Category: Review

Model Operandi: Affair of the Heart

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★★★★

Back in the day, I was a big comics fan, but have largely ignored the medium since coming to America in 2000 [there are still two large, unopened boxes in the hallway closet!] I think it’s perhaps the Scot in me coming out: graphic novels are an expensive way to pass an hour or so. Props first, therefore, to Caramagna and Budd, for keeping the cost of their first issue to an extremely reasonable price The story therein centers on the theft in France of a priceless diamond, the Heart of Josephine, and the quest of supermodel Legsy Diamond and Ann Lezbee, the implausibly-bosomed Special Ops Presidential Intern, to retrieve it.

Perhaps the biggest weakness is this storyline tries to cram too much in. As well as the search for the diamond, we also have Legsy’s family background, inter-model agency rivalry, her boss’s previous intrigues, a relationship with an investigating cop, and so on. While this sets up many potential storylines for future issues, it does feel somewhat heavily laid-on, and I tend to feel that less would be more. They’re going for an almost-Alias level of complexity, but twenty-plus hour-long episodes gives you much more scope for exposition than 88 pages, especially in an action-oriented title like this.

That said, the artwork rocks. Bright, crisp, colours mesh perfectly with bold lines, and capture the pop aesthetic delightfully. Every page is the kind of work which deserves to be framed and hung on the wall – though occasionally is perhaps a little too breast-fixated for me to really appreciate it! [I read it in the canteen at work, and felt a little uncomfortable doing so now and again 8-)] Style-wise, I was reminded a bit of the Adam Warren Dirty Pair comics, and that’s pretty high praise since I do have a page of art from that hanging on the wall here. I’m certainly looking forward to future editions, and this first issue is something any action heroine fan should check out.

Available now from AHP Comics, 88 pages, $5.99
Words and Ink: Joe Caramagna
Pencils and Colors: Dennis Budd

Wendy Wu: Homecoming Warrior

  By

★★★
“Into every third generation, a slay..ah, warrior is born.”

It’s kinda sad to say, but the action in this Disney TV movie kicks the ass of, not only most TV shows, but a credible number of Hollywood films. Then again, behind the fights here is Koichi Sakamoto, who is also responsible for Drive, among the best American martial-arts films of all time. And while obviously “Disneyfied”, this is still sprightly and engaging, with a couple of very decent fight sequences. It is, however, extremely influenced by Buffy: an unwilling heroine (Song) destined to face down evil on the night of a major school event, under the care and tuition of a mysterious guardian? Joss Whedon should have a word with his lawyers. However, the Chinese cultural twist is nice, not least the Shaolin Soccer riffs, though neither lead actually is Chinese.

This does pose problems, the film trying hard to be culturally “sensitive”; Wendy struggles between wanting to be a “normal” American girl, and her Chinese heritage. This is clunkily handled and does drag the middle of the film down, as the whole Homecoming Queen plot-thread is simply not very interesting, and adds nothing of significance to the film. Things do perk up again, when her teachers get taken over by monk spirits, to assist with her training. It then heads to the finale in a deserted museum where Wendy and her “watcher”, Shen (Koyamada), must face an possessed-schoolmate and a host of terracotta warriors. I stumbled on this by accident, in an advert break during a baseball game on a neighbouring channel, and enjoyed it, despite being about three times the target audience’s age. Some more action would certainly have been preferred, but between this and Kim Possible, Disney have as good a claim to being the home of action heroine TV as any channel.

Dir: John Laing
Stars: Brenda Song, Shin Koyamada, Justin Chon, Andy Fischer-Price

Belle Starr

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★★★½
“Proto-action heroine, with a real-life inspiration, and some questionable philosophy.”

There’s something startlingly incorrect about this 1941 film, which makes its heroine, Belle (Tierney), an unrepentant Confederate mansion owner. She regrets the end of the Civil War and joins a rebel group who keep fighting, marrying their leader Sam Starr (Scott), only to find their morality may not quite live up to her own. It’s interestingly even-handed, with neither side being “good” or “bad”; Belle blames the Yankees for the death of her father and the burning of her home, but the leader of their forces, Major Grail (Andrews) is a sympathetic character who carries a torch for Belle. Naturally, given the era, Belle is more of an assistant, loading Sam’s rifles during a gun-battle, rather than firing them herself and it’s remarkable how her hair and dresses remain impeccable, even when she’s livin’ la vida outlaw. However, she’s a fine, independent-minded heroine, prepared to take decisive action to support her beliefs – highly dubious though they may be.

An obvious inspiration here is Gone With the Wind, but it’s also worth noting that Belle Starr was a real outlaw, whose life would make a good story on its own. She did marry a Sam Starr, but he was three-quarter Cherokee, rather than a Confederate officer. There also wasn’t quite the same pure, high purpose to their banditry, though her destiny, as depicted in the film, is close to what happened to her in real life. For some reason, this has not been deemed worthy of a release on DVD – I believe, Bill Cosby bought the rights. :-) But it does crop up on cable, and is worth a look; just leave all modern sensibilities at the door. If you can imagine a German movie which has Ilsa Koch as its heroine, escaping the Allies to join a group of rebel Nazis and continue the war, you’ll be in the same moral ball-park as this feature.

Dir: Irving Cummings
Stars: Gene Tierney, Randolph Scott, Dana Andrews, John Shepperd

The Nest

  By

★★★★
“Aliens Assault on Precinct of the Living Seven.”

Despite influences all over the place – Assault on Precinct 13, Aliens, Night of the Living Dead, The Magnificent Seven – Siri takes and runs with them very effectively. Laborie (Farès) is a career soldier, tasked with transporting an Albanian gangster to his trial; but the convoy is ambushed, so she and her men hole up in a nearby warehouse on a deserted industrial estate. However, it is being robbed by brothers Santino (Magimel) and Nasser (Naceri), plus their crew – and the attackers have also followed them, intent on rescuing their boss. Can they survive until help arrives?

It’s a well-constructed story, with some thought going into the explanations. Part of the thieves’ preparation was to black out cellphones in the area, and the film takes place on Bastille Day, so fireworks drown out the gun-battle. The violence is also nicely realistic; when people get shot, they stay hit; fans of the game Counterstrike will particularly enjoy this. But the rest of us should too. Laborie is a serious action heroine, who takes no nonsense as she takes charge, wielding authority and her assault-rifle with equal proficiency. And the tension mounts inexorably, as the faceless enemy close in, cutting off the space to those trapped within.

The ending is arguably a little weak, and there is the occasional dip into cliche – Laborie gazing at a photo of her kid, for example. However, on the whole, this is a fine, well-crafted piece of entertainment, which beats up most similar attempts to come out of Hollywood lately. Siri has since headed that way (he directed Bruce Willis in Hostage), and one hopes the studio system does not dilute his undeniable eye for action. Give him Resident Evil 3, with Farès alongside Jovovich, and we are so there. :-)

Dir: Florent Emilio Siri
Stars: Nadia Farès, Benoît Magimel, Samy Naceri, Anisia Uzeyman

Alias: season five

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★★★
“And they all lived happily ever after. Except for the ones who didn’t.”

Our once-favourite TV show walks off into the sunset – literally – and we are confirmed in our belief that it is very, very hard to keep interest in a series going past the third season. Especially if you’re creator JJ Abrams, who was missing, presumably making the very Alias-like Mission Impossible III; he didn’t even return to write or direct the season finale. It was, on the whole, a credible stab at trying up loose ends: Rambaldi, the question of whether Sloan was good or evil, Syd’s relationship with her mother, and the real identity of Vaughan, about to be revealed at the end of season four, when he and Sidney were in a car-wreck. This led into the main arc of the series, a hunt for ‘Prophet 5’, a shadowy organization intent on the usual things shadowy organizations want. As opposed to, say, the Alliance, the Covenant, K-Directorate, SD-6, etc…

There was also Garner’s pregnancy, which was written into the show, but obviously interfered hugely with any action sequences. Gone were the days when every episode would include Sydney running; in the first half of the series, we were lucky to see her in any kind of motion at all. As an alternate, we got Rachel, in a similar position to that once occupied by Sydney – believing she worked for the government, but actually not; she got sent on assignments in Syd’s place. With Vaughan also out of action for most of the series, another new agent, Thomas Grace, joined the team, but the kindest thing you could say about either was that they were forgettable. The aim was, presumably, to have them replacing S+V, but with the show ending, they became irrelevant.

Rather more successful was Renée Rienne (Élodie Bouchez), an interestingly ambivalent freelancer who straddled the line between working with Sydney and opposing her. We were also pleased to see the return of Anna Espinoza, a classic enemy from early on who, in an unsubtly rehashed plotline, gets turned into Bad Sydney. Enthusiasm for the show wasn’t helped by a long hiatus after Thanksgiving, but things rebounded as the show galloped towards its conclusion where the bad guys largely got their come-uppance. We’re sorry to see the show end – it leaves primetime TV without an action-heroine show – and there will be a little void in our lives as a result. But we’ll always have the DVDs of Series 1+2.

Star: Jennifer Garner, Michael Vartan, Victor Garber, Ron Rifkin

Guardian of the Realm

  By

★★★

“Why do villainesses get all the best clothes?”

They may be good girls or bad…

Despite a male hero, this qualifies since the very significant second lead and the villain are both female, with the former, in particular, worthy of our attention here. It’s set in the near-future where the group CORE, including agents Josh Griffin (Levy) and Alex Marlowe (Dempsey), keep humanity safe by executing demons that pop through portals from the dark side. However, an occult sect have unleashed a higher-level demon, Virago (Piryan) into this world, and she must be stopped before an upcoming total eclipse will allow her to blow the portals between the realms wide-open, and take the world down, Titanic-style.

Director/co-writer Smith appeared in both Guyver movies, and you sense that’s the kind of feel he’s going for here, combining martial-arts and rubber suits, in a world running just below the surface of ours. But according to his bio, he’s also done special effects on everything from Contact to Xena, and perhaps the latter’s influence can be seen in the statuesque Piryan, who would certainly have given Lucy Lawless a run for her money. The result is a mix of the highly-effective and the less-impressive. The moment where Alex’s true nature is revealed is just fabulous: among my favourite moments in any film this year. There is also a nice sense of ongoing history, though this is not developed as much as in, say, Witchblade. I got the sense of this being a fragmentary corner of a universe much larger than the film, perhaps due to budgetary limitations, could portray – a TV series would be very welcome.

…but the thong remains the same!

On the other hand the CGI, especially at the finale, is not up to the tasks demanded of it; the world-threatening apocalypse looks too often like a bad video-game. I wasn’t really impressed with Levy either, who lacked the required presence for a lead. The main problem, however, is a first half that drags horribly. After Virago is freed, she basically vanishes, and it’s almost sixty minutes before she does anything of significance. The film doesn’t really develop the back story, or do much with the characters during this time either, and it’s pretty tedious, with little action to keep you interested.

Things do perk up significantly later on and, must say, Virago is definitely a nominee for the Best Costume of 2006, while Alex’s thong gets almost as much screen-time as she does. The action is well-staged with Dempsey kicking ass in a manner befitting a grown-up Buffy. However, and a minor spoiler, it’s Griffin that ends up taking on Virago – sadly, not in the cool costume – even though it’s clear that Marlowe is the better fighter. If the makers cut 25 minutes out (the current running-time is 110), this would be a much tighter, more effective work with a claim at cult status. As is, it’s still an interesting rental, but one whose potential isn’t quite realised.

Dir: Ted Smith
Stars: Glen Levy, Tanya Dempster, Lana Piryan, Ronald Quigley

Kite

  By

★★★½
“Leon, if Matilda had been adopted by Stansfield, instead of Leon.”

Concerns about some content here means Kite has had a tortuous release in the West. First time out, in 1998, it was shorn basically of all explicit sexual content: given the potentially underage nature of the animated heroine, Media Blasters didn’t want to be hit with a kiddie porn charge – laughable though that may seem for a “cartoon”! – and played it very safe. Subsequent releases over the next six years restored first much, in the “Director’s Cut”, then all (“Special Edition”) the footage, but the OAV* might just work better without the sex. It’s hardly as if I finished it and thought, “Y’know, what this really needs is some sequences of the heroine getting molested.”

Because the story is interesting enough on its own. Sawa is a teenage assassin, basically mind-controlled by her foster father, Akai: he’s a cop who uses her to mete out vigilante justice to paedophiles, etc. [This is ironic given their relationship, the nature of which even the edited version makes fairly clear.] She meets a young man, Oburi, in much the same situation, and their growing relationship threatens to disrupt the status quo of everyday slaughter. And, “slaughter” is the word, since Sawa’s weapon of choice is bullets that first penetrate the victim, then explode. Cue more irony: in America, even animated teenage sexuality is entirely verboten, but teenage, paint-the-walls-blood-red carnage? Bring it on.

The action is certainly intense, well-animated and directed, though perhaps excessive. Even after falling from a building, through the road, down to the subway – then being blown up, flying back into the air and blasted through an apartment window, some BandAids are apparently all the medical attention Sawa requires. This conflicted badly with the gritty realism of the story, and I also hated the doodling sax soundtrack, which sounded like something rejected by Abel Ferrara for Driller Killer. Otherwise, though, it’s generally impressive and stylish, with a downbeat approach that is refreshing, as well as some spectacularly messy violence.

* = Original Animation Video, a common “straight to video” anime format. It’s only 50 minutes, about standard length for such things. A live-action version, directed by Jorge + Javier Aguilera, produced by Rob Cohen & Anant Singh, was announced earlier this year, but no release date has been scheduled. And No Doubt’s video for Ex-Girlfriend borrowed heavily from Kite – the bathroom assassination is re-staged, almost shot-for-shot, as this video shows.

Dir: Yasoumi Umetsu
Star (voice): Kotomi Naruse, Shingo Oyamada, Goro Shibusawa, Tatsuo Matoba

The Doll Squad

  By

★★
“Less an inspiration for Charlie’s Angels than the early works of Andy Sidaris.”

To describe this as eagerly anticipated would be… well, wholly wrong, actually. I’ll tell you how long the DVD has sat on our shelf: I bought it on honeymoon; we got married in July 2002. Not exactly required viewing, then. And having seen it, I can see why: while not as bad as we feared from the trailer, it’s remarkably dull. Mikels claims the concept was stolen by the creators of Charlie’s Angels, but going by the execution here, the word he’s looking for would appear to be “rescued”, not stolen. Sabrina Kincaid (York) assembles an all-girl team to find and take out the evil mastermind who’s blowing up American rockets. Quite why they must be girls is never quite explained; it’s down to Big Bertha, the government computer that assigns missions, and apparently values fashion sense over ability.

It’s really the middle where this falls apart, among near-endless scenes of the team running around an island in jumpsuits and white, high-heeled boots, getting captured, escaping and running around again. This is, as it sounds, remarkably dull, and outside of Sabrina, no attempt is made to give any of the other members any significant character traits. That’s a shame, especially since you’ve got Tura Satana, one of the most memorable action heroines of all time in Faster Pussycat. Here’s she’s reduced to a pastie-wearing cypher, who provides the film’s entire, insignificant skin quota. If you’re hoping this film makes up for in nudity what it lacks in most other areas, you’ll be disappointed.

There are some minor pleasures to be had: York isn’t bad, and her team has no qualms about dropping someone, then adding a bullet or two for good measure [Though this isn’t necessary when you feed them high-explosive liquor] And the soundtrack is perhaps the best thing about the film, being 91 minutes of Grade-A, seventies cheese. However, on the whole, this is more a chore than a pleasure, and Mikels doesn’t do much here to redeem his name as one of the poorer B-movie directors of the time.

Dir: Ted V. Mikels
Stars: Francine York, Michael Ansara, Sherri Vernon, Tura Satana

Million Dollar Baby

  By

★★★½
“The harder they come, the harder they fall…”

The problem with boxing films is that it’s very hard to avoid the obvious cliches. Kid from the streets, initially seen as hopeless, eventually convinces a trainer to take them on, and struggles towards the goal of a shot at the big time. Million is no different, for the first two-thirds at least. Then, there is a sudden, unexpected swerve – or would have been unexpected, if our son hadn’t ruthlessly spoilered it, by wandering in and telling us of a scene in Scary Movie 4 which spoofed it. Thank you, Robert. :-) This shifts the movie in a radically different direction, though also divorcing it entirely from the action heroine genre and robbing it of at least half a grade, since reviews here center around such aspects.

What helps enormously are the three characters at the core of the film: trainer and gym owner Frankie (Eastwood), ex-fighter and general gym handyman Eddie (Freeman), and the thirty-something hillbilly waitress Maggie (Swank), who comes to the gym to learn the pugilistic arts. All three have their burdens, Frankie in particular, who blames himself for everything bad that happens to anyone he knows. Yet somehow, they fit together like crazy paving and become more whole as a result; it’s fascinating to watch, and much credit is due to all three actors. The fight scenes are well staged too. Swank looks the part – she was The Next Karate Kid, after all – as she makes her way through the ranks, ending up facing champion Billie the Blue Bear (Rijker – on the left in the pic, and in reality, 37-0 as a kickboxer, 17-0 as a boxer), and there’s little glamourous here.

You get some feeling for the appeal of the sport, and the commitment it demands, though the freak nature of the incident which drives the final third seems lazy writing. Despite a weak script, the performances, particularly Eastwood, lift this above and beyond. Recommended if you want a more thoughtful approach, and are prepared for action more to be a catalyst for drama, rather than a purpose in itself.

Dir: Clint Eastwood
Star: Clint Eastwood, Hilary Swank, Morgan Freeman, Lucia Rijker

Mr. and Mrs. Smith

  By

★★★
“Patience is required, but decent fun when it gets going.”

Just imagine Jennifer Aniston watching this film: every time Ange appears on the screen, or gazes lovingly at Brad, Jen shrieks maniacally, “Die, sluuuuuut!” Such thoughts will keep you entertained during the sluggish first hour – you’ll need them, while you wait for the characters to realise what we know from the start: Mr. and Mrs. Smith are both assassins, now targeted by their respective agencies. For that is when the fun finally starts, not the overlong lead-up, where Brad + Angelina can only sustain the plot’s conceit (that – tee-hee! – they don’t know each other’s real jobs) by abject stupidity that flies directly in the face of their characters. She’s supposedly a top-level assassin with 300+ kills to her name, yet doesn’t notice hubby’s Batman-sized lair beneath the potting shed? Puh-lease…

But, must say, I enjoyed the action, which is directed with imagination – for example, Jolie abseiling down a building using only her handbag, provoking a rare “Wow!” from this jaded fan. Jolie is just right: it’s difficult to imagine the other options (Kidman, Zeta-Jones, Blanchett and, um, Gwen Stefani) doing as well. And the sniping banter between husband and wife has a particularly enjoyable sense of irony when its punctuated by… er, actual sniping. Some might say this both glorifies and trivializes the whole issue of domestic violence – and watching them brawl their way round the house before, naturally, tearing each other’s clothes off, it’s hard to argue. Yet at its best, this takes the “War of the Sexes” to a whole new level (she works for an agency that’s mostly women; he, for one that’s largely guys), and that angle could certainly merit more exploration.

We don’t know whether the Smiths are “good”, “bad” or independent contractors, an interesting approach (we have no moral compass beyond their actions), yet disappointing. For another weakness is that the villains are merely faceless minions, when the genre needs a Big Bad for the climax – the obvious one here is the people that ordered the terminations. Liman, whose Bourne Identity was also about a killer with a contract on his head, might appreciate this more than most, and word is two such endings were shot, just not used. Still, I suspect that the sequel – likely inevitable, given this was one of 2005’s top ten at the US box-office – could very well be more fun than the original. At least we’ll have all the tedious set-up out of the way.

Dir: Doug Liman
Stars: Angelina Jolie, Brad Pitt, Vince Vaughn, Kerry Washington