Category: Review

The Gentle Touch

  By

★★★★
“Touched by an angel.”

British television was rather late to the policewoman party. The first such American show, Decoy, had aired in 1957, and been followed in the seventies by Get Christie Love! and Police Woman. But the UK had to wait until the eighties for their first home-grown series. The Gentle Touch just beat Juliet Bravo to the title, beginning its five season run four months earlier, in April 1980. It centered on Maggie Forbes (Gascoine), a Detective Inspector who worked out of the Seven Dials station in central London. The show began with the murder of her husband, also a police officer, leaving her to raise teenage son Steve (Rathbone), despite a strong devotion to her career in law enforcement.

To be honest, it’s more character- than action-driven overall, yet that’s its strength, since it does a great job of creating people who feel “real”. Nobody here is perfect: everyone has flaws, and struggles to cope with life’s ups and downs. Maggie is the focus, having to operate in an era when casual disregard for a woman’s talents was the norm. Not least by her Scottish colleague, Bob Croft (Gwaspari), though he eventually came to appreciate her many talents, such as Forbes’s fierce devotion to justice. Fortunately, her boss, Detective Chief Inspector Bill Russell (Marlowe) always had her back, even if his approach means cutting her no slack either. But every episode seemed to have one or more great performance, taking advantage of the vast pool of top-tier British character actors.

If you’re familiar with British films and television of the time (and I basically grew up with them!), you will see a lot of recognizable faces. Josh Ackland, Enn Reitel, Joanne Whalley, Art Malik, David Kelly, Ralph Bates and even Floella Benjamin – now Baroness Benjamin, then playing a high-class call-girl! The show also covered a lot of social topics not often seen on eighties television, from racism to porn, yet generally managed to do so without feeling like it was delivering a lecture. There’s no denying its success at the time. This peaked with the ninth episode of season three, in January 1982, which was the fifth most-watched TV program of the year in the United Kingdom, seen by almost a third of the entire population.

The odd episode does perhaps teeter on the edge of implausibility, such as a largely ineffective cliffhanger at the end of season four, where a woman walks into Seven Dials station, armed with a hand-grenade, and threatening to blow herself up. Such excesses seemed positively… well, American. I felt the show was better when staying safely British: you could have a good drinking game, based off people offering each other a nice cup of tea. Speaking of which, Gascoine must have had a sponsorship deal with artificial sweetener company Hermesetas: Chris noticed the way she inevitably dropped a couple of their little tabs into her cuppa. Yet I was surprised how well it generally stood the test of time. Its age only occasionally shows, and most of its 56 episodes proved highly watchable, thanks to the solid characters and performances.

Creator: Terence Feely
Star: Jill Gascoine, William Marlowe, Brian Gwaspari, Nigel Rathbone

Nowhere Girl

  By

★★½
“Slow, slow, slow-slow, quick…”

For the first hour, you may be forgiven for wondering if there has been some kind of mistake, because the poster bears almost no resemblance to what happens in the film. Oh, it’s the same actress, to be sure, and she is a schoolgirl. But it appears, rather than the war story promised, you have strayed into a teenage drama. In it, Ai (Seino) is a talented but troubled student, who seems to be suffering from some kind of post-traumatic stress disorder. The special treatment she receives at school brings her enmity as a result, both from her class-mates and the er homeroom teacher (Kaneko). Though she finds solace in art, including a mysterious major project on which she is working, housed in the school auditorium.

It’s all very subdued. There’s a lot of scenes of people standing around talking. Or, for variety, sitting around talking. The camera is considerably more mobile than the characters, engaging in stately pans and tracking shots around the dialogue, accompanied by classical music that’s positively soporific. Yet, it’s clear there’s something “off” about the whole situation. The school is frequently shaken by earthquakes, and it’s apparent that Ai has a tendency to outbursts of violence, which is bubbling just below the surface. The staff and other students don’t pay attention to the warning signs, and continue to push Ai’s buttons. You’ll understand where I thought this was potentially going to end up, delivering on the image with her going postal on the school.

Not quite.

Trust Oshii to make something which confounds expectations, while still somehow managing to disappoint. See  Avalon or Assault Girls, both films with massive potential, that fall short of realizing it. Here, you have a film which would potentially be a classic, if it started at the hour mark, then built on what follows, for another hour after the credits actually roll. Because what kicks off – at the 67-minute mark if you’re interested in fast-forwarding to that point – is beautifully staged. There’s a spectacular sequence of kung- and gun-fu, whose highlight for me was Ai taking the term “human shield” to a whole new level. Then a revelation to set up a whole new scenario, one that looks very interesting, and… The End.

I do have to mark this down for the film trying to pull off the most clichéd of clichéd twists which, to a significant degree, renders everything previous to that point a waste of everybody’s time. You need to be a supremely confident film-maker to pull it off; while it’s clear Oshii doesn’t lack in confidence, pulling the carpet out from under the viewer really needs to have happened 10-15 minutes in. The longer the conceit is sustained, the more likely the audience’s reaction will be “You’ve got to be kidding me” – and there might well be an epithet dropped in before “kidding”, too. Some day Oshii will deliver on his undeniable talent and imagination. Just not today.

Dir: Mamoru Oshii
Star: Nana Seino, Nobuaki Kaneko, Lily, Hirotaro Honda

Run Sweetheart Run

  By

★★★
“/snorts in Lola”

If I were Ella Balinska, I’d be having a word with my agent. After seeing her major Hollywood career begin with the embarrassing failure of the Charlie’s Angels reboot, she then followed up with an even more dismal flop, the attempted reboot by Netflix of Resident Evil. Now there’s this, which eventually seeped out on Amazon Prime, in a re-cut form, almost three years after premiering at Sundance. This either doubles down on the loony feminist claptrap of Angels, or is a deadpan parody of that kind of nonsense. For the sake of my sanity, and for humanity in general  I’m going to presume it’s the latter, and the grade above reflects this. If it was intended as serious social commentary, slice the grade in half, and God help us all.

Cherie (Balinska) is a wannabe lawyer, toiling away in a Los Angeles legal firm, and suffering all the slings and arrows the patriarchy can hurl at a single black mother. In particular, her boss (Gregg) asks her to stand in for him and take a client, Ethan (Asbæk). out to dinner. He’s handsome, charming… and a demonic entity of some kind, who then proceeds to hunt Cherie through the LA night, after telling her, she’ll be free if she can last till dawn. Turns out she’s far from his first victim, and Cherie’s only hope of help is a mysterious woman called the First Lady (an effortlessly movie-stealing Aghdashloo), who knows a thing or two…

It’s a perfectly fine premise, and as well as Aghdashloo, Asbæk also seems to be in on the joke, over-acting enthusiastically and to good effect. There are moments when this is supremely self-aware, such as when Ethan follows Cassie into his house, then turns and gestures to stop the camera from following. Or the 72-point font exhortations to “RUN!” splattered on the screen at appropriate moments. Yet it feels as if Feste doesn’t understand the genre in which she’s operating. Horror is about confronting fears head-on (albeit in a safe environment), not avoiding them. By pointing the camera away, she’s missing the point. For instance, when Ethan reveals his true form, all we see is Cassie’s reaction, and Balinaka’s pulling of faces is nowhere near a good enough performance to sell it. 

Despite what I said above, unfortunately, it does appear the film intends its feminist message to be taken seriously, and at times this drowns the entertaining elements in cringe. Peak levels are reached after Cherie is rescued from an obnoxious alpha male at a party by three sisters, who unironically spout nonsense like, “We desperately need the female brain.” The whole movie is spattered with badly-written dialogue and action along similar lines, rather than letting its meaning flow naturally from events as they happen. Such moments derail what was a promising B-movie. Indeed, if it had been more Ethan vs. First Lady, with Cassie reduced to the annoying footnote she deserves to be, it could potentially have been a classic.

Dir: Shana Feste
Star: Ella Balinska, Pilou Asbæk, Clark Gregg, Shohreh Aghdashloo

The Glorious Asuka Gang!

  By

★★★
“Red Nose Day?”

Dir: Yôichi Sai
Star: Miho Tsumiki, Yôko Kikuchi, Kumiko Takeda, Mikari

This is based on a 34-volume manga series by Satosumi Takaguchi, which began publication in 1985. It is far from the only adaptation. There have also been two OVAs, a live-action drama series, a different feature version made in 2009, and even a pair of drama CDs. This feature, however, is the only one available in the West to date with subtitles. It takes place at an indeterminate point in the future – the year is given as 199X – when “the streets are overflowing with drugs and violence”. There’s a battle for control, which conveniently seems to be along gender lines. The unfortunately naned male “Red Nose Gods”, under boss Toki Masamune, are going up against the all-girl Hibari Group. They are named after their leader (Mikari), who speaks only through her lieutenant, or with the aid of an artificial voice-box.

Out heroine, Asuka (Tsumiki), has just peeled off from Hibari, along with her best friend Miko (Kikuchi), seeking to make their own way on the streets. They quickly gain the enmity of the Red Nose Gods, but more troubling, is that Hibari has ordered Yoko (Takeda) to kill them both. For Yoko is Miko’s sister. This is established quite quickly, and the rest of the movie is various shenanigans as the two groups struggle for power, while the local corrupt police run interference on their own agenda. Will there be betrayal, plotting and heavy use of a Rolling Stones song? The answer is yes, to all three elements.

This feels like it ought to be a straight-to-video title, of which there was no shortage around the time this came out (1988). But the production values are considerably better than normally present in that kind of thing. The cost of merely licensing the Stones’s Satisfaction would have exceeded the entire budget of many V-cinema entries. There are also some quite spectacular sets built to represent “New Kabuki Town”, after the apparent near-collapse of normal society, and the photography is positively theatrical in quality. If you’d told me this was a Japanese remake of Streets of Fire, I would have believed you. Elements like Hibari’s voice-box indicate there was a decent amount of thought put into the various elements too.

So why is it… kinda dull? Or at least, it seems like it should be considerably more exciting. While there are occasional upticks in energy, it feels considerably more chatty than I wanted. Yoko, in particular, seems to act in ways that defy any kind of internal logic, yet are necessary to propel the narrative forward. What is her motivation? What, indeed, is anyone trying to accomplish? For a time, it looks as if Asuka is seeking to take over from Hibari, or replace Toki. This all goes away quite quickly, left by the wayside, and leaving a vacuum in terms of character goals. It ends instead in a straightforward duel between Asuka and Yoko, and there’s a definite sense that, once the dust settles, nothing much will have changed. Maybe that’s the point.

The Covert Guardian, by Liane Zane

  By

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

Liane Zane’s Elioud Legacy trilogy, all three books of which I’ve previously reviewed, is supernatural fiction, written by a Roman Catholic author, and premised on the fictional conceit that matings between angelic beings (both fallen and unfallen) and humans have been going on since before the Flood, producing mixed-race offspring who are physically human but have certain heightened physical or even latent supernatural abilities. That trilogy focused on three strong and courageous young women, who when it opened were completely unaware of their angelic genes, and all of whom were both serving in the intelligence services of their various countries, and collaborating with each other on the side in a covert alliance to provide some special protection for the victims of sexual assault and trafficking. The Covert Guardian is the first volume of a projected prequel trilogy, set a few years before the opening of the previously-published one, which will tell the “origin story” of their friendship and alliance. Here, our protagonist is Olivia Markham, the trio’s unofficial ringleader, and we learn how, as a 20-year-old college pre-med student, she unexpectedly came to join the CIA.

Unlike the first trilogy, this one really has no supernatural elements. Readers who’ve read the former will suspect, from certain subtle clues, that a couple of secondary characters here may also be Elioud, and will remember the St. Michael medal (a gift from her sensei) that Olivia wears, which feels strangely warm at times; and she has a sort of instinctive sixth sense for approaching danger that her then-boyfriend rather snidely dismisses as her “spidey sense.” But none of this is obviously paranormal nor impossible to explain naturalistically. I’ve classified the book as straight-out, descriptive action-adventure and espionage fiction, and it will definitely appeal to fans of those genres whether they have any liking for supernatural fiction or not.

The previously-published books mentioned, as a painful experience in Olivia’s past, the murder of her cousin Emily when the two girls were 16; they were close, and the tragedy was a formative factor in shaping Olivia’s deep desire to protect the innocent victims of brutality. In the modern U.S., the wheels of the justice system grind very slowly, so the killer’s trial was delayed until the summer before Olivia was to become a junior at Brown Univ. (She’s New England born and bred, living with her family in a suburban town outside Boston.) When our tale opens, soon after testifying, Olivia’s been talked by her boyfriend into joining him in a vacation on Ibiza, a real-life Mediterranean island off the coast of Spain which is a popular tourist destination, as a supposed opportunity to rest and heal from the re-lived traumatic experience. Even at this stage in her life, she’s strong, physically fit and athletic, smart, brave and quick-thinking; and since Emily’s murder, she’s been taking serious martial arts training. (And then there’s that “spidey sense” I mentioned….)

These qualities will stand her in good stead when, just four pages into the narrative, a squad of Islamist terrorists hit the beach, bent on slaughtering the revelers. Fortunately, a CIA counter-terrorist strike force is nearby; but by the time the action is over, Olivia’s displayed enough mettle to get their attention. (As they’ll soon learn, it also doesn’t hurt that she’s fluent in several languages, and qualified for the U.S. Olympic team in archery while still in high school.) Before the summer is over, she’s training at a CIA-run camp in North Carolina, and she feels that she’s found her true calling. And as luck would have it, an attractive female college student might just fit the mission profile for getting close to a wealthy young playboy type suspected of funding global terrorist activities. But chicanery, corruption, and betrayal of the U.S. aren’t necessarily things that only go on outside of the CIA, and our heroine’s path to joining the Company may not be an easy cake-walk.

Although the books of the Elioud Legacy trilogy are all thick, at just 155 pages, this one is more novella length, and a quick read. Like the former books, though, it moves around geographically, in this case to locations on three different continents; and the author’s knowledge of the physical geography of all of these settings is impressive. She’s a skilled wordsmith, seasoned in the novelist’s craft and able to immerse the reader in the story, and there are some surprises up her sleeve. For readers who want danger, tension, and well-depicted action scenes, this yarn definitely delivers. It’s not characterized by profound ethical dilemmas or deep spiritual, philosophical or political content, being more straightforward in those areas (in the context of the espionage genre, Zane is more in the tradition of Manning Coles or Alistair MacLean than, say, John LeCarre’), but I don’t view this as is any sense a fault, nor will most genre fans. What readers –genre fans or not– do want in fiction, more than action and danger, is the human element, a central character(s) we can like and feel invested in enough to care about the action and danger in the first place. That test is amply met here. Olivia is a winsome, dynamic protagonist whom we get to know and appreciate, and this is a character-driven tale of her growth and maturation in various ways in the crucible of a testing ordeal.

As I’ve said before in reviewing this author’s work, it’s fiction written by a Christian, rather than the kind of commercially “Christian fiction” the book trade markets as such. Olivia’s a basically kind and ethical-minded person, and cares about right and wrong as she understands them; but by her own statement, here she’s still “not really a believer.” Bad language is a hair more prominent here than in the first trilogy, though it’s actually more prominent in the first few pages here than it is in most of the book. College-age Olivia herself is capable, when she’s angry, of thinking or saying some pretty bad words, including obscenity (in a couple of languages). And though there’s no explicit sex, we know that an unmarried sexual encounter takes place at one point. The author makes us completely understand the psychology behind it; it’s a case of allowing the character to be who she realistically is, and possibly to grow through all of her decisions, both the good and the misguided ones, into the person she’s finally becoming. (That’s what good authors do.)

Finally, a worthwhile question might be, does a reader need to have read the Elioud Lagacy books before reading this one? My answer would be no; having read those books will allow you to better appreciate some adumbrations of the future you can see here, but it’s not essential, and no knowledge of them is presupposed here. You could begin with this book as an appetizer for the corpus as a whole.

Author: Liane Zane
Publisher: Zephon Romance; available through Amazon, both for Kindle and as a printed book.
A version of this review previously appeared on Goodreads.

I’m Your Woman

  By

★★★★
“Taking action”

Hearing that James Gunn, new head of the DC movie department at Warners, just recently announced David Corenswet and Rachel Brosnahan as the new actors to play Superman and Lois Lane in the next “Superman”-movie, I felt the need to find out more about these new actors. For Brosnahan I chose the movie I’m Your Woman, an Amazon Prime production from 2020. For one thing, she played the main role, and secondly a two-hour movie is much quicker to watch than a series like The Marvellous Mrs. Maisel. Sure, for that series she got two Golden Globes, one Emmy and two Screen Actors Guild Awards – but my time is a bit limited. Also, I prefer gangster movies over a dramedy show.

I’m Your Woman takes place in the 1970s. Although a year is never specifically mentioned, the dresses, suits, hair styles and the ugly interior design speak for themselves. Jean (Brosnahan) plays the wife of gangster Eddie (Bill Heck). She knows that he’s a gangster but not what he exactly does. In material terms, while there is everything that she could wish for, she is obviously unfulfilled, as she would have liked to have a child – but it didn’t work out. A big change in her life happens when Eddie one day brings home a baby, declaring that it is now theirs. Jean is more than a little over-burdened with the new task, for taking care of anything or anyone, least of all a baby, is something she never had to do.

Very soon her life changes even more dramatically, when one night Eddie doesn’t come home. Instead, she is given a large amount of money and told to go with Cal (Kene), a friend of Eddie’s. She is not told what has happened, so her subsequent escape and isolation in a foreign house remains a mystery to her for quite some time.  As one can probably already guess from the above, the movie is not excessively an action movie with a whole lot of bang-bang. That said, it nevertheless earns its place in the “girls with guns” category, even if this element shows up quite late in the game. For most of the movie, the heroine (and by extensions we, the audience) are left in the dark concerning the why, what and how. Only slowly are we given that information, with light eventually being shed on the background of what happened and the fate of Eddie.

I think this makes it quite an unusual movie as – in contrast to many other movies – we are not immediately brought up to speed with an info-dump, so that we tie ourselves emotionally to Jean. As a result, the fear and tension she experiences are really palpable to us, too. We don’t know who Cal is and why he is helping her, or why people are after Jean. In my opinion, the movie is particularly successful in showing a female perspective, as part of something that would otherwise potentially have been just an ordinary gangster story. In the beginning, Jean does whatever she is told, while at the same time also trying her best to be a good mother to the little baby, even if her knowledge in this respect is also just rudimentary.

It’s only when she realizes that, unless she leaves behind the passive role that she has occupied for such a long time and becomes active, the hunt for her will never end. After that, she is able to change her life and save her new found friends, including Cal and his family. In that respect – and I know how this sounds – this movie can actually be called an emancipation drama. For once this is real, in contrast to the kind of what many modern movies understand under that expression. Also, the story can be seen as offering a historical comment on 1970s paranoia, and in particular how everything seemed to be chaotic at this time. Jean has to come to terms with the notion that those people who try their best to protect her, might have just as little a clue as she has.

I liked this movie, filmed in Pittsburgh, very much. The inherent tension can be felt for the entirety of the movie and it always feels and sounds like the 1970s. Wikipedia tells me the movie was only in theatres very briefly before Amazon Prime released it online. Rachel Brosnahan gives a first-class performance here though the whole production is top-notch. I regret that, too often, quality content like this flies under the radar, while we are distracted with yet another of these big dumb blockbusters Hollywood is constantly pouring over us. I feel Brosnahan is an actress of whom I would like to see more. That appears not to be problem, with plenty more of her work apparently available on Prime.

Dir: Julia Hart
Star: Rachel Brosnahan, Marsha Stephanie Blake, Arinzé Kene, Jameson Charles

Shelter

  By

★★★½
“Never trust the Jews.”

The above is said by an Arab character, passing on advice from her father. By the end of it, despite this being an Israeli-produced movie, you may be inclined to agree with them. Mind you, on the basis of this, you should also never trust, the Arabs, Americans or Germans either. This dive into the world of intelligence, counter-intelligence and realpolitik is so morally murky, it should come with a head-lamp, to assist viewers peering into the darkness. Naomi (Riskin) is a Mossad agent, who has been out of the game for two years, since her husband, a fellow spy, was killed in a terrorist attack. She has now been tasked with what should be a simple job, guarding Hezbollah informant Mona (Farahani).

The latter has just been spirited out of the Middle East, after her cover was blown. Mona had plastic surgery and is recuperating in Hamburg for two weeks, before beginning a new life in Canada. Except, nothing in the world of spydom is ever “simple.” Hezbollah are very keen not to let Mona’s treachery escape unpunished, and Naomi’s nerves are on a knife-edge of perpetual tension, with even a simple wrong number telephone call triggering paranoia. Yet she has every reason to be suspicious. For far above the two women’s heads, wheels are in motion. America want to defeat ISIS, and needs Iran’s help. Iran supports Hezbollah. So if the price of Iran’s co-operation is merely an informant who is no longer of use…

“We take care of our people,” is an oft-repeated mantra, particularly by Naomi’s handler, Gad (Ashkenazi). But by the end, you’ll be feeling it’s more a sick joke than genuine commitment. While he may mean well, his hands are largely tied in terms of actual care. The reality is closer to Spock’s line in Star Trek II: The Wrath of Khan: “The needs of the many outweigh the needs of the few”. Naomi is aware of this, though matters aren’t helped by Mona’s fatalistic approach: “This apartment is cursed,” she mutters at one point. They do inevitably bond, mostly over children: Mona had to leave her son behind, Naomi is trying to conceive via a sperm donor. Though there’s also a makeover session, which is a bit cringey, to be honest – albeit, a makeover session which eventually proves  necessary to the plot.

However, when this is simply focusing on screwing up the tension, Riklis does a fine job, creating a world where anyone and everyone is potentially a lethal threat. Hyper-vigilance is an essential trait for survival, since a casual look can be the only warning you get. Yet that way lies inevitable burnout on an overdose of adrenaline. I’m not 100% certain the final twists quite deliver, at least from a logical point of view: I have questions, is all I can say on the topic. Yet they do deliver a satisfactory emotional payoff, and the journey to get there has been fine as well.

Dir: Eran Riklis
Star: Neta Riskin, Golshifteh Farahani, Lior Ashkenazi, Doraid Liddawi

The Bleeding Game

  By

★½
“Bleeding terrible, innit?”

It is possible to do Lovecraft on a low-budget and make it work. Earlier this year, I was introduced to the delightful films of Lars Henriks, who did a whole trilogy of micro-budget movies, loosely in the Lovecraft universe. Taken in the right spirit, they’re quite charming. Then, there’s this… I think I can safely say, it’s neither delightful nor charming, regardless of spirit. The best I can say is there is a non-terrible core concept here.  Mr. Temple (Bolton) wants occult power, and feeds on blood, so summons a trio of Shoggoths, mystical minions who possess a sleazy businessman, a metalhead, and a rent boy. They prey on the women who frequent his bars, bringing their essence back to their master. Arrayed against him are three sisters (one adopted), the Proctors: Aida (Mixter), Flo (Bland) and Lizzy (Alison), who come from a family of white magicians. When the corpses of the Shoggoth’s victims start piling up, they seek to stop first them, then Temple, from continuing their dark harvest.

I should have recognized the director’s name: I’m presuming he’s the brother (or something) of Sean-Michael Argo. That is the Argo who gave us one of the worst ever action-heroine films in Iconoclast. He shows up here as The Grin, an Oracle-like figure to whom the Proctor sisters turn for advice. His relative Ian is, at least, able to tell a coherent story, so that puts him well ahead of his relative. However, there are still way too many problem present for this to be successful, even by the low-standards of incredibly cheap horror. The audio is inconsistent from scene to scene, varying from muffled to incredibly echoey. The pacing is terrible, with scenes that serve no real purpose, and the backstory involving their father is murky, at best. Though I was quite amused by the way that shotguns are basically more effective than any traditional tools, and there is a half-decent impalement.

My biggest complaint, however, was the flat-out terrible British accents sported by the Shoggoths. I’m not sure why being taken over by a demonic entity causes the victims suddenly to channel Dick Van Dyke from Mary Poppins, but here we apparently are. I feel personally attacked by this blatant example of Britwashing, not least since it’s an accent that serves absolutely no purpose whatsoever, any more than the top hat sported by one Shoggoth. The film is at its best least worst when they aren’t speaking on screen, simply because I no longer had a rising desire to put my fist, the living-room table or our cat through the television. Even writing this paragraph is sending my blood pressure spiking. The sisters don’t bother with fake accents, and occasionally border on being interesting characters: looks like two of them have an on/off sexual relationship, though we cut away from ever seeing anything there. Like the rest of the film, that demonstrates its disappointing failure to deliver.

Dir: Ian Argo
Star: Whitney Mixter, Shey Bland, Alison Tussey, C. Jason Bolton

Gangsta Grrlz

  By

★★
“Some things never change…”

Not to be confused with the clearly different Gangster Girls, which isn’t particularly gangster at all, or Gangsta Girls, which is Vietnamese, and especially not to be confused with the execrable Girls vs. Gangsters. Though confusion is understandable, and not helped by Tubi typoing the title to the slightly more correct spelling of Gangsta Girlz, and adding an unrelated poster. So, we all sorted on that? At first, I thought this was a remarkably accurate period piece, starting proceedings off in 1998 Philadelphia, an era of large wigs and even larger mobile phones. I kept expecting it to jump forward to the present day: never happened, and that’s because it turns out, this was actually made in 1998. All the retro trappings were actually of the time.

This does include nineties video quality, and audio that leaves room for improvement in some scenes. However, I’ve endured worse in both departments. It tells the story of Ninea Ranks (Smith), whose boyfriend brought her along on a drug deal that goes wrong, leading to her shooting a man. He takes responsibility, dies in prison, and she decides to embrace a life of crime. This is all explained in voice-over, presumably for budget purposes, and she now has an all-female organization, because she doesn’t trust men. That includes lieutenant T (Gaston), and new recruit Glitter (Jones). There’s a beef with rival leader Dion (King), who would like nothing better than to see Ninea behind bars and unable to compete. However, he faces dissension from within his own ranks, by a disgruntled henchman, Razor.

What stands out is probably how little the genre has changed in the 25 years since this came out. This offers much the same mix of unconvincing drama, guns held sideways and relentless hip-hop by the director’s pals, as any of the more recent entries in the modern Blaxploitation field. There’s no surprises at all to be found as things develop, unless you consider the abrupt conclusion, with a caption which succinctly informs the viewer, “Ninea left town to lay low in 1999. But don’t get too comfortable fellas… She’ll be back.” A quarter of a century later, we’re still waiting, and I’m beginning to wonder if we might have been ghosted by her.

The only scene which stands out is Razor chatting to his loyal friend, Curtis, about being fed-up of Dion’s leadership, and deciding to betray their boss. It’s shot and staged simply, and feels all the more authentic for it. Otherwise, what I’ll remember most is likely the spectacular selection of wigs owned by Ninea, whose last name really should have been “Business” [I’ll wait… Forever, if necessary] Characters and plot threads drift in and out without achieving even the caption level of resolution offered to the anti-heroine, such as the police officers who show up for a couple of meaningless scenes. While the performances aren’t bad, they deserve to be in the service of a script which offers the actors considerably more.

Dir: Randy Williams
Star: Keya Smith, Tamura Gaston, Tyrone King, Dawn Jones

Sweethearts of the Prison Rodeo

  By

★★★
“Cowgirls behind bars.”

Well, this is certainly the first film I’ve reviewed here which drops both into the “women in prison” and the “sports” category. It takes place in Oklahoma, where since 1940, they have been staging an annual prison rodeo event in McAlester. The competition takes place in an arena built just inside the walls of the State Penitentiary, and includes competitors from facilities across the state. In 2006, the event was opened to female inmates as well, and this documentary (while not absolutely focused on just the women, also including 13-year rodeo veteran and convicted murderer Liles) is about their preparation for the 2007 event, training on a rig pulled back and forth by fellow inmates, and climaxing with the event itself.

What stood out in particular was how normal most of the inmates seemed, though my perceptions there were likely skewed by the more, ah, dramatic depictions of life behind bars. You’d be hard pushed to pick the likes of Brooks, Witte and Herrington out of a line-up at the local PTA, though some of the stories they tell are startling – as much for the casual air with which they admit to dealing drugs or violent robbery. The rodeo gives them a bit of relief from the crushing boredom of life inside, though it’s very much a privilege. Brooks is kicked off the squad when caught in possession of contraband, reportedly unauthorized lipstick, an incident which also puts her release on parole in doubt.

While regular rodeo typically limits female involvement to the less dangerous events, such as barrel racing, there’s no such restriction here. The women inmates take part in bull and bronco riding, as well as the particularly fraught event called “Money the Hard Way”, where the first person to pluck a ribbon tied to a bull’s head wins $100. The beast is clearly no respecter of the fairer sex, sending both men and women into the air with a strictly gender-neutral approach. The comparisons of the event to gladiatorial combat seemed particularly apt here. Yet this feels more like a backdrop to the lives of the prisoners, and I found myself Googling their names in hopes of recent updates.

As with most documentaries, it’s not tidy, with loose ends a-plenty, and if I was both informed and reasonably entertained, I can’t say I reached the end with any life-changing revelations. It feels quite “safe” and conventional as a film of its genre, and Beesley clearly is not interesting in challenging narratives, least of all the self-reported ones of the women’s lives. While they do largely accept responsibility for their crimes, it’d be interesting to hear an outside perspective on those. Not mentioned in the film: the event was canceled in 2010 due to a state budget shortfall. It hasn’t returned since, mostly because the arena has now fallen into disrepair, despite support from the warden, local community and state governor for that. Whether it ever will is uncertain, leaving the documentary a record of an odd slice of Americana that may be forever gone.

Dir: Bradley Beesley
Star: Jamie Brooks, Brandy Witte, Danny Liles, Crystal Herrington