Category: Review

À l’interieur (Inside)

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★★★★½
“Some women will stop at nothing to have a baby. Whether it’s theirs or not.”

The ‘final girl’ is a well-worn concept in horror: the last survivor, typically the “good” girl, finally fights back against the assailant in the movie’s climax. It is isn’t normally enough to merit inclusion here, since it’s usually a relatively minor aspect of the film. Here, however, not only is it just about the entire film, the main theme – motherhood and the instincts it arouses – is entirely feminine. Aliens, and Ripley’s surrogate parenting of Newt, would be another example. And it’s also a rarity in the horror genre for both protagonist and antagonist to be female, but the threat here certainly deserves to be up there with Freddy, Michael, Jason and their cousins.

The action here does take place on a much smaller-scale, with the vast majority occurring in a semi-remote house. Sarah (Paradis – her older sister is Johnny Depp’s other half) is left alone on Christmas Eve, her husband having been killed a few months previously in a car accident. She’s about to give birth, but is more depressed by her current situation than delighted. There’s a knock on the door from a mysterious woman (Dalle); Sarah, suspicious, does not let her in, but it seems the woman knows Sarah and her history. The police are called but find no trace and leave. Later that night, the woman returns, and it’s soon clear she will go to – bold, underline please – any lengths to take Sarah’s baby.

Let me be perfectly clear: this is hardcore horror of the most unrelenting sort, completely unsuitable for those of a nervous disposition, and particularly pregnant women. In the 1980’s, Dalle was a sexpot, for her role in Betty Blue, but you can flush all memory of that down the toilet: here, she has a feral, near-demonic intensity, and god help anyone who is unfortunate enough to get in her way. Particularly the men, who are disposed of with complete dispassion and brutality; as the film goes on, her relationship with Sarah becomes complex, and more a case of, “I’m taking your baby, and we can do this the hard way or… Well, really, that’s all there is. Sorry.” Friends, family, even an entire patrol of cops – no-one can help Sarah. She’s completely on her own, and her fate is entirely in her own hands.

Somewhat inspired by the 2006 case of Tiffany Hall, who removed a foetus from her friend’s womb with scissors, the film escalates from a quiet opening, through tension, before exploding in a literal tidal-wave of gore, as the protagonist and antagonist battle each other. My sole complaint is a couple of incidents in the final act that seem to stretch belief, e.g. a character conveniently rising from the dead for another assault, though it’s a common complaint in this area. Otherwise, even though we are jaded fans of both genres covered here, this one will stick with us for a long time, and cements France’s place at the forefront of horror.

Dir: Julien Maury and Alexandre Bustillo
Star: Alysson Paradis, Béatrice Dalle

The Millennium Trilogy

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★★★½
The Girl with the Dragon Tattoo

I think we know the exact moment we fell in love with the character of Lisbeth Salander, the central character both in Stieg Larsson’s Millennium trilogy, and the Swedish films based on the books. It would be the scene in the first film where she goes back to see the man who had been sexually abusing her. Little did he know, on her last visit, she had recorded the whole event. This time, she knocks him out, ties her assailant up, forces him to watch the video and then engages in a spot of amateur tattoo work, leaving him with “I am a sadistic pig and a rapist” etched permanently across his torso. Yeah. You go, girl.

Salander is not your typical action heroine: she’s 5’4″, weighs maybe 90 lbs dripping wet, and anti-social to a degree that may be pathological. But she possesses a mind like a steel-trap, impressive computer hacking skills, a steely resolve and a zero-tolerance policy for anyone who abuses women [the Swedish title of the first book and film translates as “Men Who Hate Women”, and misogyny is something of a theme throughout the trilogy]. This was demonstrated very early: at the age of twelve, and fed up of seeing her father hurt her mother, she doused him in petrol and set him on fire. Like I said: “zero-tolerance”.

We first meet Lisbeth in Dragon Tattoo, using her skills to conduct surveillance on Mikael Blomkvist (Nyqvist), a journalist who has just lost a libel case and is facing prison as a result. As a result of her report, Blomkvist is hired by Henrik Vanger (Sven-Bertil Taube), to investigate the disappearance, forty years previously, of his niece Harriet, who was also Blomkvist’s babysitter. It has been nagging at Vanger ever since, and he feels his time is running out to find the truth. Reviewing the evidence, Blomkvist finds names and numbers in Harriet’s bible, but it’s Lisbeth, helping ‘remotely’, who cracks the code, revealing them to be verses from Leviticus about punishing sinners. The two gradually peel away the years to reveal the truth, a serial-killer whose crimes go back to just after the war – a truth that proves very uncomfortable for some in the Vanger family.

To some extent, Lisbeth is secondary to that plot, but she also has her own concerns to deal with. After the incident involving her father, she spent most of her youth under psychiatric observation. Even after release, she is still effectively ‘on probation’, under the control of various court-appointed guardians. The latest, a lawyer named Bjurman (Andersson) is a truly slimy jerk, who abuses his position to extract sexual favours from Lisbeth. After all, she’s just a little girl – what could she possibly do? See the opening paragraph for specifics there, if you’d forgotten.

Dir: Niels Arden Oplev
Star: Michael Nyqvist, Noomi Rapace, Sven-Bertil Taube, Peter Andersson

★★★★
The Girl Who Played with Fire

It’s in the second film, Fire, that Lisbeth really comes into her own. After a period traveling the world, she returns to Sweden, and pays a visit to Bjurman, who has been looking into tattoo removal – she warns him off doing that, threatening him with his own gun. However, she leaves the gun behind, and Bjurman then uses it to frame Lisbeth for the murder of two crusading journalists, who were working on a story exposing sex traffickers, and those using the women they provide, for Blomkvist’s magazine. With both the police, and the real perpetrators – the criminal gang who control the traffic – trying to track her down, Lisbeth is forced underground. Fortunately, Blomkvist is able to help, as Lisbeth turns the table and goes after the shadowy “Zala” who leads the crime syndicate.

There’s a number of very interesting aspects to the film, such as how Blomkvist and Salander don’t meet until the final scene – I can’t think of many other film where the two central protagonists do that [Heat comes close]. But it’s most memorable for the unstoppable force which Salander has become, utterly fearless, whether it’s taking on a pair of bikers or going into the heart of enemy territory. Even when you think it’s all over for her, she crawls her way back in a way which would make The Bride applaud. It’s curious, yet somehow entirely fitting, to see her as an updated, adult version of another Scandinavian literary and cinematic icon: Pippi Longstocking. Except, to steal a line from Romy and Michelle, she’s like a Pippi who smokes and says “shit” a lot.

Salander’s personality is abrasive, and she clearly has difficulty relating to people or showing them anything even approximating affection: the closest she gets is a bewildered silence. I think the only time we saw her give a genuine smile was in the third film, when she received news that someone she hated had been killed. And yet, people like Blomkvist warm to Lisbeth, initially pitying the circumstances in which she finds herself, yet eventually seeing the human beneath the multiple layers of defensive ice. Fiercely loyal to her (very few, admittedly) friends, and as lethal as a boxful of well-shaken, peeved rattlesnakes to her enemies, the second film proves her to be smart, and as quick with her fists as her brain.

Dir: Daniel Alfredson
Star: Michael Nyqvist, Noomi Rapace, Yasmine Garbi, Paolo Roberto

★★★½
The Girl Who Kicked the Hornets’ Nest

The third film, like the second, has Blomkvist and Salander apart for almost the entire movie; they meet only right at the end, in a way which is as low-key and unobtrusive as an Ikea coffee-table, yet somehow feels entirely appropriate. This time, their separation is because Salanger is in custody for attempted murder, following the events at the end of Fire. The secret group in authority, whose activities are in danger of being exposed, intend to avoid the embarrassment of a trial by getting Salander certified as insane, so she can be locked up as mentally incompetent. This brings her back to confront Dr. Peter Teleborian (Ahlbom), the man in charge of the institute where Lisbeth spent two years. However, Blomkvist asks his lawyer sister, Annika (Hallin), to take up the case. Can they reveal the truth before Lisbeth is committed to Teleborian’s sinister care one more?

While undeniably a good end to the trilogy, tying up the loose ends and dishing out justice in a solid, satisfying way, it seems a shame to have Lisbeth locked up for 95% of the film. This is much more a purely-investigative thriller than the first two, which were more action-oriented. Here, there’s a fight in a restaurant for Blomkvist, and Salander’s only action is an admittedly impressive battle in a warehouse against an unstoppable force. Much as at the end of the first movie, she doesn’t actually kill the opponent herself, though here, that would be more due to a lack of ammunition for her impromptu weapon. While a nice final act by which to remember Salander, it’s not representative of her more passive role in this entry.

The trilogy of books have sold more than 50 million copies worldwide, though sadly, Larsson didn’t see their success, as he died in 2004, before they were published. The success of the films, which have grossed a total of more than $210 million worldwide – a phenomenal sum for any non-English language series – has led to the inevitable Hollywood remake. Pause for eye-rolling here… Except, the American Tattoo does have David Fincher at the helm, so I’ll wait until seeing it – while, naturally, reserving the right to administer a good kicking in due course. The first pictures of Rooney Mara as Lisbeth (right), don’t exactly inspire confidence, as she looks more like some kind of coked-up fetish supermodel than anything else. Daniel Craig plays the role of Blomkvist, which would seem to make him a bit more glamourous too.

I guess we’ll see, but Fincher and Mara will certainly have their work cut out. I can’t help thinking of the lukewarm remake of another, highly-lauded Scandinavian movie, Let the Right One In, and the overall history of such things is not cause for optimism. But even in a worst case scenario, we’ll still have the books and Noomi Rapace’s steel-cold portrayal. Wikipedia says that when Larsson was 15 years old, “he witnessed the gang rape of a girl, which led to his lifelong abhorrence of violence and abuse against women. The author never forgave himself for failing to help the girl, whose name was Lisbeth,” even though much of his life was spent fighting oppression, in various forms. But with his creation of a new style of heroine, one appropriate for the 21st century, Larsson has, unwittingly, perhaps achieved redemption.

Dir: Daniel Alfredson
Star: Michael Nyqvist, Noomi Rapace, Annika Hallin, Anders Ahlbom

Onechanbara: Vortex

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★★
“…and now, everything bad about a movie based on a video game.”

If the original film was a pleasant surprise, being shallow entertainment and mayhem of the most fluffy kind, the sequel is a real disappointment. It doesn’t help that it behaves entirely as if the first movie hadn’t happen at all. Different director, different cast, and the story here fails to acknowledge anything that happened previously, dead people being resurrected with no explanation. Not that some of this makes all that much difference – one Japanese actress swinging a sword in a fur-trimmed bikini and cowboy-hat, is much the same as another. But the story is laid out here with a horrific lack of clarity that makes it perhaps the most confusing zombie film of all time. Yeah: it takes a special kind of talent to screw up “Dead come back, hungry, so we have to kill them.” Instead of focusing on essentials, the movie lobs in a bunch of tedious guff about Himiko, a new threat, who is seeking to use the blood of Aya and her sister to… mumble something mumble. If they ever explained it clearly, by that stage, I’d lost interest.

However, far and away the film’s biggest single mis-step is the director’s total obsession with splashing digital blood on the lens. Once or twice, it can be cute, in a ‘breaking the fourth wall’ kinda way. But here, every slice leads to you having to peer through a red fog for a bit. It gets old after about five minutes, and after 10, you’re wishing desperately for a pair of digital windscreen-wipers. Rarely has a visual trick been so badly mis-applied, through monstrous over-use. The only thing keeping the movie going is the basic concept, but the film proves that, yes, even with a film about a bikini-clad zombie-slayer, it is possible to go badly wrong. Chris may have snorted during the original, but only once: for the pseudo-sequel, it felt like the living-room had been invaded by a herd of buffalo, and I am largely with the derision being expressed. If they ever make a third, I’m only interested if the original director, etc. come back.

Dir: Tsuyoshi Shoji
Star: Chika Arakawa, Kumi Imura, Rika Kawamura, Akari Ozawa

Onechanbara: Zombie Bikini Squad

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★★★★
“Because nothing says post-apocalyptic zombie killer like a maribou-trimmed bikini and a cowboy hat.”

The Japanese title Onechanbara [variously Oneechanbara], is a portmanteau word, combining “onee-chan”, which means “big sister”, and “chanbara”, the term for sword-fighting movies. But, since this aspect would be lost on a Western audience, who can blame US distributors Tokyo Shock for adding the helpful subtitle, “Zombie Bikini Squad”. Y’know, in case the sleeve left doubts in this area. It’s based on a very popular series of Japanese video games, which consists of the heroines, in a variety of costumes, slicing and dicing their way through an apparently endless line of the living dead. With admirable faithfulness to the source material, the movie also consists of the heroines, in a variety of costumes, slicing and dicing their way through an apparently endless line of the living dead.

There’s Aya (Otugoro), the stoic sword-wielding one seen on the poster, and Reiko (Hashimoto), the leather-clad one with the infinite-ammo shotgun. Along with fat sidekick Katsuji (Waki), they’re looking for Aya’s sister, Saki – and also Dr. Sugita (Suwa), the mad scientist responsible for the zombie outbreak which has swept the world, setting sister nibbling on brother, daughter on mother, etc. On the way to their goal, they meet other survivors, a zombie version of GoGo Yubari from Kill Bill, and several million gallons of digital blood, including a good chunk sprayed onto the camera lens. Now, I’ve never played the game at all, so can only assume everything makes perfect sense in that universe. Still, as adaptations go, this seems to capture the inherent spirit of mindless slaughter admirably, with Aya’s power-up the most devastating video-game weapon since the Defender smart bomb. I just dated myself horribly, didn’t I?

Anyway. Is it any good? Not by objective standards, no. But it is a hell of a lot of fun, soundly kicking the ass of the last two Resident Evil movies there. While the characterization is, of necessity, composed of broad strokes, that’s forgivable, and it touches all the necessary zombie bases e.g. a character who gets nibbled and has to be put down as a result. An escalating series of encounters helps provide copious action, and despite the clear CGI, this is well-staged and edited, with the actresses doing a more than credible job. Besides, Chris’s snort of disbelief when Aya threw off her cloak to reveal the fur-trimmed bikini was priceless.

Dir: Yohei Fukuda
Star: Eri Otoguro, Tomohiro Waki, Taro Suwa, Manami Hashimoto

Dirty Weekend

  By

★★★
“This is the story of Bella, who woke up one morning and decided she’d had enough.”

So opens this rare example of British grindhouse. We don’t generally do that genre – it’s just not us, all that violence. But there are odd exceptions, and this would be one. It’s the story of Bella (Williams), who relocates from London to the genteel seaside town of Brighton after splitting up with her boyfriend. However, her flat is overlooked by a window belonging to Tim (Sewell); he begins a series of increasingly-vile phone-calls to Bella, who is terrified at what might happen. A chance encounter with an Iranian clairvoyant (Ian Richardson – yeah, about that…) changes her ‘from a lamb to a butcher’, and she visits Tim in the middle of the night, smashing his head in with a hammer. Galvanized by this, Bella moves on to further “sanitation”, cleaning the not-so mean Brighton streets of other male scum. Meanwhile, a serial killer who preys on young women is gradually moving towards her location.

From the director of the controversial Death Wish, it’s as if Winner said, “Hah! You though that was bad? I’m going to make the heroine female and turn it into a war of the sexes, with every man a sleazy caricature. And it’ll include the Man from UNCLE as a perverted dentist!” It certainly turns your typical British film conceits upside-down, yet still retains that undeniable character: when Bella first sees Tim spying on her, she simply draws the curtains. Her transformation from mouse into avenging angel is impressively put-together, and no doubt Winner was influenced by Ms. 45, with Bella pulling on her stockings and acting out a gun-battle.

But the problem in this case is, Bella’s transformation doesn’t make a difference. In Ms. 45, the interesting moral dilemma was, that our initial sympathy for the central character proved misplaced, as she moved towards killing innocent men. Here, it’s just an ongoing series of repugnant, shallow stereotypes, and attempts to give them depth e.g. with McCallum, are a miserable failure. [Amusingly, one of the thugs she takes out in an alley would go on to greater things: Sean Pertwee has become a genre mainstay, in the likes of Dog Soldiers and Doomsday. Another, Christopher Ryan, was Mike in The Young Ones and has since carved a niche playing Sontarans in Doctor Who!] The subplot with the approaching serial-killer is a complete mis-fire too, and after achieving potential cult-classic level in the middle, it falls short. Still, it’s better than you might think, and is certainly one of a kind.

Dir: Michael Winner
Star: Lia Williams, Rufus Sewell, David McCallum, Michael Cule

Virgins From Hell

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★★★
“Not as good as the trailer. Then again, how could it be?”

Let’s start with that trailer, shall we?

Like I said: no way it could live up to that, and I must confess, my consciousness was being sorely troubled by the end. It’s about two sisters (Beatrice and Farida), who watch the gang of the evil, if nattily-dressed Mr. Tiger (Zulkarnaen) kill their parents and vow to take revenge, recruiting a bunch of like-hotpanted colleague to assist. Unfortunately, the attempt goes badly, and they end up in Tiger’s dungeon, subjected to various indignities, such as being stuffed into a sack with a peeved mongoose, or tied to a spit and roasted. They eventually bust out, with the help of their captor’s pet chemist, Larry (Capri), who has been tasked with producing large volumes of an aphrodisiac, from which Tiger can profit. It all climaxes in a massive battle between the gang and…the other gang.

Let’s be clear: most of the entertainment to be found in this, is strictly of the “so bad it’s fun” variety. For instance, we perpetually found ourselves in Evil Overlord mode, i.e. “If ever I become an evil overlord, I will ensure my compound is not dotted with large, explosive barrels, clearly marked DANGER.” The lameness of this is often amusing, such as the complete aversion to nudity, an obvious product of its origins – the heroines even take baths with their clothes on. Other elements are just bizarre, if educational: it appears, if you get shot, you can jam a live snake into the wound and it will come out holding the bullet in its teeth.

Great as this may sound, the novelty and appeal do evaporate steadily, with the cheapjack production values, non-existent characterization and idiotic plotlines eventually more outstaying their welcome, even for a fan of badfilm like me. The highpoint is likely the gratuitous appearance of a musak cover of Nights in White Satin. It will have Justin Heyward on speed-dial to his agent, and you’re likely better off watching the trailer again.

Dir: Ackyl Anwari
Star: Enny Beatrice, Yenny Farida, Harry Capri, Dicky Zulkarnaen

Operation Pussycat

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★★★
“Superfluous if harmless remake, smaller in every way than Russ Meyer’s original.”

Faster, Pussycat is one of the icons of the action heroine genre, literally entire decades ahead of its time. This Japanese version uses a lot of the same elements, starting with a trio of go-go girls on the lam, under their macho leader. They stumble across a wheelchair-bound man and his muscular if taciturn companion, who appears to be stashing a large sum of money somewhere on the premises. If only they could find it… There’s also an innocent who gets entangled in the web of deceit and counter-deceit – in the original, it was because she witnessed them kill her boyfriend, while in this case, it’s after she apparently witnesses the three beat up a policeman, who stopped them for speeding, and discovered the dead body stashed in the back of their pick-up truck.

The main problem is likely anyone trying to step into the shoes – make that, boots – of Tura Satana. It’s probably a lost cause for anyone, trying to capture the complete commitment of Satana, who took the role by the scruff of the neck and shook it, like a Rottweiler mauling a rag-doll. It’s this which was largely responsible for lifting the original to its heady, dizzying heights. Much as Mizutani gives her all, in the parallel role of “Harry”, she’s inevitably going to come up short, and the film never reaches the same heights as a result. The dialog in the original was another highlight, cheesily fragrant like the ripest cheddar, and while it may be the translation at fault, none of the lines here stick in the mind the same way.

That said, while a pale imitation, this is still fun enough on its own terms, and was clearly made with a lot of love for the original, which I can only respect. At a mere 43 minutes, it gallops along at a brisk pace, and the areas where it diverts most sharply from Faster – particularly the end – were interesting and offered scope for future development. All told, while there’s really no point to this, that isn’t enough to condemn it, and if treated as a homage to Meyer, it’s a pleasant, if brief, diversion.

Dir: Ryuichi Honda
Star: Kei Mizutani, Nao Eguchi, Yukari Fukawa, Eguchi Nao

Assault Girls

  By

★★
“20 minutes of acceptable entertainment gets stretched very thinly.”

A loosely-related sequel to Oshii’s last live-action film, Avalon, this is similarly set in a VR world, and muses on the relationship between real life and game life. This one is a lot less populated; there are only four people in it, roaming a desert landscape, with the targets being giant sandworms (think Dune) and the “boss” Madara, the mother of all sandworms, whom the game helpfully informs contestants, cannot be killed single-handed. The four get together to launch an attack on it, having agreed to split the game reward equally. Is that quite how things are going to turn out?

That’s it, plotwise: describing the story as “slight” would be an insult to slight things. Opening with a burst of the most pretentiously incomprehensible voice-over in cinema history, this is only 70 minutes long, but still manages to outstay its welcome. This is mostly due to horrendous pacing; we watch one character do nothing but sit and fry breakfast for several minutes, while there’s an interminable sequence in the middle, where the characters trudge around the game landscape and stare at a snail. I get the point: these are archetypes depicting different styles of game player. No, really: I get the point. Move on. Please. I was ready to gnaw off a limb to escape, by the time that ended. Matters are not helped by the characters largely speaking English, apparently phonetically, and without much grasp of meaning. I’m pretty sure I’d not win any Oscars performing in Japanese, and while one admires the effort, couldn’t Oshii have found actors with some ability in English as a second language?

Things do perk up in the final act, when Jager (Fujiki, the only male) and Gray (Kuroki), have a battle over how the spoils will be divided. She kicks his ass, to his increasing annoyance. And I certainly appreciated the visual style here, which is easily the best component on view. This, along with the potential in the idea, saves it from being a total waste of your time, and I would not be completely averse to a further installment. Just as long as someone else writes the script.

Dir: Mamoru Oshii
Star: Meisa Kuroki, Yoshikatsu Fujiki, Rinko Kikuchi, Hinako Saeki

Silver

  By

★★
“It’s not precious, and has very little mettle.”

Miike has provided some of our favorite Japanese films of all-time, including Audition, Ichi the Killer and The Bird People of China, but this entry in his prolific output has to count as a misfire, being nowhere near as interesting as it sounds. Heroine Jun (Sakuraba) is abroad when her entire family is killed by Yakuza: three years later, after working as an FBI agent (!) and continuing her karate education, she returns home, to track down those responsible. She does this by going undercover in a pro wrestling promotion (!!), on the basis they can tour the country without suspicion, letting her investigate as her wrestling alter-ego, Silver. However, she’s not the only one on the hunt, with a dart-using assassin contracted to stop Jun.

Let me repeat, however: nowhere near as interesting as it sounds. Initially, this starts off looking like it is going to be a Japanese version of those Santo movies (wrestler by day, crime-fighter by night), and it’s nice to see real wrestlers, like Shinobu Kandori. However, that angle is completely ignored, as if Miike got bored and drifted of. Instead, Jun heads into the seamier side of the Japanese underground, taking on a dominatrix and her slave, leading to a series of scenes which certainly have the Miike twisted sensibility. This is not necessarily a good thing, however; unless you’re into S&M, they far outstay their welcome, as does the tedious, soft-core (and pretty un-Miikeesque) sex sequence between Jun and her handler. As the film progresses, the main thing keeping it afloat is simply to see how weird it’s going to get, after the forced urine-drinking and someone getting their (digitized) dick smacked with a paddle.

Matters are not helped by the vague, nondescript ending, which clearly indicates this was supposed to be the first in a series. That no second installment ever materialized, even given the low cost of producing this, indicates that even the Japanese were uninterested. Given the huge volume of Miike’s work – at time of writing, the IMDB has 83 directorial credits for him – I suppose it’s no surprise some, like this, will be uninteresting at best.

Dir: Takashi Miike
Star: Atsuko Sakuraba, Kenji Haga, Rumi Kazama, Hisao Maki

Les Aventures Extraordinaires d’Adele Blanc-Sec

  By

★★★½
“Indianette Jones and the mummy’s tomb.”

Good to see Besson back in the director’s chair. Outside of the kids’ Arthur series, the only movie he personally helmed in the 2000’s was Angel-A, but Besson has been delivering action heroines for 20 years. Most obviously with the hugely-influential Nikita, but also in The Messenger and, to some extent The Fifth Element and Leon. Here, he goes back to just before the first World War, where journalist Adèle Blanc-Sec (Bourgoin) is kinda like a proto-Lara, whizzing around the globe in search of adventure. She heads to Egypt to grab the mummy belonging to Ramses’s physician: she’s been working with Prof. Ménard (Nahon), who has discovered how to bring the dead back to life, and wants to use the arcane knowledge the mummy possesses to help her sister, who has been in a coma for five years. But Ménard, unwilling to wait, tests his powers on a prehistoric egg: the resulting pterodactyl escapes from the museum where it is housed, and terrorizes Paris. Detective Caponi (Lellouche) is on that case…

This is a light, frothy confection of a film, that cheerfully whizzes around, and is clearly not to be taken seriously. Witness the scene where Adèle attempts to ride the pterodactyl off to death row, where Ménard has been sent, after being deemed responsible for the beast’s carnage. “It can’t be more complicated than a camel,” mutters our heroine, and one senses some of the Gallic humour may have been lost in translation. What’s left to enjoy are the broader strokes: caricatures like a moustachioed detectives or a big-game hunter, a beautifully-constructed recreation of the period and a heroine who is decades ahead of her time. Adèle is supremely self-confident, feisty and unstoppable, and former weather-girl Bourgoin makes you really root for her. Oddly, the highlight is perhaps a tennis match with her sister, that is simultaneously funny (it starts as a traditional 1910 women’s tennis match and ends up…not), tells us about Adèle, and terribly tragic.

More of that would have been welcome, as the film is too breezy for its own good, with none of the other scenes packing any emotional wallop heavier than a feather pillow. That’s a shame, as Besson has shown himself more than capable of that – maybe all those kids’ films have softened him? As a result, what you have here is something that’s a cinematic crêpe: sweet and tasty, undeniably pleasant to eat, yet not the slightest bit filling.

Dir: Luc Besson
Star: Louise Bourgoin, Gilles Lellouche, Philippe Nahon, Nicholas Giraud