Category: Review

The Red Detachment of Women

  By

★★½
“Carry out land reform!” and other popular Marxist refrains…

reddetachmentThis takes place in 1930, when the Communist revolution was really just getting under way, and Hainan, now the very southernmost part of China, was a hotbed of subversive activity. Wu Qionghua (Zhu) is a virtual slave, who had made frequent attempts to run away from her master, Nan Batian, but has always been caught. She is rescued by a kindly merchant, Hong Changqing (Wang) who is visiting her master and takes Qionghua into his service – as soon as they leave, he frees her, because it turns out he is an undercover operative for the Communists. Qionghua, filled with new-found political aspirations, heads for a nearby village where the Red Army is forming its first women’s army, linking up on the way with another member of the oppressed proletariat, Fu Honglian (Xiang). There, she convinces the commander of her earnest intentions and gets to join. However, her lust for personal revenge on Nan clouds her judgment as a soldier, and potentially puts her life at risk She will need to suppress her own desires – both for vengeance and for Hong – in the interests of the greater good and the Communist uprising.

A little reminiscent of The Forty-First, the big difference is that it built the characters first, and worked any political messages around them, rather than turning the actors into machines for spouting revolutionary polemic. Here, there are times when what comes out of Qionghua’s mouth appears to be straight out of the Little Red Book, which is quite off-putting. It could be down to poor translation in the subs, but considering she is supposed to be a peasant girl, and presumably uneducated, lines such as “Could you tell me why Secretary Changqing and our company commander are more knowledgeable and farsighted? Because they are communists?” are not exactly convincing. Nor are “spontaneous” chants of “Down with feudal rule! Carry out land reform! Overturn the feudal system!” Maybe audiences in sixties China needed to be whacked over the head; I’ve always found propaganda to be most effective when its subtle, and this isn’t. I occasionally expected scenes to finish with a Starship Troopers-esque caption: “Do you want to know more?”

But say what you like about communism – and “It’s a political system which is okay in theory, but a miserable failure in practice” would be close to my own view there – it has done a lot more than capitalism in embracing the GWG as part of culture. We already documented the Soviet approach in WW2, and here, the women’s army is not regarded as second-class soldiers in any way, and are portrayed the equals of their male counterparts, which is certainly laudable. Shame the battles themselves are a bit crap, with the running-dog reactionary lackeys hardly putting up a fight, save for one decent sequence where Wu’s platoon has to hold off an advancing surge by the opposition, while sustaining brutal losses. The same novel subsequently became a ballet: that might be slightly less heavy-handed with the propaganda, though I wouldn’t guarantee it!

Dir: Xie Jin
Star: Zhu Xijuan, Wang Xingang, Xiang Mei, Jin Naihua

Danger Dolls

  By

★★★
“Fringe with fringes”

dangerdollsAn interesting alternate universe here, diverging at the end of World War II, where the horrific results of Hiroshima and Nagasaki triggered the world into abandoning, first, nuclear weapons and then eventually, all guns as well. In the present day, crime still exists, but it largely consists of people holding up banks with swords, for example. However, trouble lurks in this gun-free paradise, in the form of a parallel universe, which appears to have designs on ours, and is sending people through a wormhole, and replacing the ones on this side with the aim of establishing a bridgehead. Countering this threat are the titular quartet, led by Arisa (Hanai), who have the martial-arts skills to counter these “filthy invaders”, and can also see the blue glow which identifies natives from another dimension.

After successfully destroying five political figures who had taken the place of their counterparts on this side, things get more complex, with the next mission being to infiltrate a country retreat belonging to that political party, a venue recently visited by all five dimensional visitors. It’s decided by their boss that the girls will go under cover as an all-girl group of pop stars – the i.Dolls – using a tour as disguise for their activities, on the basis no-one will pay attention to a bunch of idol singers. Yeah. Not perhaps the soundest decision making ever, that. Exploring the ground, they find what looks like the innocent gateway to a Shinto shrine, only to discover it is actually cover for the wormhole. Confusing matters further, the parallel version of Arisa comes through from the other side where it turns out that she and the other three – hey, what are the odds? – actually are members of an all-girl group. This Arisa discovers that things are not quite as cut and dried as they seem, and that even their own origins may be other than they believe.

It’s likely a case where less plot would be more – and fewer Danger Dolls would probably be a better idea too. For as is, beyond Arisa and Ray (Takeda), there’s precious little characterization to be found for Miki and Mari, whose sole purpose for existing seems to be to justify the idol singer thing, because a singing duo would seem a bit crap. The action sequences are spottily impressive. It’s clear Takeda is head and shoulders above the others in terms of ability, though Hanai has her moments, and there are some nice moves. The most spectacular of these are apparently inspired by lucha libre, leaving me suitably impressed, and the lack of doubling and wire-work was also quite laudable. However, the need to slice up the screen time between four protagonists does leave the battles feeling choppy, and it’s only once the herd is thinned at the end – I’ll say no more – that proceedings achieve the necessary fluidity. There’s no doubt Takeda still has star potential; as with her earlier movies, however, this vehicle for her talent falls short of its main ingredient.

Dir: Shûsuke Kaneko
Star: Rumi Hanai, Rina Takeda, Kayano Masuyama, Nana Seino

Sword and Sorceress XIX, edited by Marion Zimmer Bradley

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

swordandsorceress19Although the late Bradley (d. 1999) is credited as “editor” of this volume of the series, it’s really the second of three that were made from the pile of manuscripts submitted before her death, and actually edited by her sister-in-law, Elisabeth Waters. It continues a trend I noticed in Sword and Sorceress XVII,: much more emphasis on the sorcery half of the sword-and-sorcery equation. Out of 25 tales here, 20 have heroines who are magic users; only six feature swordswomen (one protagonist is both), and two of the latter don’t do any actual fighting in their stories. (Of course, magic-wielding heroines may be fighters too, in their own way!) Other trends that I noticed here were a number of stories treating real-world or imagined pagan pantheons as real, frequent use of various historic world cultures (ancient Egypt, the Hellenistic world, 10th-century Britain, etc.) as settings or models for invented settings, and several coming-of-age stories. While I enjoyed the vast majority of the selections here, I felt that this volume didn’t have as high a number of really outstanding stories as previous series volumes that I’ve read, so it’s the first of the latter not to get five stars from me. (But four is still a high rating!) Five of the writers represented are males, about the average proportion for this series.

Bradley had instituted a by-invitation-only policy for submissions before she died, but had invited everyone who’d previously contributed to the series. So all of the contributors here have been represented in previous volumes, though some are new to me (I haven’t read all of the previous numbers) and some who aren’t are writers whose names I’ve forgotten. Those whose work I’ve definitely read before include Diana Paxson, Esther Friesner, Bunnie Bessel, and Dorothy Heydt (whose daughter also has a story here).

When I encountered Heydt’s ancient Greek sorceress, Cynthia, in Sword and Sorceress XVII, I made the comment in my review that she might be a series character. That’s confirmed here in “Lord of the Earth;” but that story has so much allusion to back-story that it loses a lot for readers who haven’t followed the character through the whole story cycle. Paxson’s “The Sign of the Boar” is a sequel to “Lady of Flame” from the same earlier volume; but here, her considerable talent is disappointingly wasted on a story mainly intended to disparage Christians. “A Simple Spell” by Marilyn A. Racette is a very slight story, which (at least for this reader) failed to make much impression. In her brief intro to A. Hall’s “Sylvia,” Waters notes that she wanted to close the volume with something “short and funny.” It’s quite short, and has a mordant black humor in its conclusion; but it’s really more tragic than funny if you think about it (and definitely makes the point that, when you try to gain your ends by sneaky and manipulative means instead of honesty, the results may not be what you bargained for).

Those are the weaker stories, but I’d rate all of the rest with at least three stars, and often more. Set in a land ruled by queens chosen by a magic-endued sword, Bessel’s “Sword of Queens” is the one five-star work here; it has the emotional and psychological complexity and power of the series’ best tales. Laura J. Underwood’s Scottish-flavored “The Curse of Ardal Glen” is a standout among the serious stories, and Aimee Kratts “One in Ten Thousand” has both an unusual setting (ancient Egypt) and a very original magic system.

Humorous fantasy is represented here fairly often. “Pride, Prejudice and Paranoia’ by Michael Spence is perhaps the best of these; it’s a sequel to “Salt and Sorcery,” which he co-wrote with Waters for an earlier volume, and is set in a magic school (despite the title, it’s set in the present, not Regency England). It would be most appreciated by those who’ve read the first story (which I haven’t, but want to!), but can delight even those that haven’t. The evocation of a graduate school environment is spot-on (Spence was a seminary student when he wrote it), the family dynamics are precious, and there’s a good, subtle message. “A Little Magic” by P. E. (Patricia Elizabeth) Cunningham and “Eloma’s Second Career” by Lorie Calkins are also fine examples of fantasy in a humorous vein; the latter will be especially appealing to ladies of a certain age whose family is raised and who are ready to take on new challenges instead of sitting around and vegetating. (Though their new challenges probably won’t include training to be a sorceress.)

Not a humorous tale, Deborah Burros dark “Artistic License” also deserves mention; it’s a tale of murder and deadly sorcery (but not all murders evoke quite the same moral indignation). This doesn’t mention all of the stories, but at least it should provide prospective readers with something of the flavor of the collection!

Editors: Marion Zimmer Bradley, Elisabeth Waters
Publisher: DAW, available through Amazon, currently only as a printed book.

A version of this review previously appeared on Goodreads.

The World Before Her

  By

★★★
“Beauties and the beasts?”

worldbeforeherI love the double meaning of the title, which could mean either, “the world in front of her” or “the world of the past”. Both would be appropriate for the this documentary, which focuses on two contradictory and opposite facets of modern Indian culture, though both are redefining the ways in which women are portrayed. On the one hand, you have Ruhi Singh, a participant in the Miss India contest. In India, beauty pageants seem to have an unexpectedly feminist position, in contrast to how they are often seen in the west, as “cattle markets”; it’s pointed out, beauty is one of the few areas in Indian society where women and their opinions are seen as the equals of men. Then there is Prachi Trivedi, a young woman and fervent Hindu nationalist, fighting against exactly that kind of decadent Western culture, training with the Durga Vahini, the woman’s wing of a group that has been described as neo-terrorist in nature, and who protested against Miss World when the contest came to India in 1996.

The contrast between the two is certainly stark: Singh is elegant, clearly modern in outlook and does not believe foreign culture poses any threat to India. Trivedi, on the other hand, eschews make-up, years for a past unsullied by modern culture, and regards both Christians and Muslims as the enemy [as one training camp attendee puts it, in a thinly-veiled threat, “We have learned to use guns and we’ll use them if we have to. We will kill people if we need to”]. Yet, she rebels against her father’s beliefs that a woman’s first – indeed, sole – duty is marriage and having children, and readily acknowledges the inherent contradiction in being devoted to an organization that is intent on continuing to repress her. The film appears to be saying that the two are not too different in nature, sharing an independent streak – under other circumstances (and, probably, a makeover for Prachi), perhaps could be friends.

However, I’m not sure the film has too much more to say than that. It certainly doesn’t have anything new to add about the beauty pageant aspects, in part because Ruhi is fairly guarded and self-aware of her image, reluctant to commit to too much. This is not an issue for Prachi and her friends, who seem happy to speak candidly, not apparently caring about any potential reaction to soundbites such as, ‘Frankly, I hate Gandhi’. Personally, I found this made her a much more interesting character, compared to the pretty but bland Singh. About the sole startling revelation on this side of the cinematic equation was an almost casual admission that one contestant was almost aborted after her parents found out they were having a girl. Such is the contradiction of contemporary India, a society that in some ways is forging ahead, yet in others remains rooted in the past. The tension between these aspects has the potential to cause enormous issues as the country moves in to the future.

Dir: Nisha Pahuja

Female Prisoner Sigma

  By

★★½
“Prisoner Cell-Block Meh”

sigmaAdding a somewhat supernatural twist to the women in prison genre, the heroine is Ryou Kanzaki (Hamada), sentenced to ten years for killing one of the men who tormented her late sister, Manami. She died in jail, under mysterious circumstances, in the feared “Special Housing Unit One”, a segregation block. The official verdict was suicide, but Ryou is having none of that, and requests to be sent to the same complex. She soon hears whispers that “An evil force is making people go crazy,” and also learns of the titular Sigma, a legendary inmate who acts as an avenging force for abused inmates in prisons around the country, taking revenge for them before vanishing and moving on to her next task. Ryou quickly finds out that the management in this establishment don’t believe she is there to “atone for her sins”, and have no interest in the truth about Manami coming out. Not just sleazy Warden Shibayama either, but his even creepier boss, who seems to be some kind of psychic vampire, powered by fear and hate. Ryou is going to have to put aside her scruples and cozy up to Shibayama, if she wants to find out what happened to Manami.

For the genre, it’s relatively tame, not that it should be mistaken for a Disney production. Still, with only one entirely gratuitous sex scene, though a fair amount of bondage/S&M, it’s at least trying to be more than thinly-disguised porn, and credit for making the effort – occasionally, with some success – to generate a spooky atmosphere. It seems to be trying for something along the lines of the Female Convict Scorpion series, creating a character whose exploits are the stuff of folklore. The problem here is, what we see is hardly legendary: when she eventually makes herself known, Sigma’s exploits are not exactly the stuff of which myths are made. Though, I grant, her ability to spit needles with unerring accuracy is quite impressive. Hamada’s performance is also too low-key to be memorable; she’s no Meiko Kaji, capable of commanding the viewer’s attention through sheer presence. Indeed, the same is true for the rest of the cast; I watched this less than 24 hours ago, and I’m struggling to remember any of their faces.

However, it is an effort to push the genre in something of a new direction, and Sasuga squeezes every yen’s worth out of his budget [even if this extends to a prison containing about a dozen inmates and a handful of guards]. The ending is clearly intended to open the door to an ongoing franchise, although there is no record anything ever came of it, which leaves things instead lacking in resolution. Largely forgettable, yet I’d probably rather have this than be actively repelled, like some in the field.

Dir: Sasuke Sasuga
Star: Shoko Hamada, Koichi Kitamura, Momo Izawa, Kyoumi, Moonsu

RWBY

  By

rwby★★★★
“Harriet Potter and the F-sized Weapon”

There are occasionally times where our book reviewer Werner’s “split scale” of grades for both artistic merit and action, would come in handy. This is one of those times. For the action scenes here are as glorious as you would expect from the man behind Dead Fantasy, virtuoso symphonies of exquisite hyper-violence, meted out and absorbed by characters and monsters without fear or bias, in ways limited only – and not very much, at that – by the creator’s imagination. Probably inevitably, this overshadows a fairly perfunctory plot, and characters whose characterization is largely defined by the shade they wear. On a split scale, this would merit five stars for both the quantity and quality of action, but likely three or three and a half for artistic merit.

It takes place in the world of Remnant, in a three-cornered struggle between humanity, the monstrous Creatures of Grimm, and the Faunus, who are part-animal, part-human, and largely perceived as second-class citizens, despite their own talents. There’s a substance called “Dust” which has magical powers, and an academy where young men and women train as Hunters and Huntresses, to do battle with the Grimm. The focus is on four teenage girls who are part of this year’s new intake, and who end up forming team RWBY [pronounced “Ruby”]: Ruby Rose, Weiss Schnee, Blake Belladonna and Yang Xiao Long: the last is yellow-themed, you should be able to figure out the others. The main nemesis is Roman Torchwick, a terrorist who is working with a group fighting for Faunus’ rights, yet who had entirely his own agenda – as well as some high-powered minions and skills of his own.

Originally a web series, the first and second seasons have now been collected into feature-length collections, and while their episodic nature is occasionally apparent, they probably work better that way. The opening takes a little while to hit its stride, as it has to create the world, introduce the characters and establish the situations. The animation style takes some getting used to: it’s done in CGI, but trying to look like traditional cel animation; some of the resulting movement is almost too smooth, and I find the lack of noses on some of the characters, a bit unsettling. However, the script is well-written, sometimes sharp and witty, occupying a good place between self-awareness and parody. Even the characters that are largely superfluous – and some of the hunters in training could be so described – are less irritating than they might be.

It is, however, all about the action, and it’s clear that all of the other aspects – the plot, the participants and the world they inhabit – exist merely to facilitate the fight scenes, which is where all the work, imagination and energy become truly apparent.  The highlight, for me, in volume one, was a battle at a temple against a series of Grimm, while the second part climaxes with a running fight in, on and around, a train as it hurtles toward the capital city. You forget they are animated, while simultaneously wishing someone would throw $200 million at the studio behind it, Rooster Teeth, and let them make a live-action version. Sadly, creator Oum died of a severe allergic reaction in February this year, although it has been announced that Volume Three of the series will continue. Hopefully, the quality will not suffer, and will be a fitting monument to Oum’s sadly-missed talents.

Dir: Monty Oum
Star (voice): Lindsay Jones, Kara Eberle, Arryn Zech, Barbara Dunkelman

Abeceda straha (The Alphabet of Fear)

  By

★★½
“Croat in the act”

abecedastrahaIt’s late 1943, during the Second World War: Yugoslavia is still occupied by Axis forces and their sympathizers, but with Italy now invaded, the end seems near. Local partisans find themselves infiltrated by collaborator spies; to find out who they are, they send Vera (Bojanic) into the house of the Bolner family, whose patriarch (Zappalorto) works for a bank and is believed to have a list of the spies. Her cover is basically playing dumb, for who would suspect illiterate servant girl Katica of being a partisan? However, it’s not as easy to play dumb as you might think, especially when one of the family’s daughters takes it upon herself to teach Katica how to read and write. Vera also has to handle unexpected visitors who recognize her, suspicious German officers and surprise searches, while communicating what she finds back to her handler. The list, however, remains elusive, until one night when an Allied bombing raid sends the family and their dinner-party guests to the cellar, perhaps giving Vera the chance to find what she has been seeking.

Set almost entirely inside the family’s house, the film is very good at generating a tense, paranoid atmosphere, where any knock at the door could signal the end of your life, during a time where the secret police had almost unlimited powers. The problem is, that”s just about all it does, and up until the final 10 minutes or so, there is an evenness of tone and approach which ends up being quite soporific. As should probably be expected from a movie produced during the Cold War, when Yugoslavia was ruled with an iron hand by Marshal Tito, it’s not exactly subtle on the characterization front, with the heroic Communist partisans being the good guys, while ze Germans and their (admittedly, very nasty)  local collaborators, the Ustaše, villainous to a T. If not exactly caricatures, there’s not much attempt made to make them human About the only character with depth is Bolner, whom you sense is operating out of a sense of expediency, to protect his family, rather than any deeply-held belief in National Socialist principles. It does also rely on Bond villain acts, in particular Vera being shown the list, when there is absolutely no need to do so.

Bojanic does a decent enough job of portraying the heroine, striving to maintain her persona and be as unobtrusive as possible, while taking any chance to ferret through her boss’s possessions in search of that list. Unfortunately, this is a over-simplistic story, definitely in need of further fleshing out with plot twists and turns, if it was to have a decent chance of resonating with a modern audience. While my interest just about survived, there were some dicey moments.

Dir: Fadil Hadžić
Star: Vesna Bojanic, Josip Zappalorto, Nada Kasapic, Tatjana Beljakova

Monster (2014)

  By

★★★½
“Bravery is just not understanding the peril of your situation.”

MonsteNot to be confused with the Charlize Theron movie, this Korean film is truly an odd beast: unlike some, it’s difficult to imagine a Western remake. For the heroine here, Bok-Soon (Kim Go-eun) is what could politely be called “developmentally challenged.” She can just about function, running a vegetable stand, but is largely dependent on her smarter younger sister to keep Bok-Soon out of trouble caused by her quick temper. Tragedy strikes when the pair cross paths with a vicious serial killer, Tae-So (Lee), who uses his pottery kiln to destroy the bodies of his victims. This results from a chain of events which involves a blackmail plot using a mobile phone; Tae-So’s brother (Kim), who tries to turn Tae-So’s psychotic tendencies to his own ends; and Na-Ri (Ahn), a young girl who knows the location of the crucial phone. Tae-So kills Bok-Soon’s sister, leaving her to fend for Na-Ri, while also grabbing a knife and setting out to take revenge on Tae-So. But how can someone like her, who is no match for the killer, physically or intellectually, possibly hope to prevail or even survive the encounter?

My first guess was that Tae-So’s brother was going to play a part; perhaps, realizing the creature he had unleashed could not be reined in or controlled. That absolutely nothing along those lines happens, gives you an idea both of the film’s main strength and its most obvious weakness. It’s far from predictable, yet some of the changes in direction and approach end up being more disconcerting than surprising. At times, it feels like the director couldn’t decide whether to make the film about Tae-So, his brother, or Bok-Soon, and the division of attention feels like it consequently sells all three of them short. If a film can’t commit to a single character, why should the audience? On the other hand, Hwang has a good eye for visuals, and the contrast between the villain and heroine is one of the most striking in recent history. There’s no denying the final encounter between them, in a restaurant already strewn with broken bodies, is a hardcore brawl of ferocious intensity.

Generally, I’m a big fan of intelligent characters, yet Bok-Soon is such a total contrast, it’s a refreshing change: instead of being smart, she has incredible loyalty, indefatigable perseverance to her cause, and absolutely no semblance of fear. Though is it still being brave when you genuinely don’t appreciate the severity of the danger into which you are deliberately placing yourself? That’s the question here, and part of which makes this one both appealing and incomplete. It’s a curious mix of genres, styles and approaches, perhaps making more sense to a Korean eye, But, as Kay Cox wrote, “I love the courage and freedom that comes with being a crazy old lady… no holds, no barriers, no fear.” Apart from the “old” part, that’s true for Bok-Soon: just as with the film, her weakness is also her strength, and makes for a heroine unlike any other I’ve seen.

Dir: Hwang In-ho
Star: Kim Go-eun, Lee Min-ki, Kim Roi-ha, Ahn Seo-Hyun

Mockingjay, by Suzanne Collins

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

Mockingjay-Suzanne-CollinsGoing into this book, I was very much aware that reader opinion about it was deeply divided, and had picked up bits and pieces of partial “spoilers,” though not enough for me to predict exactly how events would turn out. Having now read it and made my own call, I have to agree with those reviewers who feel that Collins did drop the ball, big time. But my reason for this conclusion consists of eight lines in the penultimate chapter, in which Katniss does something completely out of left field and completely foreign to her character. Granted, they’re extremely crucial lines, that color my impression of the entire book. Everything before and after that could have made the book a five-star read. If I rated those eight lines by themselves, I’d give them negative stars if it was possible. I adopted three stars as an overall rating to reflect my disappointment, but also the fact that, for most of the time I was reading, I was really liking the book.

On the plus side, the book is a definite page-turner. I relished my reading time, hated to put it down, and was eager to take it up again. The prose is vivid and smooth-flowing (I’m completely used to Katniss’ present-tense narrative voice); the author evokes powerful emotions; the plotting throws us frequent surprises I did not expect, even after, as I said, picking up partial spoilers here and there; there are thought-provoking moral dilemmas that are usually resolved appropriately (with one lulu of an exception!), and action scenes are handled well. For the most part, the characterization is life-like (again, with one exxception). To be sure, this is a very dark read. Characters the reader deeply likes die, often horribly. The painful cost of war, even necessary war that’s waged to eradicate great evil, isn’t glossed over and minimized. But that isn’t necessarily a flaw in the book.

I would, having read the book, defend it against some of the criticisms I’ve met with. Although my own daughter thinks it preaches a message of ultimate despair and negation, I honestly did not take that from it; I found it much more positive and hopeful than that. (In that respect, I was actually pleasantly surprised, having expected much worse.) Through most of the book, I found Katniss’ character pretty consistent with the one we met in the first two books. Frankly, I did not find her selfish, self-absorbed, or immature here, allowing for the fact that for large portions of the book she’s traumatized (with good reason) and heavily drugged. There are plenty of instances throughout the book where she acts with enough selflessness and sacrificial concern for others (and more maturity than some of the adults) to absolve her from these charges, IMO. All but one of her actions in the book are, in my estimation, either justified –even if they’re gut-wrenching– or excusable and understandable. Some readers have criticized Collins’ plotting decisions in places, but I find all but one defensible and justified, including the crucial one of how much of the action Katniss is privy to. And while the author makes the point that even justified revolutions can have some leaders who are only motivated by desire for their own power, and who would willingly betray the revolution once they get a chance (historically, that’s happened frequently!), I did not see any message that armed resistance to tyranny is always automatically wrong and futile.

I’m not sorry I finished reading the series and made my own judgment of it. I’m just sorry that Collins didn’t respect her main character (and her readers!) enough to let Katniss consistently be who she’s been shown to be through hundreds of pages and virtually an entire immersive reading experience.

Author: Suzanne Collins
Publisher: Scholastic Press, available through Amazon, both for Kindle and as a printed book.

A version of this review previously appeared on Goodreads.

Miss Nobody

  By

★★★
“Climbing the corporate ladder can be murder.”

missnobodySarah Jane (Bibb) has been working for years as a unassuming secretary in a pharmaceutical company, and egged on by colleague and best friend Charmaine (Pyle), eventually gets up the courage to apply for an executive position. With some embellishment of her resume, she gets the post, only to have it yanked from under her when a new hotshot arrives. The hotshot makes a pass at her, leading to his accidental death; Sarah Jane has her position restored as a result of this untimely demise, and discovers her late rival had the plans for a wonder-drug with the potential to reverse Alzheimer’s. However, she soon realizes that further deaths will be necessary, both to keep her secret, and also continue her rise up the chain of command. Complicating matters, she starts dating one of the policemen (Goldberg) involved in the investigation of the slew of suspicious corporate deaths, by train, photocopier, gas explosion, etc.  Worse yet, someone clearly knows what Sarah Jane has been up to, and starts trying to blackmail her.

The film could have gone a number of different ways in terms of its approach, such as black comedy – Heathers would be the best example of that approach. However, Cox strenuously avoids the darker tone, opting to keep things frothy and light: there’s little or no doubt, for example, that Sarah Jane’s victims deserve some kind of retribution [although you can certainly argue whether their crimes reach a level where the death penalty is merited]. It does, of course, rely heavily on the stupidity of just about everyone beyond the heroine, the rest of the characters behaving in ways that would only happen in this kind of film. However, the cast are good enough to pull this off, with Bibb endearingly perky in the lead, and getting good support from Pyle (Cleaners), as well as Vivica A. Fox (Kill Bill) as another corporate rival, plus Barry Bostwick as the local Catholic priest, who has some difficulty coming to terms with the heinous crimes to which Sarah Jane confesses.

I was, however, unconvinced by the ease with which she slides from mouse-like secretary into serial-killing predator. Especially given – or, depending on your view of religious zealotry – even allowing for, her devout faith [she prays nightly before a shrine to St. George, a statue of whom played a formative role in her youth], it’s a slippery slope down which Sarah Jane less slides, than cheerfully sprints. The bubbly approach also seems awkwardly at odds with the subject matter, though the performances help deflect attention from this while the film is in motion. I’d likely have preferred a sharper edge to the corporate satire; there’s no shortage of potential targets there, yet this has about as much edge as a letter-opener, and that limits the impact, turning this into little more than a competently fluffy time-passer.

Dir: T. Abram Cox
Star: Leslie Bibb, Adam Goldberg, Missi Pyle, Kathy Baker