Category: Review

Revenge is Her Middle Name

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★★½
“Junkie. Whore. Mother?”

This is an unashamedly grimy item, whose main character, Cat (Brennan), we first meet turning tricks in a back-alley. She then goes home to her equally addicted boyfriend, Dolph (Schneider), whom she is trying to convince to get her pregnant. Eventually, her mission succeeds, and to provide for their impending child, they rob their dealer. Cat then bails on Dolph, leaving him to take the fall, and gets her act at least somewhat cleaned up, with the help of friend Marilynn (Bellin). Eight months later, however, neighbourhood boss Mutton Chop (Bell), shows up on her doorstep with his thugs, and extracts a particularly vicious form of revenge. Seven further years pass, and Cat is just about back to normal, when the violent behaviour of a man she meets in a bar awakens her inner Ms. 45. She’s soon cutting up his corpse with a hacksaw and stuffing it into garbage bags, then progresses to extracting long-dormant vengeance on her attackers.

There’s no doubt, this wears its grindhouse attitude mostly on its sleeve – except for a strange unwillingness on the part of its lead actress, to take off her clothes. There’s no shortage of gore, certainly, and it’s the kind of film after which you’ll probably want to take a shower. It wallows, unapologetically, in the worst that human nature has to offer. However, that’s as much a flaw as a strength. This kind of film works best – indeed, works at all – when you can feel some sympathy for the protagonist as she goes through hell. Here, that’s not the case. Cat is hardly a nice person, and is perhaps the best argument for forced sterilization I’ve seen in a long time: she hardly seems fit to be a mother, and comes over as an entirely selfish creature. Dolph is no more than a sperm-donor, and she spurns all Marilyn’s efforts to help her, until Cat wants them. The person I feel most sorry for, is her foetus.

The look of the film is considerably more low-fi than the poster, though it’s not inappropriate to the generally scuzzy atmosphere. It could probably have benefited from some trimming, as there are points where things do drag. The actual “revenge” which appears in large, red letter on the promo image, doesn’t arrive until well into the second half. I’d likely have started by editing out the pair of detectives, who serve no purpose at all. This is the kind of movie which needs to keep moving forward in order to hold the audience’s attention, as most of the performances are little more than functional, especially among the cartoonish villains. Credit to Brennan though, for going full throttle into her portrayal. By the end of this, if I was still some way short of liking her character, Cat was someone I’d certainly not want to cross. If I have no interest in seeing this again, I don’t feel as if the time was entirely wasted.

Dir: Anthony Matthews
Star: Lissa Brennan, Douglass Bell, Paula Bellin, Michael Todd Schneider

Debt

  By

★★
“In need of repossession.”

This is one of those cases where you can see what a film is trying to do. It just isn’t very good at doing it. In this case, the central character is Gina (Killips), who works as a collector of debts for the mysterious and reclusive “Max”. This is for reasons that become clear towards the end – yet, like a lot else in the film, it doesn’t actually prove to be of much significance. Her latest job involves locating a very large sum of money which went missing from his organization. Suspicion falls on Myles (Orille), and Gina is tasked with finding out whether he was indeed responsible and if so, what he did with the loot. To this end, Gina inserts herself into Myles’s life and comes under increasing pressure from her boss, Simon (Rumley), to get results for Max. But Gina is increasingly disenchanted with her profession, and also increasingly convinced of Myles’s innocence.

What this is aiming at, is depicting a “realistic” portrayal of an enforcer like Gina. This means meaningless chit-chat about whether Gina will or will not be able to make it to a neighbourhood barbecue. Guess what? We. Just. Don’t Care. It’s the kind of thing which could have been put over by a better film-maker in a couple of shots, without the need for characters actually to have a conversation about it. Still, this is what you expect from a man making his first feature, and also choosing not only to direct, but also write and edit the thing as well. Oh, yeah: while also acting as location manager and stunt co-ordinator. That’s spreading yourself perilously thin. Of all those areas, I’d say the editing comes off best, assembled together things in a way that’s coherent and does the most with what Fairman the director has given Fairman the editor.

The rest? Well… not so much. The fights are unimpressive at best, in particular a woeful one where Gina faces a drunk guy behind a bar. This, being the opening demonstration of her talents, should have established her bad-ass credentials. It looks like the result of five minutes of preparation, and even if nothing else is quite as poor, you only get one chance to make a first impression. On the location front, I was amused by the way the fights were very careful staged to avoid property damage; you’d think they could at least have brought their own coffee-table to go through. The script, as noted, tries to do too much, especially at the end, where it attempts a double-twist, but doesn’t stick the landing. The main positive is, I think, Killips. She hits the appropriately world-weary note for the character of Gina, and manages to handle even the chattier scenes in a way which kept them just interesting enough.

Credit is also due to Fairman for getting out there and actually making a feature, especially one with a strong heroine. Hopefully, next time, he’ll get the help he needs to deliver a more polished product.

Dir: Dave Fairman
Star: Ashley Killips, A.J. Orille, Phil Rumley, Eric Hergott

Brides of Satan

  By

★½
“Cool poster though.”

It’s probably significant that the opening credits of the film talk about the bands and the whiskey company involved. Any mention of the actual actresses taking part, is relegated to a secondary sequence, 15 minutes into the film. That seems to indicate where the priorities lie: if you told me the whole thing was made up to get freebies and as a showcase for the director’s mates, I’d have no problem believing you. Another warning sign is the way every post-production visual trick you can imagine is thrown in there; this often indicates an attempt to paper over flaws in other areas. There’s no doubt the film is certainly trying. However, Bizarro simply tries far too hard, and it’s not long before it becomes simply trying on the viewer instead.

It’s the story of Mary (Robinson), who takes her fiance to the Dirty Bird strip-club as a treat, only for both to be kidnapped by a trio of Satanists, led by Sidney Zero (McMunn). They sacrifice him, towards their goal of summoning the a demon and she only barely escapes with her life. Mary is rescued from the side of the road by down-and-out Lenny Lester (Troyer), who has previously had encounters with the same trio. He trains her in the art of violence – both physical and mental – so that she can take revenge on Zero and her crew. It’s a pretty thin storyline, and with precious little depth there, or for any of the characters. This is why we end up watching extraordinarily shitty variety acts in lieu of anything particularly interesting.

It’s told in a series of chapters, another pretentious touch which annoyed me irrationally, far more than it should. But it’s only in the final chapter, which starts about three minutes before the end credits roll, that the promised revenge particularly shows up. Prior to that, Mary gets to test-drive her skills on a gang of street punks loosely affiliated with Sidney… and that’s about it. Instead, there’s a lot of sitting about, chatting, flashbacks, and the previously mentioned dreadful “alternative” entertainment. Indeed, much of this reeks of the side of alternative culture which is all “Look at meeee!”, in lieu of significant talent.

Even the sleaze is curiously front-loaded, with an opening sequence which drives home the grindhouse philosophy for which Bizarro is apparently aiming… before then all but forgetting it for the rest of the movie. When the demon does eventually show up, it is disposed of with such ease, it feels as if the makers realized they didn’t have the resources to deliver much more than a Halloween mask, and decided to write the whole thing off as quickly as possible. They should likely have extended that realization to the rest of the movie, as outside of semi-decent performance from Troyer, this has nothing much to offer past an admirably punk attitude. It deserves an A for effort, and an F in just about every other area.

Dir: Joe Bizarro
Star: Mindy Robinson, Malice McMunn, John Troyer, Joanna Angel

The New Prometheus, by Andrew Dobell

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

The setting is a dystopian version of London, which has become separated into two distinct halves, and classes of residents. It’s a world in which cybernetic enhancements are common. But they come at the cost of a debt – sometimes, virtual enslavement – to the powerful corporations who supply and maintain them. Frankie has resisted these, preferring to retain her humanity, and journeys into the dangerous undercity, to help those less fortunate. But on one such trip, she’s shot and left for dead. Rescued by the renegade Doctor Xenox, she wakes to find herself in a new, artificial and highly-powered body. She’s not too happy about it. Things get worse, for the doctor’s erstwhile corporate employers,  Psytech, consider Frankie v2.0 as their property, and will stop at nothing to get her under control. As a result, with the help of the Doctor, and cop Gibson, she has to fend off the assembled forces of Psytech.

From the title and the lead character’s name, I was expecting more of a Frankenstein theme, but that appears mostly a surface patina. A bigger influence – and this is openly acknowledged in the blurb – would be the likes of Battle Angel Alita, with its young heroine seeking her own identity and self-determination, after having the “benefits” of technology imposed on her. Though the adjustment to her new form is super easy – barely an inconvenience – to the point that I’d be leaving a five-star review on Amazon for the cybernetic implants, and maybe even signing up for that extended warranty. Indeed, there’s disappointingly little internal conflict at all, and that’s where it differs from the various cyberpunk heroines cited as inspiration. Towards the end, there’s a sequence where Psytech hacks its own customers, turning them into meat puppets they can use against Frankie and her allies. Having something like this attempted against her would have helped negate the strong sense she’s over-powered. She largely breezes through her various conflicts, with little if any credible sense of threat to her.

Against this, the world building is pretty good – though, again, the separation into over- and under-class bears more than a slight resemblance to Alita. The concept of “Neo-London”, however, is a nice riff on Akira‘s post-nuclear Neo-Tokyo. I’d liked to have heard more about how it operated, and exactly how the corporations became so seemingly all-powerful. Maybe some more British flavour, too? Although, on the other hand, the ability of one young woman to stand against and defeat everything they throw at her does defuse Psytech’s omnipotence. It does escalate nicely, to a grandstand and action-packed finale after Psytech take over Gibson’s police station. and Dobell does a good job of balancing the need to wrap things up, with opening the door to further volumes. If there’s not an enormous amount new here, and little depth either (it’s not exactly Ghost in the Shell), it’s still well-enough executed to be an adequately entertaining read.

Author: Andrew Dobell
Publisher: Amazon Digital Services, available through Amazon, both as a paperback and an e-book
1 of 4 in the New Prometheus series.

Brutal

  By

★★★
“Certainly lives up to its title.”

No-one does low-budget hyperviolence like the Japanese. Whether it’s pseudo-snuff like Guinea Pig: Flower of Flesh and Blood, or more fantastical entries such as Mutant Girls Squad, there have likely been more memorable entries from that country than any other. Note my use of the word “memorable”, as distinct from “good”, since they aren’t the same. I’d be hard pushed to recommend this to anyone, unless I knew they were predisposed to microbudget horror of a particularly savage type. I probably won’t ever watch it again. But I have to say this: I will remember it. As will Chris, who came in for the denouement, and was literally jaw-dropped by what she saw. I’m not going to spoil it, so apologies if some of what follows is a little vague.

The film is divided into three sections, and after the first one, called “Man”, you’ll be wondering what the hell it’s doing here. For it is a look at the work of a male serial killer (Butch), who kidnaps and tortures women. That’s basically it, for twenty minutes, and the director believes in getting as up close and personal as possible here, with many of the shots being literally “in the face” of either perpetrator or victim. This certainly enhances the claustrophobic intensity, though I could have done without the shaky-cam attempt to establish its cinema verite credentials. “Do you understand what I’m doing?” he demands of his prisoners. Sadly, the correct answer of “No, because you’re a loony” is never given.

Things get more interesting and relevant in the second section, “Woman”, where the roles are reversed. An unnamed woman (Ayano) honey-traps men back to her room, where she kills them. She has a particular fondness for repeated and enthusiastic stabbings in the crotch, which had me shifting uncomfortably on my chair. She’s also rather more psychologically inclined, conversing with her victims, rather than interrogating them. Though eventually, she brings home someone (Nishina) who is aware of her murderous intentions, and is intent on stopping her. The result is a bloody battle – again, shot in close-up – which swings one way then the other, before our “heroine” [quotes rarely used more advisedly] eventually prevails.

This sets up the third and final act, probably inevitably titled “Man and Woman”, in which the two killers cross paths. She follows him to his flat, apparently aware of his tendencies – how is never made clear. Barely have they crossed the doorstep before battle is joined. And if you thought the previous fight was vicious… Hoo-boy. This ends in a double-whammy of revelations, which make sense in one way – they’re clearly perfect for each other – but count among the more batshit crazy things I’ve ever seen. And I’ve seen some things. While it is somewhat poignant, we know so little about any of the people involved (how could we learn much, given it’s barely an hour between opening and closing credits), the emotional impact is limited. Brutal though? Definitely.

Dir: Takashi Hirose
Star: Butch, Ayano, Takashi Nishina, Katrina Grey

Nicole

  By

★★★½
“Patience is a virtue.”

If you came into this with absolutely no previous knowledge (including the poster on the right!), you’d be forgiven if you spent the first forty minutes thinking this was an independent drama about the perils of professional dating life in the big city. Then, suddenly, it’s very not. But initially, it’s about Nicole (Shannon), who while she may be a little strange and anti-social, doesn’t seem all that far outside the bounds of normal behaviour. Well, I guess her carting a bottle of hard liquor to work, for drinking sessions in the bathroom, is somewhat problematic. Maybe her imagining dinner with her parents could be a bit of a red flag. [The film makes nice use of switching between b&w and colour, to separate reality from flashbacks and fantasy] But, all told, she’s fairly high-functioning.

That all changes when she goes out on a rare date with John (Green), whom she met through an online app. She’s simultaneously fending off advances from a co-worker (Busey) and neighbour (Lockhart) – it must be said, all the men here fall somewhere on the creepy/predatory spectrum. What we know, but Nicole initially does not, is that John is well toward the latter, with a fondness for date rape and every intention of adding Nicole to his list of dubious conquests. However, her day drinking has given her a remarkable tolerance for alcohol, so when he makes his move, she’s not as drunk as she should be, and fights back, with no shortage of vigour. As well as a knife. That’s where the tone of the film changes drastically. We’re not in Sex and the City any more, Toto.

The rest is considerably closer to pitch-black humour, as Nicole has to come to terms with the consequences of her actions. Realizing what John was intending, she decides simply to dispose of his body. This requires a late-night trip to the hardware store, where the Goth assistant nods approvingly at her selection of tools. Then there’s the actual dismemberment, not helped by John’s corpse continuing to talk to her throughout the process. For example, he requests a refill on his wine, only to realize it’s hard to drink since she’s removed his hands.

This disposal reminded me a little of A Good Woman is Hard to Find, though that was thoroughly serious. There are also elements of Ms. 45. in a blurring of the lines between reality and delusion, which are deftly handled. Regular readers won’t be surprised to learn I preferred this second half of the film. I was actually a bit disappointed things ended when they did, more or less with Nicole’s return to work, and in a maybe or maybe not more well-adjusted state. It felt there was mileage left on the table, with her further adventures as an IT worker, moonlighting as a killer of sexual predators. We can only hope for Nicole 2: Ax Me Anything at some point down the road.

Dir: James Schroeder
Star: Tamika Shannon, Stephen Green, Ke’Shawn Bussey, Tre Lockhart

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.