rather, the lack – of the female lead in this movie, I feel it only fair to say, she was not the main problem. That dubious honour goes to a plot, which was so lame that if it had been a horse, it would have been shot. And while they were in the process of rewriting the script, particular attention could then have been paid to the part played by Selma Hayek. Because, to me it’s ridiculous to have a female lead in an action movie, whose only purpose seems to be standing around and looking decorative. She should be a participant in the action, not a spectator, but at no time in this endeavour did she fire a gun, ride a horse or fight anybody. She was there solely for the two male leads to argue over, and show off her underwear…OK, not totally a bad thing, but there were some bad girls too, equally underemployed. With only a little imagination, a revised version could have a scene something like this:
Our intrepid trio are riding along on horseback and get ambushed. They dive for cover as the bullets start flying. The men return fire and exchange words to the effect that since there are four attackers, they are outnumbered two to one. They are interrupted by the crash of a gun firing just behind them, and a cry of pain, as a bad guy bite the dust. They turn to see Selma holding a rifle, and she says calmly, “I don’t why you’re complaining about the odds. By my count, it’s three against three.”
Simple but effective. Instead, this movie demonstrates what happens when the producers concentrate more on special effects than they do on telling a story. This can only result in characters that are not used to their full potential.
Austin Powers: Goldmember (2002)
Where’s the bad girl?
The original was fine, but by the third, I was getting tired of the recycled jokes. The one thing I did like, however, was the inclusion of Beyonce as Austin’s partner, Foxxy Cleopatra, and I would like to have seen more of her and less of Mike Myers [I admire the man’s talent, but the novelty of playing both hero and villain does wear off eventually]. On a more specific note, I found Dr Evil was starting to get really irritating, and the inclusion of a bad girl might have helped, giving somebody else to bounce jokes off. And there was no shortage of suitable candidates: when the audience was first introduced to Goldmember, beautiful girls surrounded him, and I have never understood why he didn’t take one of them with him.
She should, of course, be an active participant in the action sequences. This would be more important than great acting talent, as the entire series involves overacting and hamming it up, rather than trying for an Oscar. It’d give scope for things such as her and Foxxy having a running-gag, in which they compete as to who can hide the biggest gun in the sexiest outfit. [See Undercover Brother for an example of what can be done] An increase in Beyonce’s part is certainly something that many would welcome: she has real potential as an action heroine and I hope, someday, gets a part that gives her a better chance to show her talents. I don’t really care if she plays the good girl or bad girl – just so long as there is one of each…
Torque (2004)
If they’re going to fight, get it right.
I rather enjoyed this movie. It is a lighthearted, testosterone-fuelled, action flick that has no pretensions about being anything else, is full of stunts and, apart from the ending, delivered everything it promised. Early on in the film, there is a confrontation between Shane (Monet Mazur) and China (Jaime Pressly). It’s apparent that they are ordained enemies and their mutual hatred is personal, going far beyond them being the respective girlfriends of the hero and chief villain. It’s made clear to the audience that by the end of the movie, there will be a reckoning between them. This is definitely something to look forward to, as they are beautiful and physically well matched.
And so it comes to pass. At the end of the movie, the villains get busted; China makes a break for it, jumps on a motorcycle and rides off. Shane also mounts up and goes after her. So far, so good, but this is when it starts to get goofy. For some strange reason, they try to have a martial arts fight from the back of their bikes. Unfortunately this just doesn’t work on any level, and I would have liked it done a lot differently.
First of all, they both would have grabbed guns before riding off – this makes more sense. They would have started firing at each other while riding, perhaps ending when Shane shoots out the bad girl’s back tire. Abandoning her bike, China is now able to aim more effectively and nearly takes out her pursuer. Sliding to a stop, the good girl ducks for cover, and resumes what is now a running gun battle. Shane chases her rival down and traps her. With nowhere to run, China prepares to make her last stand, when something almost unheard of in action movies happens: her gun runs out of ammo.
Shane advances from behind cover, her own gun aimed at her rival, smiling happily as she says, “Give it up, bitch. It’s over now, and I don’t want to have to shoot you.” China sneers at her foe, drops to a fighting crouch and clenches her fists as she replies. “Well, in that case put the gun down and try and take me without it, if you have the guts.” This suits our good girl just fine. She has no desire to shoot an unarmed foe, but likes the idea of beating her up…
The two actresses concerned did some of the film fight themselves, and would likely have welcomed the chance to do more. They had some martial arts training for their roles so a reasonable skill level could be expected. Ideally it would not be a classic martial arts fight, but an all-out, back alley brawl. Mazur and Jamie should have been given the opportunity to put on a great fight, getting back to basics.
A quick side-note. Too often, film-makers forget that the human face is the most expressive part of us. A display of emotion can be used to draw the audience into the fight, and make a commitment into caring who wins. This is especially so when a girl is fighting as a hero: you feel her pain as her enemy lands a blow, will her on as she strains for dominance, and enjoy with her the fierce pleasure of victory. This is something difficult to do when using stuntwomen, for obvious reasons: I have a lot of admiration for them, but feel in many cases they should stay in the background, helping with the fight chorography.
Troy (2004)
Sorry, Homer – they lost the plot.
The inclusion of this particular movie will surprise many, but think along the lines of, “girls who should have been armed and dangerous”, and I will explain. The movie’s publicity proudly claims that it is “inspired by Homer’s Iliad” – rather than based on – and the differences are too numerous to list here. So I’ll concentrate on those affecting my own topic.
Three of the strongest characters in the Iliad are female. It is the goddesses Hera, Athena and Aphrodite who set the whole thing off, by arguing and then fighting over, a present addressed to “the most beautiful goddess” of them all. Zeus, all-powerful King of the Gods intervenes but is not prepared to pick a winner. The reason why is quite simple: he’s not stupid. He knows that the two he doesn’t pick, will resent it and even the most powerful being on the planet has no desire to face the fury of two such formidable females.
In a manoeuvre worthy of a politician, he delegates the decision to somebody else. Paris gets the job and all three try to bribe him. He chooses Aphrodite, who offers him any woman he wants, over the other two who only offer him power over men. He wants Helen, so she organises it – and from then on the mortals are part of a giant war game as the gods and goddesses interfere with what is happening on Earth.
[This is of course a very brief summary and will probably offend any scholar reading it! But it won’t matter to the filmmakers, since they eliminated the whole thing and started with the humans having free will. Hence, when things go wrong, it can no longer be blamed on “the will of the gods.” With all the powerful female characters eliminated, the ones left should step up to fill the void. The game is still on, but they are no longer pawns – they are queens, and should act accordingly. Not doing so, results in what I consider to be an absurd situation. Helen puts her own personal happiness over that of the fate of nations, but is not portrayed as being arrogant. You gotta be kidding – as Homer probably wouldn’t have said.
Then there is also Andromache, wife of Prince Hector to consider. She has a wonderful life until Helen arrives at Troy. Her husband will be the next King of Troy, she will be its Queen, and they have a baby they both love. But because of Helen, her husband is killed, Troy is destroyed and she and baby are forced to flee in fear of their lives. Despite this, not once in the whole movie does she get the least bit annoyed with the person responsible. I just don’t see how any woman destined to rule could be that much of a wimp. I think their first meeting should have been a moment of high dramatic tension – something which in the movie is sadly lacking.
At the welcome home reception, eyes meet across a crowded room, and it’s hate at first sight. Helen is being shunned by the women of Troy and knows she must deal with their leader. Unlike the others, Andromache does not turn from her gaze, but stares back defiantly. Slowly, menacingly. Helen moves towards the Trojan Princess. Hands on hips and eyes locked with those of her approaching nemesis, Andromache stands her ground – if the Spartan Queen is looking for a fight, she won’t need a map. It is Helen who speaks first. “How dare you treat me like this, Housewife of Hector. I demand the respect that I deserve.” “That is exactly what you are getting, Helen of Whores. You are not welcome here,” replies Andromache.
The Queen of Troy intervenes, reminding them that royalty does not brawl in public. They are both members of the same sisterhood and should take their dispute to the temple of their order. The girls agree and that night after suitable ritual and ceremony they duel with daggers, bare to the waist, until blood is spilt. After a spirited struggle between the two well-matched rivals, Helen overpowers her foe but chooses to deliver a small cut rather than a death thrust. The two fighters now have a mutual respect for each other and at the end of the movie, arm themselves with swords, and fight their way, back to back, out of the doomed city.
Okay, while this might be truer to the spirit of the original, I am prepared to concede that this version might be a little extreme for many, and that a compromise scenario would be needed for a mainstream audience. However, I’m sure that Diane Kruger and Saffron Burrows, the two actresses involved, would certainly have preferred some meaty dialogue. I found no indication from their body language that that they like each other, and may have welcomed the chance to get physical.
In addition, I also found their big scene together, after Hector is killed, most unrealistic. This is when Helen (Kruger) tries to comfort a sobbing Andromache (Burrows), although the logical person to comfort her is the Queen, who has just lost her son. I think most women in that situation would be more interested in clobbering the person responsible with a sword rather than getting a hug from them. There was a coldness about the embrace that suggested to me that they knew it was all wrong – and perhaps they would rather have fought.
On a more positive note I have seen many action movies in which a male/female partnership has worked well. This is especially true, if there is a chemistry between them, such as the combination of Michael Douglas and Kathleen Turner back in the 1980’s. Romancing the Stone and Jewel of the Nile have a special, timeless quality about them, that also applies to my favourite movie of this genre, True Lies. While action packed from start to finish, it has enough humour in it to lighten the mayhem, so that it isn’t taken too seriously. Although it starred Arnold Schwarzenegger, I put a lot of its success down to having Jamie Lee Curtis (good girl) and Tia Carrera (bad girl), as his two leading ladies – not that there was anything very ladylike about the way they fought over a gun in the back of the limo!
Nor am I trying to suggest that this sort of movie is a thing of the past. I enjoyed the recent Van Helsing, and thought that Hugh Jackman and Kate Beckinsale worked well together. In the near future I intend to see National Treasure with Nicholas Cage and Diane Kruger in the starring roles. So far I have only seen the trailer, but I have already seen her involved in more action than the whole of Troy. And that, ladies and gentlemen, pretty much brings me full circle, right back to missed opportunities.


Okay, so here’s what REALLY happened. Sorry I took so long. As you can imagine, I’ve not had much time to sit at my desk lately. Also, this is a very long letter, but I promise, it contains tons of interesting information.
Typical. Wait ages for one roller-derby league, then two start up almost after each other. Back in June, we wrote about AZ Roller Derby, but a schism arose almost immediately, disenchanted skaters breaking off into the Renegade Rollergirls. A third group also peeled off in another direction. The reasons are not relevant: here, we don’t take sides, especially if it increases our opportunities for femayhem. Regardless, almost-certainly-
As we waited, promo videos played on the scoreboard, an enormous device hung from the ceiling like a cannon on the Death Star. Bonus points for production values on these films, which explained the rules and introduced the players, as well as promos for their sponsors: Dickies, the Platinum Girlz promotional company, etc. We learned they were calling the venue ‘The Shark Tank’, which is a catchy name, and that the rules were basically the same; the only major difference was there’d be four periods, each of ten 90-second jams, rather than three twenty-minute periods. On the downside, there was no program, and merchandise was limited to one design of T-shirt. One wonders perhaps how quickly this event had been scheduled.
Roller Derby is quintessentially American; like the drive-in, it’s rarely seen outside the US. And also like the drive-in, it began in the 1930’s, when Chicago’s Leo Seltzer combined two crazes: roller-skating and the dance marathon. His contest for couples, over 57,000 laps (the distance between Los Angeles and New York). drew 20,000 spectators in its opening week. The power of the concept was proven, but it took a few years for it to evolve into a contact sport – Damon Runyon, author of Guys and Dolls, helped Seltzer incorporate these elements, and also the change in aim from distance to the scoring of points.
The golden era of the sport began in the 1950’s, when television helped roller derby become popular in almost every state. However, the 1970’s saw it go into decline, and it has never recovered, despite attempts to revive it. Most recently, there was RollerJam, an exercise closer to professional wrestling and co-funded by TNN, that stumbled along despite the assistance of Leo Seltzer’s son, Jerry, and finally went under in June 2000.
After getting through, the jammers then lap the pack, and again approach it from behind. Only this time, they score one point for every opponent they pass. Which is where the fun starts, since the opposition is trying to block them, and their team-mates are trying to block the blockers, while also stopping the opposition’s jammer from passing them and scoring. A match consists of two periods, each lasting twenty minutes; most points wins.
I was a little surprised to see a flat track, it was simply marked out on the surface of the rink with rope lights; the teams are working towards banking, and have weekly fundraisers at Ziggy’s in Tempe – including a spanking booth! For the moment, they make do and, regardless, the pace was fast and furious; while the skating ability on view was variable, these women are athletes, make no mistake about it. The best jammers, such as Sara Veza and Go Go Liz, slid through the pack like a knife through butter. Even rookies like ourselves could see the skill required, while perhaps not appreciating the subtle refinements of the sport. [Alright, “subtle” is stretching it. There’s a whole page on their website, with photos of the injuries players have received…]
While 2003 has been touted as the Year of the Comic-book Movie, those centred around heroines have been notable by their absence. Sure, X-Men 2, League of Extraordinary Gentlemen and Daredevil have then in supporting roles, but going by the example of the last-named, anyone expecting much is likely to be sorely disappointed. Elektra, one of the toughest, deepest, most twisted characters in comics history – at least in the Bill Sienkiewicz/Frank Miller incarnation – was reduced to little more than a simplistic sidebar of little relevance. Credit to Jennifer Garner for doing what she could, but it’s safe to say that we’re not awaiting the touted Elektra spinoff with anything more than a “that’s nice” level of anticipation.
I usually start watching this in a sense of disbelief, since it’s certainly not the most immediately convincing of movies. However, there’s a point near the middle which has in quick succession an amazing action sequence and two revelations, one touching, one tragic, and I realise that I am, yet again, utterly buying into the characters, storyline and setting. Disbelief simply ceases to be an option, and by the end, I know why this is among my all-time favourites, not just in the action heroine genre, but among all cinema.

Roger Corman is a man without shame – and that’s in no way intended as an insult. He simply utilises any resource to the best of its ability, as is shown by the 
There was enormous, often ferocious debate among fandom over the nature of Xena and Gabrielle’s relationship, some asserting they were a lesbian couple. While both showed plenty of evidence of heterosexuality, there was a lot of content open to interpretation – much of it absolutely deliberate, and known as “subtext” in Xena fandom. I never found it convincing. My issue with it was not one of sexuality, simply compatibility: Xena and Gabrielle were absolute opposites, in background, upbringing, personality and approach. They just didn’t “fit” each other, from what I could see, and there was no chemistry visible. Xena and Hercules: I could see that. Xena and the Queen of the Amazons: no problem there either. But Xena and Gabrielle? Sorry. Not buying this. It also played into the stereotype that any strong woman
It’s assumed viewers are at least somewhat familiar with Xena’s background, as she is first seen burying her armour in an effort to bury her past. Of course, this is about as successful as it usually is in fiction, and it’s not long before she’s saving villagers, including Gabrielle, from slavery. That includes an aerial battle atop platforms, which is the first sign of the show’s strong influence from Hong Kong action films; it was using wirework, in a way that predated its popular arrival in Hollywood. Similarly, the stunning New Zealand locations foreshadow Lord of the Rings, to the extent that I kept expecting to see hobbits gamboling along in Xena’s wake.
The defining moment of Xena’s sophomore season didn’t take place in any episode. In fact, it didn’t even take place in New Zealand, but thousands of miles away, During a rehearsal for an appearance on The Tonight show with Jay Leno, Lucy Lawless was thrown off a horse after it lost its footing, and broke her pelvis. It’s interesting to compare the reaction of the producers to what the Tapert/Raimi team did when the star of Spartacus, Andy Whitfield, was similarly a victim of severe misfortune, more than a decade later. There, they put the show entirely on hold and opted instead to film a prequel without him.
In terms of style and approach, the show covers even more ground here than the first time, from absolutely froth to grim darkness. Xena even gets crucified by Julius Caesar in one episode [confusingly, the actor responsible also crops up later, playing Cupid, complete with fluffy wings…]. I’m sure I’m not the only one who found themselves whistling Always Look on the Bright Side of Life, during the scene shown above right. Another unwitting Python reference is the wretched Here She Comss, Miss Amphipolis, a dreadful tale of drag-queen empowerment, featuring perhaps the least convincing female impersonator since John Cleese put on a dress – as on the left, watch that Adam’s apple
I used to be a Xena fan; for the first couple of series, I was a die-hard, never missed an episode, bought the merchandise, went to the gatherings, etc. I loved (with one exception) the supporting cast – Joxer, Ares, Autolycus – and still reckon Callisto remains one of the great TV villainesses of all time.
The 1980’s were the Golden Era for action heroines in Hong Kong cinema. Names like Cynthia Khan (a.k.a. Cynthia Yeoh), Michelle Khan, Yukari Oshima, Cynthia Rothrock and Moon Lee all came to prominence in the decade. Just sliding in before the bubble burst was Jade Leung, who came out of nowhere to win Best Newcomer at the Hong Kong Film Awards for her performance in 1991’s Black Cat. Jade was born in the then-British colony, November 23rd 1969, but spent four of her later teenage years in Switzerland, where she studied fashion and learned French. In 1990, she returned to Hong Kong and was one of 200+ actresses to audition for Steven Shin, director of Black Cat. She won out, despite her lack of experience, and underwent a rigorous training program to get in shape for the movie.




This film is a 90-minute explanation of why Jade Leung’s star never took off. While some decisions Michelle Yeoh made might have been questionable, at least her films were rarely boring, and never down to the level of this piece of tedious dreck. It depicts the struggles of a class of policewomen (including Jade), to become part of the elite. The idea certainly has potential – the Inspector Wears Skirts series has a similar premise – but here, there is almost no character given to any of the girls; they all blur into each other, like a dozen GI Jane-wannabes.




Born in the French province of Champagne in 1412, to a peasant farmer, Joan (or Jeanne – I’ll largely stick to the Anglicization) never learned to read or write, but was regarded by her contemporaries as a highly pious child. It was at the age of 13 that she first heard voices, but it took several years before they convinced her to leave home and help the French king, who was engaged in a battle to liberate the country from England. She presented herself to the local commander, who was skeptical at first, but was eventually convinced after Joan reported news of an English defeat before official confirmation arrived. Joan, clad in male attire to protect her modesty, travelled to see the king, and convinced him of the legitimacy of his claim to the throne, despite a faction of the court strongly opposing her influence. Her faith, simplicity and honesty won the day, and she acquired her sword, found buried behind an altar, in the exact spot she said it would be.
This was nothing more than a show trial, despite the efforts of those in charge to find support: according to biographer Jules Michelet, one jurist said “that everything about the trial was wrong; that it failed to respect the proper forms; that the assessors were not free; that the sessions were held in secrecy; that the accused…could not be expected to argue with learned doctors” and finished by declaring that it “was a trial to impugn the honour of the prince whose cause this girl is supporting; you should frankly say so.” Perhaps wisely, the holder of these opinions opted to leave France immediately for the safety of Rome.
I don’t watch many silent films: it’s such an entirely different experience, obviously, much less driven by dialogue and more by gestures, leading to a style that can look extremely over-theatrical to the modern viewer. My efforts to enjoy the likes of Nosferatu, for example, have usually ended in my providing an accompaniment of snoring, to be honest. This was much better. Despite a running time of over two hours, this 1916 DeMille epic successfully held my interest, as it told the story of Joan of Arc. The framing device uses the then-contemporary World War I, and an English soldier (Reid) finds Joan’s sword in the trenches, the night before a dangerous mission [Interesting how the English are the enemy in the back-story, but the good guys “now” – at the time of release, America was still several months from entering the war, on the British side]. He then experiences a flashback vision, taking him to medieval France, where he is an English soldier saved by Joan (Farrar) in her milkmaid days. We follow her for the story you know, becoming the inspiration for the French army to defeat the English, before her capture, trial for heresy and – I trust I’m not spoiling this – burning at the stake.
This film’s origins as a stage play are painfully apparent, and you can also see why the distributor’s felt it needed to have 45 minutes cut out before it could be released, as frankly, it’s a bit of a bore. The battle to recapture Orleans is the only action of note here, even though that represented the start of the Maid’s campaign to restore France to its proper ruler (Ferrer), rather than the end. After that, this more or less skips forward to his coronation, then Joan’s capture, spending the rest of the movie – and there’s a lot of it – going through the trial, and the railroading of the heroine into, first throwing herself on the church’s mercy, then recanting her recantation and returning to wearing men’s clothes, thereby sealing her fate. There’s not much here which you won’t have seen before, if you’ve seen any of the other versions of the story, touching the usual bases from Joan’s revelations that she’s going to be the saviour of France, through her trip to see the Dauphin, and so on. It does downplay the “voices” aspect, especially early on, perhaps a wise move since it’s difficult to depict, without making her seem like a religious fruitcake.

Joan’s capture, trial and execution are fairly close to the truth, though in reality, the King was less involved and more concerned for Joan than shown. It certainly is reasonable to suggest that a naive innocent such as Joan would have been used for political ends. Once she’d outlasted her usefulness – and with the king on the throne, she quickly became more a hindrance than a help – she would have needed to be disposed of. Must confess, I quite like the concept of Joan as a medieval version of Lee Harvey Oswald. Dustin Hoffman’s appearance as Joan’s conscience is another neat touch, and his sarcasm works well. Indeed, the film is one good performance from being excellent. The bad news is, it’s Jovovich who is the culprit (a messenger who deserves to be shot?), though Besson and co-writer Andrew Birkin perhaps warrant most of the criticism for twisting facts and characters in order to fit a predetermined goal. Their Joan is so far from the historical record, they’d have been better off placing their character in an entirely fictitious setting.
However, the main difference between this and The Messenger is that Joan of Arc is convincing. Perhaps with the advantage of having extra time (the DVD of the miniseries runs 189 minutes), they make the effort to show her interacting with other characters, and Sobieski’s calm, complete assurance is a striking contrast to Jovovich. The viewer can see why people would believe her, and it naturally follows they will too – Sobieski’s Emmy nomination was entirely well-deserved. Despite playing fast and loose with the facts (another example: Joan’s brother was not killed in battle, but lived to see her trial verdict overturned), this strong central performance holds the film together and, with the aid of the other fine actors, makes it eminently watchable. It may not be historically accurate, but it does a fine job of explaining why her myth is still honoured in the third millennium, without coming down in one camp or the other regarding the source of her visions. There are few TV miniseries worth watching, and fewer still worth owning, but this one comes highly recommended.
Romero is most – indeed, almost
Romero’s problems are, as ever, plot and dialogue. Chris literally stumbles into a secret entrance, yet apparently played there as a child. Chris and Jill get one brief scene, are separated for 30 pages, then come perilously close to having a quickie between kills. Then there are speeches like, “They made you believe you were doing a good thing when it wasn’t good at all. It was evil! The kind of evil that resides in all of us. Makes us greedy, uncaring. The kind of evil that will wipe us out, in the end. Unless we stand up against it.”
Daniel Waters’ career has been one of ups and downs. For every brilliantly-observed piece of satire, such as Heathers, there has been…well, Hudson Hawk. However, also on his resume is perhaps the best Dark Knight movie yet made, Batman Returns – though, let’s face it, with a supporting cast including Christopher Walken, Michelle Pfeiffer and Danny DeVito, a telephone directory would likely have made compelling viewing.
This is, very clearly, a parody of the superhero genre, playing with the conventions of secret identities, powers, merchandising and so on. The part of Spooky, one of the CoG members who is a woman masquerading as a male superhero, looks to have been written for Michelle Yeoh – one move is described as “a famous maneuver of renowned Hong Kong actress Michelle Khan — hint, hint” which puts Waters several years ahead of Hollywood in recognising her talents.
Few films had as twisted a path to the screen as Tomb Raider. [For a three-part history of some of the rumours since August 1997, see
Once they enter the El Dorado complexes, the script reads like a description of levels from the game, with levers to pull, gaps to jump, tunnels to swim through, and keys to rooms located in other places. It’s hard to see how this could have been brought to the screen without feeling like you were watching someone playing the game. In addition, the trick used to locate an entrance is a painfully direct steal from the textbook of Dr. Jones – as is the massive, rolling boulder that forms one of the traps inside.