Category: Review

Cold Blooded Killers

  By

★★
“In severe need of warming up.”

A confusing mess with some redeeming features, we first see the titular assassin – in either title – Rose (Rose) taking out an entire family in their home. This is notable in two ways. First, how the wife keeps an arsenal of weapons under the sink. Second, how Rose kills the young daughter, after the little girl vows to take revenge when she grows up. This is, unfortunately, as good as it gets. Before long, coherence is left by the wayside. The basic plot involves Rose’s sister Misty, being kidnapped by Hank (Sheridan), in revenge for her killing of his brother. She heads out, accompanied by her sister’s boss Becky (Williams), in search of Hank and Misty.

But there are also a slew – far too many for the script to handle, truth be told – of other assassins, on Rose’s tail, working through some kind of phone app for hitmen. It’s difficult to keep track of them all, and even the movie can’t manage it. For example, at one point, another killer is clearly introduced as Anita, but the on-screen caption calls her Marilyn. I read reports there were issues in production, with control being taken away from the director, and all manner of extra footage shot. That would go some way to explain this jumbled mess, and why it wasn’t released until three years after the initial shoot had finished. Though, of course does not excuse it.

I will say, the final battle is somewhat amusing. Albeit, more for Becky going berserk with a chainsaw, than Rose firing hundreds of bullets at her target, who drops with a feeble three or four blood squibs on his chest. If the film had concentrated on that pair, it might have amounted to something, as their scenes have a rough edge to them that is entertaining to watch. And, let’s face it, the amount of cleavage on view from both is not exactly a detriment. I’ll also acknowledge the presence of legendary scream queen Brinke Stevens, which is never a bad thing, even in little more than a cameo, as here. 

However, the flaws are considerably more numerous. Even though our heroines are fun, we’re never given any real reason to care about either of them. The same goes for the other characters: Hank’s impact is almost entirely limited to his facial hair, and Anita/Marilyn to her costume choices. There is little or no structure, with the grand finale coming out of nowhere, and delivering a twist which neither was a surprise, nor made much sense. I’m also not a fan of copious CGI, which appears to have been used for a lot of the gunplay, and in a sloppy way at that. The end result is something which would probably make a very good trailer, yet would leave any viewer of said trailer, hugely disappointed. For this is 10 minutes of decent content in a 90-minute movie.

Dir: Rickey Bird Jr.
Star: Felissa Rose, Dave Sheridan, Caroline Williams, Steven Chase
a.k.a. Killer Rose

Revenge Ride

  By

★★½
“Violence isn’t the answer. No, wait…”

Mary (Dubasso) is drugged and raped by three members of the football team at a college party. Believing neither the college authorities nor the police will do anything, she turns to cousin Maggie (Swan) for help, because her relative is a member of the all-female Dark Moon motorcycle gang (eloquent slogan: “Eat my pussy”). Run by Trygga (McIntosh), they take revenge on the rapists, branding their catchphrase on the perpetrator’s asses, and leaving them in full view on the college campus. The fraternity boys don’t take this kindly, and strike back, causing things to escalate towards an all-out war. Complicating matters are Maggie’s increasing feelings for Brian (Boneta), one of the team, though uninvolved in the rape.

If ever they do a Daughters of Anarchy series, McIntosh needs to be the lead She has the perfect physical and psychological presence for the role, and is perfectly cast here. Seeing her, drenched in blood, whacking someone’s brains out with an iron chain, is sufficient reason for this to exist. Unfortunately, it’s about all this has to offer. The script is full of mis-steps, mostly a result of trying to cram too much into a running time which barely reaches 70 minutes before the credits roll. As a result, the relationship between Maggie and Brian feels unconvincing, and Mary’s induction into the gang is also deeply rushed. What, no time as a prospect? From my deep knowledge of their culture (obtained entirely from having watched every episode of Sons of Anarchy), I know it’s not typically harder to get into a sorority than a biker gang.

That said, the idea that three footballers would be able to hold their own against, and pose a threat to, the entire ranks of Dark Moon membership, doesn’t exactly sell them as the set of bad-ass bitches they’re supposed to be. The action scenes also leave a good amount to be desired, McIntosh’s chain-swinging aside, and the finale feels unnecessarily rushed, as if the makers ran out of money and had to end things without getting to film an acceptable wrap-up. Despite efforts to address their absence, the complete lack of interest by the authorities in the mayhem as it unfolds, stretches credulity as well.

Philosophically, it does seem to change its answer in the middle. Is violence acceptable or not? Initially, it seems gung-ho in favour of vengeance. While Mary eventually rejects this, it seems to be only when it threatens to engulf Brian, so appears to be for personal reasons, rather than any modification of her world-view. It feels as if the makers want the audience to reject the notion… while also using it to fuel an adrenaline rush of righteous justice. Perhaps, again, if the film had taken the time to depict Mary’s attitude adjustment, it could have brought viewers along with her. Instead, it all feels a bit hypocritical. I will, however, continue to watch McIntosh in anything and everything.

Dir: Melanie Aitkenhead
Star: Serinda Swan, Pollyanna McIntosh, Vanessa Dubasso, Diego Boneta

Bruised

  By

★★★★
“Packs a surprising punch.”

Halle Berry was born the same year I was. There is, however, just one of us that is capable of convincingly playing the role of a mixed martial artist. To give you another yardstick, the lead in this was originally going to go to Mrs. Ryan Reynolds, Blake Lively (The Shallows and The Rhythm Section), who is more than 20 years younger than Berry. I will admit, Chris did raise one of her sardonic eyebrows at the scene where Halle’s character buys Tampax, and the idea of her having a six-year-old son is perhaps a bit of a stretch. But if you didn’t know the actress has been AARP-eligible for over five years, you’d simply never guess.

This is probably the best movie yet made about women’s combat sports, though that’s not exactly going up against strong competition. The script is probably the only weak element, never escaping the standard clichés; there are very few surprises in its 138 minutes. But just about every other aspect is excellent. The heroine is Jackie Justice (Berry), a former UFC fighter, whose promising career fell apart four years ago. She just lost her job as a cleaner, and is pretty much at rock-bottom. Her boyfriend/”manager”  Desi (Canto) takes Jackie to an underground match, where she is provoked into beating her opponent into a pulp. That gets the attention of a local promoter, who gives her one last shot, a bout against undefeated champion, Lucia “Lady Killer” Chavez (Valentina Shevchenko, the current UFC Women’s Flyweight Champion, whose fight face is genuinely scary!).

Of course, even to reach that point, she has to overcome the inevitable slew of obstacles. Desi’s domestic abuse, the doubts of her trainer, Buddhaken (Atim); and in particular, having her son Manny (Boyd) dumped on her, after the death of his father. Naturally, Jackie is able to rise above them all, and get her moment in the sun. Really, there’s only two possible outcomes – she wins or she doesn’t – and neither are exactly novel. Still, it’s all so earnest that you can’t help be pulled in. Berry sells the tropes with the conviction of her performance, and there are particularly good supporting roles from theatre veterans Atim, and Adriane Lenox as Jackie’s mother.

It’s worth pointing out that this is also Berry’s directorial debut, and it’s a very assured first feature. It never feels long, and about the only thread which felt superfluous was the romantic entanglement with her trainer. The resulting lesbisn canoodling seemed a bit gratuitous and out of sync with the gritty, down to earth feel from the rest of the movie. Fortunately, there are more than enough powerful and excellent scenes, and it’s very easy to get behind the heroine in her quest for redemption. Jackie is a character who comes with a lot of baggage, yet it all just makes her struggle seem all the more real. A shame this, Berry’s portrayal in particular, will likely be overlooked come the Oscars.

Dir: Halle Berry
Star: Halle Berry, Sheila Atim, Danny Boyd Jr, Adan Canto

Astrid’s War: Attack on the USS Valley Forge, by Alan Householder

  By

Literary rating: ★★½
Kick-butt quotient: ☆☆☆☆

It’s the year 2369, and Astrid Amundsen is an officer in training, in her fourth year at the Annapolis Naval Academy [we’re talking space navy, obviously]. As part of her education, she and four other recruits are assigned as midshipmen on the USS Valley Forge, for what is supposed to be a calm and untroubled mission, twelve light years from Earth. Except, where would the fun, from a literary point of view, be in that? So, it’s not long before the severely out-numbered and out-gunned training ship finds itself under attack by an enemy fleet of Kerleegan craft. Not helping matters, Captain Jefferson appears to be cracking under the strain and making curious decisions. Should Astrid follow orders, even if she honestly feels they imperil the ship? Or should she side with the cadre of officers and their… Well, “mutiny” is such an ugly word.

I certainly can’t argue with the pace of this. It’s very much one peril after another, as Astrid and her allies have to fend off attack craft, boarding attempts and even figure out what to do with an enemy nuclear weapon which has been welded to the floor of the Valley Forge. There’s no doubt it’s a non-stop procession of problems for Astrid to handle, and her cool approach to coming up with solutions is an impressive characteristic. The main problem for me, was the lack of much context here. It would have been useful to have known, for example, how this war against the Kerleegans started, and what it was over. About all we get is, “They seemed to be one of those spacefaring nations, that loves to roam about the galaxy demonstrating what they perceived to be their ascendancy over all other sentient life.” Hmm, seems not unlike what we see of humanity on Earth.

So there’s no real motivation provided for Astrid’s decision to join the Navy (she apparently wants to join the Marines after graduation), and the battle seems to be largely “because they’re rare.” While self-defense and survival are legitimate reasons for most of Astrid and her colleague’s actions, there doesn’t appear to be any kind of Geneva Convention in space, with summary execution of wounded opponents the norm, which I found a bit jarring. The other main issue I had is, the way everyone up to and including the Captain, seems to be very considerate of, indeed almost deferential to, Astrid’s opinion, and she gets a lot of leeway in terms of independent action. Surely – and I speak as someone with no military experience – she’s little more than a raw recruit? She surely would be taking orders, not giving them? All told, to put the flaws of this book in movie terms, Householder appears to be a better action choreographer than a scriptwriter or a director. More work needed on the latter elements, I feel.

Author: Alan Householder
Publisher: None listed, but available through Amazon, both as a paperback and an e-book
1 of 4 in the Astrid Amundsen Military Science Fiction series.

Wolfwalkers

  By

★★★
“Mononoke Hime, with potatoes…”

Ok, that’s a little harsh. But this very definitely does feel like an Irish take on Princess Mononoke, Hayao Miyazaki’s epic fantasy. This begins with the technical aspects, both animated films rejecting CGI in favour of a more traditional, hand-drawn style. In 1997, when Mononoke came out, that wasn’t so radical: the first fully CGI feature, Toy Story, had come out less than two years earlier. But in 2020, the dominance of CGI is such that Wolfwalkers seems a total throwback; after all, Disney went fully CGI after Winnie the Pooh in 2011. This is a very different style, and if you’re used to the hyper-realistic approach of Pixar, may take some getting used to.

The similarities don’t stop there. Both take place in medieval times, and have a settlement on the edge of the woods in a struggle with nature and its spiritual forces – in particular, as marshaled by a young girl. Another young person ventures into the woods, eventually befriending the girl, and the pair team up to prevent the destruction of the forests in the name of “civilization.” For rural Japan, read rural Ireland in the mid-17th century. For Lady Eboshi in charge of the modern forces, read England’s Lord Protector, Oliver Cromwell (McBurney). This adds a touch of colonialism to the general ecological message here, with Cromwell seeking to subdue the wolves, partly as a demonstration of power over the local population.

There are other differences, too. The heroine here is Robyn Goodfellowe (Kneafsey), the daughter of hunter Bill (Bean), who has come to Ireland to control the wolf population. Robyn wants to help her father, but he’s having none of it. That doesn’t stop her from sneaking into the woods where she meets Mebh Óg MacTíre (Whittaker). She and her mother are wolfwalkers, whose spirits leave their bodies and turn into wolves when they are asleep. They also control the local native canine population. A bite from Mebh turns Robyn into one as well, but Cromwell has captured Mebh’s mother in her wolf form, sending her into a sleep from which she can’t awaken. Robyn tries to convince her father of the existence of wolfwalkers, and broker a peaceful resolution. Neither he nor Cromwell are having any of it, setting up a final confrontation in the forest.

On its own terms, this might have merited a slightly higher score. The problem for me was, it simply reminded me of the strengths of Mononoke. That was considerably more subtle about its message, making Eboshi a much more sympathetic character than Cromwell, who is positively cartoonish in both looks and demeanour. [Spoiler: I’m also fairly sure he wasn’t pushed to his death off a precipice by an Irish lycanthrope]. The approach here is  simplistic in comparison, especially the deeper we get into the story. which probably makes it more appropriate for a younger audience than adults. I still enjoyed it, but doubt there’s much rewatchability to be found here.

Dir: Tomm Moore and Ross Stewart
Star (voice):  Honor Kneafsey, Eva Whittaker, Sean Bean, Simon McBurney

On The Edge

  By

★★★½
“Makes a good point”

Whenever the Olympics are on, we love watching the weird sports that never get covered the rest of the time. That means things like handball, archery and fencing, so I was particularly interested by this Russian film, based around the quest for gold in the women’s sabre event. While it does struggle to move past the usual cliches of sports films, it’s done with enough energy to work. The two protagonists are Aleksandra Pokrovskaya (Khodchenkova), a veteran coming to the end of a long, successful career, and Kira Egorova (Miloslavskaya), a brash teenager who arrives on the scene with a blast, and whose unconventional style causes fits among other fencers. Aleksandra has one final crack at the prize which has eluded her – an Olympic gold – but Kira poses an unprecedented threat to that ambition. 

Yeah, like I said: it’s pretty much Sportsball Movie #4. You know from the start that Aleks and Kira are going to bash heads, but eventually come to a mutual respect for each other’s talents and abilities. Nor is it any surprise when Kira suffers a potentially career-ending injury, and Aleks overcomes her concerns to nurse her back to health [in fairness, she was partly responsible for the incident]. And could the two fencers possibly end up facing each other in the final match at the Olympics? Wild horses could not drag that answer to that question from my lips. 

Oh, who am I kidding. Of course they do. But it is to the film’s credit that I genuinely did not know how that was going to turn out. For the makers do a very good job of giving us two well-developed characters. Rather than protagonist/antagonist in the Rocky mould, we get two protagonists, each with their own set of motivations and ambitions. Initially, Kira seems the less likable of the pair, but the more we learn about her background, such as the fraught relationship with her father, the more I came to understand her abrasive personality and don’t give a damn attitude. [Khodchenkova may be familiar, as she has appeared in some Western movies, including The Wolverine and Tinker, Tailor, Soldier, Spy]

It is an issue that fencing at the top level is astonishingly fast. It’s not like cinematic sword fighting, where battles go on for minutes. Here, if your first attack doesn’t hit the mark, you’re likely to find yourself on the receiving, pointy end of your opponent’s weapon. But Bordukov does a good job of capturing the speed, and making it work for the film’s benefit, rather than its detriment. While there may be precious little about the storyline that’s original, it still makes for an engaging couple of hours. If you weren’t a fencing fan before, this might change your mind. So, that’s fencing out of the way, and we already had our Olympic archery movie. and handball film. I just need to find a synchronized swimming movie – and, don’t be fooled, they are hardcore – then I’ll be happy.

Dir: Eduard Bordukov
Star: Svetlana Khodchenkova, Stasya Miloslavskaya, Sergei Puskepalis, Alexey Barabash

Crimson Crown Wrestling’s Goddess of Gore 2

  By

★★★½
“Hard to the core.”

I’ve written occasionally about the more extreme end of women’s wrestling, but it appears not for a while. It was back in 2012-13 when I covered IWA Mid-South: Queen of the Deathmatch and FMW: Torn to Shreds. A fair amount of water has gone under the bridge in the field, since I bemoaned “the largely pathetic excuse for it put out by the WWE”. We had the Divas “Revolution” in 2015, which eventually led to the WWE’s first all-female PPV, Evolution, in 2018. Becky Lynch, Ronda Rousey and Charlotte Flair then headlined Wrestlemania that year, the first women to do so.

But it’s still very unlikely you will see mainstream promotions go ‘hardcore’, using weapons and bleeding. That said, in March this year, AEW had a somewhat controversial match between Britt Baker and Thunder Rosa, which ended with both participants wearing the crimson mask. Generally, however, if you want that – and if you don’t, that’s perfectly fine too, for I appreciate this is not to everyone’s taste – you need to dig down into the world of independent wrestling.

Which brings us to CCW’s Goddess of Gore 2, held at American Legion Post #335 in South Gate, California, on October 3rd, before a crowd of… dozens. Okay, that is a bit snarky. We have worked for and patronize a lot of independent federations locally, and the crowd for them is typically along similar lines, between one and two hundred. That is a bit sad, because given what the participants go through, they deserve more. Then again, tickets for this show started at forty bucks, which is easily twice the price of what we’d pay here in Arizona. Maybe, like petrol, professional wrestling just costs more in California.

The format was simple: eight women in a knockout tournament, so the winner would need to win three matches in the night to take home the trophy. The participants were a broad mix, including veterans and relative newcomers. Ironically, the former included Mickie Knuckles, who was the winner of 2006’s Queen of the Deathmatch. The others included Randi West, who has been fighting even longer then Knuckles, starting her pro career in 2002; Mariah Moreno, a transgender wrestler; and the wonderfully named Ludark Shaitan, who came up from Mexico for the event.

Things did take a little while to get going, with the first match almost blood-free. However, things escalated thereafter, with the next bout, between Knuckles and Ruby Raze including – and I wrote all this down – fluorescent light tubes, a TV set, an apparently real beer bottle (which failed to break on the victim’s head!) and a weed-whacker. This was more like the kind of insane mayhem I expected, given the title. In terms of pure wrestling, the third match might have been the best, in which “Pumpkin Queen” Sage Sin prevailed over “The Patron Saint of Filth” Christina Von Eerie [Yeah, no pro wrestler ever undersells themselves!]

But it was in the semi-finals where the carnage ramped up to another level. West faced Shaitan, who deserves credit for wrestling back-to-back matches, with little or no rest (at over 11 minutes, this was also the longest bout in the tournament). It ended with West beating Shaitan, after driving her through a door, after coming off the top rope. There may also have been a cheese-grater involved. [Quick aside here: despite the small attendance, I did find CCW’s presentation of the event quite impressive and professional. It was helped in particular by commentators Kris Kloss & Kikyo, who managed to be both enthusiastic and informative]

The other final saw Knuckles taking on Sage Sin, and certainly had some of the more… original items. A car windshield was propped up in one corner, and at one point, Sin tried to drive Knuckles through an ironing-board. That particular move ended with Mickie’s head catching the edge of the board, in a sobering reminder that, especially in this kind of wrestling, shit happens. Still, Mickie was able to recover, surviving that and being swatted with a fan of light tubes. She reached the final, albeit with the help of some outside interference. This may have made more sense in the broader scheme of CCW storylines; to this casual viewer, however, it seemed rather pointless.

So: West vs. Knuckles it was, proving that experience matters. Neither might be exactly what a non-fan would think of as lady wrestlers – lady truckers might be a bit cruel, yet not unfair – but you can’t argue about what really matters. That would be their willingness to put their bodies on the line for our amusement. In the beginning, they were chained to each other with barbed-wire, and the ring hadn’t even been cleared of the debris left over from the semi-finals. It did not take long before both women were bleeding: Mickie had the worst of the early exchanges, as Randi stapled her shirt to her opponent’s head, then used it to choke her.

The ring, by this stage, was awash in broken glass, thumbtacks, beer and god knows what else, making things even more treacherous. It was only when West was able to throw Knuckle through the windscreen, and cover her for the pin. But it was kinda touching how, after the bout, Knuckles spoke in glowing terms about her veteran opponent. West, too, seemed genuinely moved by having won an actual trophy: “In wrestling, you don’t get a lot of tangible rewards.” Yeah, pro wrestling is staged, I know. But having seen what West had gone through over the course of one night, I’m in agreement with the crowd and their chants of “You deserve it!”

Promotion:: Crimson Crown Wrestling
Star: Mickie Knuckles, Randi West, Sage Sin, Ludark Shaitan

Arcane

  By

★★★½
“A tale of two sisters.”

I’ve never played League of Legends, but the good news is, you don’t need to, in order to enjoy Arcane. While that may provide some extra depth, it works perfectly well on its own. There is a degree of over-familiarity with the high-level scenario, which is Generic Fantasy Plot #3. Per Wikipedia’s premise, “Amidst the escalating unrest between the advanced, utopian city of Piltover and the squalid, repressed undercity of Zaun…” Yeah, it’s class war time again, cut from the same basic stamp as Mortal Engines, Alita: Battle Angel and The Hunger Games. To this series’s credit, it does show more nuance than some, with good and bad on both sides of the divide. Perhaps a bit too much though, as there were points where it felt like new characters were being thrown at the viewer, even late into the nine-episode series, when the time might have been better spent developing existing ones.

The central pair are sisters Vi (Steinfeld) and Powder (Purnell), orphaned after a failed rebellion. They’re brought up by the leader of the rebellion, and subsequently get entangled in the web of crime, politics, magic and science which powers both sides of the divide. There’s a lot going on here: simply summarizing it would fill the rest of the article. But there are a couple of key points. Powder becomes estranged from her sister, changes her name to Jinx, and goes to work for crime lord Silco (Spisak). Scientist Jayce Talis (Alejandro) creates a technology called Hextech: this (Generic Fantasy Plot #7…) allows for the control of magical energy, which can used for good or evil. It also does… well, whatever the plot needs, from curing illness to blowing things up. Intrigue ensues. A great deal of intrigue.

I did appreciate the script’s complexity, which stands in contrast to most video-game adaptations. I think the greater length (9 x 40-ish minutes) than a movie, gives the writers time to explore things in more depth, and I can’t complain at all about the overall world-building, either in story or artwork. Its French origins perhaps explain the look, which sometimes resembles a bande dessinee. Indeed, the show does almost all the big things right, from animation that’s top-notch, through good voice-acting, and some very well-constructed fight scenes. Vi does not mess around, and proves more than capable of going toe-to-toe with the biggest and baddest both Piltover and Zaun have to offer. Animated combat often lacks the impact of live-action – it’s an almost inevitable result of the medium – but that is not the case here. Blows pack a real punch, if you see what I mean. 

However, there were a number of elements which did hamper the show, and for me, left it short of Seal of Approval level. I mentioned above the reliance on over-familiar tropes. This extends to dialogue which sometimes topples over into clichés, e.g. Vi telling Powder, “What makes you different makes you strong.” Pardon me if I roll my eyes and quote Chuck Pahluniak in response, “You’re not a beautiful and unique snowflake. You’re the same decaying organic matter as everything else.” I also didn’t like the use of indie rock and rap music, finding it too distracting and not a good fit for the environment. I like Imagine Dragons as much as the next person, but… This felt too much like a soundtrack CD in search of a film. Contrast the fight at the end of episode 7 (I think?), accompanied instead by orchestral music, which is perhaps the best in the entire show.

Still, there are absolutely no shortage of strong female characters, even past the sisters. For example, Caitlyn Kiramman, the daughter of a noble family who taken on the difficult job of policing the streets, or Mel Medarda and her mother. While the society portrayed in the show has its issues, gender (and race) don’t appear to be among them, rarely even cropping up. I’ve tended to skip a lot of the Netflix animated shows, for one reason or another, but this definitely was not a waste of time. The way it finishes though… I can’t discuss it in depth for spoiler reasons. But if they hadn’t already announced a second series is coming, I would be severely peeved. I hate that kind of ending in books, and it works no better in a TV show. Do better next time, please.

Dir: Pascal Charrue, Arnaud Delord
Star (voice): Hailee Steinfeld, Ella Purnell, Kevin Alejandro, Jason Spisak

Shadow Corps, by Justin Sloan

  By

Literary rating: ★★½
Kick-butt quotient: ☆☆☆☆

After a brisk start, this fades into mediocrity, half space opera (that would include the “space dragon”) and half LitRPG. The latter was particularly unexpected, and poorly integrated into the rest of the story. I mean, you’re supposed to be fighting with the fate of the galaxy at stake. Why do you need to level up in order to get abilities? It’s like recruiting the best fighters from across the universe, then sending them into battle unarmed, because they don’t have the necessary experience points yet. No. You should give them all the best tools, right from the get-go, simply because it will help them survive. It just doesn’t make sense.

Anyway, this begins in better shape, with an alien invasion of Earth already well under way, and it largely under the heel of The Syndicate. The LRR – Last Remaining Resistance – are trying to fight back, and among their members is Samantha, a sixteen-year-old girl who can barely remember a time when she wasn’t fighting from her life. However, she is snatched off Earth by Hadrian, to become part of an elite team, comprised of multiple different intergalactic races. For The Syndicate are basically small fry compared to the true Big Bad, who have already destroyed many worlds and races, including Hadrian’s. Earth is among the planets now coming up on their “to do” list.

It kinda reads like a more serious version of Guardians of the Galaxy, with Samantha in the Star-Lord role. She ends up becoming appointed leader of the group, despite her lack of age and experience, and has to meld the disparate personalities into a cohesive whole. Though, to be honest, she doesn’t really do much “leading.” and everyone more or less just does their thing. Indeed, I’d be hard pushed to point out much in the way of Samantha’s development as a character over the course of the book. Well, apart from the obvious levelling-up that occupies a chunk in the middle. If my teenage self had been vacuumed up off Earth and dropped in the middle of an interstellar conflict, I suspect it would likely have changed me, just a bit.

I can’t argue about the action here, and Sloan does have a better handle on this than the characters. Despite my slightly mocking tone above, the space dragon actually sounds pretty bad-ass, though you only get to read about it in full effect, at the end. It perhaps should have been more like the Death Star: destroy a planet or two, to establish its credentials. Despite the copious amount of firefights and hand-to-hand battles, I never felt particularly concerned about the safety of Samantha, or any of the team. Maybe one or two minor characters could have been killed off to give a sense of danger which seemed oddly lacking, given the copious amounts of collateral damage? But the lack of emotional investment would still likely have capped any connection.

Author: Justin Sloan
Publisher: Elder Tree Press, available through Amazon, both as a paperback and an e-book
1 of 4 in the Shadow Corps series.

Enhanced

  By

★★½
“X Offender”

The German title for this is, apparently, Mutant Outcasts, and that perhaps gives you a better insight than the official, relatively generic title. There’s more than a hint of X-Men to this, though the superpowered members of humanity in question here, are artificial constructions, created as part of a secret research project by the military-industrial complex. They are now out in the world with the regular population, but are being recaptured by operative George Shepherd (Tchortov) and his squad. Their latest target is Anna (Bale), who had been living quietly as a car mechanic, until she’s forced to use her powers after a gang of thugs show up. That gets her on George’s radar – but also that of David (Mark). While initially, he seems on Anna’s side, turns out he has been killing the superpowered citizens, and absorbing their powers into himself.

There’s a nice mix of grey here, in that George shifts sides as he realizes the truth. But the authorities, such as his boss Captain Williams (Holmes) are not “evil,” as such, but genuinely believe the escapees present a serious threat to the rest of the population. To some extent, he’s not wrong, as the potential for their powers in the wrong hands e.g. David’s, is very significant. It might have been nice if he had been one of them too, for balance; the actual explanation is, I must admit, rather implausible, even in a film about vat-grown mutants with paranormal abilities. It all builds in a rather predictable way to the face-off at the headquarters of Military-Industrial Incorporated, where David walks in, and starts tossing bodies about like rag-dolls.

The director’s background is in the stunt world, and you can tell this, with plenty of scenes of his colleagues throwing themselves around enthusiastically. I was rather disappointed with the lack of screen-time given to Anna’s powers, though this is somewhat redeemed by a good hand-to-hand battle between her and David which forms the film’s climax. To that point, I was seriously wondering whether this should even be reviewed here, but it managed to push the needle over the necessary red line. Most of the time, this is adequately entertaining, though comes off more as an upper-tier SyFy original movie: workmanlike, rather than memorable.

Indeed, I watched it less than an hour ago, and already found myself having to Google certain points like character names. Bale does make a reasonably good impression; she comes over a little like a low-rent version of Tatiana Maslany. The rest of the cast, however, struggle to create any significant impact; the line between them and the generic stuntmen that go flying around is a thin one. There is definitely a strong sense of deja vu in the overall concept: if you’ve not seen several films or series about poor, unfortunate superheroes being persecuted, you’re clearly not trying! But this is reasonably well-executed as to just about get over the red line as passable entertainment too.

Dir: James Mark
Star: Alanna Bale, George Tchortov, Chris Mark, Adrian Holmes