Tag: 2008

Sólo quiero caminar

  By

★★
“Oceano’s quatro”

We watched this Spanish film, by coincidence, on the same night as Ocean’s 8, and the Hispanic entry came off as a poor imitation, even though it was made a decade earlier. A four-woman gang’s attempt to steal from Russian mobsters in Spain falls short, though only a single member of the crew is arrested. One of those who escape, Ana, marries Mexican drug-lord Felix (Yazpik), only to discover over the ensuing months, he’s an utterly abusive bastard. After she is pushed out of a car at high-speed, ending up in hospital, the other three, including her sister Aurora (Gil), the one who was caught, decided to take revenge on Felix. The plan is to start by stealing first his data then move on to his money, the loss of which will cause his new Korean partners to kill him. However, his right-hand man, Gabriel (Luna), begins to suspect the women – yet his qualms about Felix’s increasingly brutal ways help lead to increasingly split loyalties.

This isn’t as good as the above synopsis – or the German DVD sleeve on the right! – might make it sound. Instead, it’s a two hour-plus mess, with far too many scenes serving purposes that are either poorly explained or entirely non-existent. Aurora’s time in prison, for example, is virtually irrelevant, except for another scene showing what bastards men are [she is eventually released thanks to the provision of sexual favours to a corrupt judge; one of the themes here seems to be that men are degenerate sleazeballs]. And when the heist goes into motion, there’s absolutely no sense of structure, which would allow the audience to follow along. Why is that tunnel being dug? Does anyone know what’s going on? And then there are the “Koreans”, who are very clearly speaking Chinese. Not sure if this was casual racism, or just extremely sloppy film-making.

Despite the above critical evisceration, it’s not entirely without merit. There’s something of a Quentin Tarantino or Martin Scorsese feel to this, not least in the conspicuous use of music to punctuate proceedings. That includes both usual Hispanic entries like Los Lobos, to entirely unexpected content, such as Patti Smith’s cover of the Rolling Stones’ Gimme Shelter. Those inspirations are also reflected in Yanes’s unstinting eye for violence. The scene where Felix takes a hammer to the hands of a victim is nasty – yet necessary, bringing home beyond any shadow of doubt how evil he is. When things are in motion, Yanes seems to have a decent handle on how to shoot and edit things, and I liked most of the performances here as well, from a fairly well-known cast. It’s just a shame the script seems to consist of pages torn from a better movie, thrown up into the air and placed in random order. The struggle simply to follow what was happening, entirely sucked the life out of my initial enthusiasm for this.

Dir: Agustín Díaz Yanes
Star: Victoria Abril, Ariadna Gil, José María Yazpik, Diego Luna
a.k.a. Just Walking or Walking Vengeance

Forever the Moment

  By

★★★
“Women with balls.”

Every four years, when the Olympics arrive, we fall in love with handball. What is handball, you might be asking. Basically, think seven-a-side soccer, except (obviously), played with the hands rather than feet. It’s an amazing sport, all but unknown in the UK and US, and deserving a far wider audience – a YouTube search for “Olympics handball” will get you sorted. Which is why we were fascinated by the idea of a film focusing on it, specially, the story of the 2004 South Korean women’s team. What they did was roughly that country’s equivalent of the 1980 ‘Miracle on Ice’. The once-dominant Korean team had fallen far from grace, and barely qualified for the Athens Olympics. But they reached the final, against the Danish side, which went into double overtime, and then a penalty shootout.

Yeah, much of this is a compendium of sports cliches, right down to the requisite training montage. The fact it’s largely based on true events does not exonerate the movie from criticism here, though I was impressed how closely the depiction of the final match did mirror the real thing, still regarded as an all-time classic contest. Thus, you get tropes such as the veterans, brought back for one last crack at glory, such as Han Mi-sook (Moon), who is now working in a grocery store to try and make ends meet, after her husband is defrauded by his business partner. They inevitably butt heads, both with the younger players, and new coach Ahn Seung-pil (Uhm), who is not only the replacement for interim coach Kim Hye-gyung (Kim J-e), but also her ex. There may eventually be bonding. I won’t spoil that.

It would be very easy for this to topple over into sentimental cliche, yet the strength of the performances generally help it stay just in bounds. Director Im seems particularly interested in developing her characters, and they come across as especially real, as they progress from a sparsely-attended opening game to the cauldron of the Olympic gold medal match. Especially memorable is the feisty Song Jung-nan (Kim J-y), who won’t back down from any confrontation, most notably when some of the other athletes at the Korean training complex try to bully some of her team-mates. Weightlifters or judokas, all learn quickly not to get in her way.

I should mention, you don’t need to know much about handball, since it’s largely self-explanatory. Though even our relatively untrained eye could detect the difference between the actresses playing the game, and their opponents who are the real thing, being actual professionals from a Danish handball club. For the Korean audience, there won’t be any surprises in the eventual outcome; that’s an area where the movie perhaps had a greater impact on us. Im handles the final moments particularly deftly, not even showing the final shot, just the reactions to it, and finishing with archive post-game interviews from the real participants. These do an excellent job of bringing home the reality of what happened.

At a length of over two hours, we could likely have done with more handball and less personal drama (not to mention the unfounded suggestion of biased officiating). Yet I’d be hard-pushed to consider the time wasted, and it was nice not to have to wait until 2020 to have our love of the game rekindled once more.

Dir: Im Soon-rye
Star: Moon So-ri, Kim Jung-eun, Kim Ji-young, Uhm Tae-woong

The Resident Evil animated films

  By

residentevilanimeThe Milla Jovovich series are not the only films set in the Resident Evil universe. There have also been two feature-length computer animated movies: Degeneration was released in 2008, and Damnation four years later. A third, Vendetta, is scheduled to be released in Japan this spring. While made in Japan, with a Japanese director and crew, the voice cast are English-speaking. As with the novels, the stories and characters are in line with the universe of the computer games, rather than the live-action features, and tend to occupy spots in the timeline between the entries in the game series. Therefore, there’s no Alice, but the animated films contain their fair share of strong heroines and, of course, action.

★★★
Resident Evil: Degeneration

degenerationThere’s a new EvilCorp in town, and its name is WilPharma, as we learn during the montage of news stories which opens this. In game terms, the film takes place after the events of “Resident Evil 4”, which saw the dismantling of the Umbrella Corporation. Its assets and research naturally proved too valuable to destroy, and WilPharma has taken over, with the announced goal of developing a vaccine for the troublesome T-virus. However, some dubious medical research in India leads to the company being targeted by protestors from TerraSave. It’s one such demo, at the Harvardville Airport, that kicks things off, as a plane of infected subjects crashes into the terminal, where Senator Davis is trying to avoid the protestors. TerraSave’s Claire Redfield (Court) finds herself trapped with the Senator, before they’re rescued by a team of soldiers including Angela Miller (Bailey) and Leon S. Kennedy (Mercier).

Claire goes to the WiiPharma research facility, at the invitation of researcher Frederic Downing, and discovers they have the even more lethal G-virus being studied. There is… oh, dammit, let’s just call it “quite a lot more plot”, involving WiiPharma’s efforts to sell the virus as a bioweapon to General Grande; Angela’s brother, Curtis (Smith) an ecoterrorist who deliberately injects himself with the G-virus; and the true identity of the mastermind behind it all. It’s probably too much to be crammed into 98 minutes, especially when you also have to fit in copious amounts of action. The second half, in particular, is more or less one long action sequence, with Angela and Leon trying to survive in the facility. It’s a change of focus, since Redfield was the main protagonist during the first half, becoming the guardian of a friend’s child during the attack at the airport, maybe reflecting her switch to pacifism (albeit pacifism of an oddly bad-ass kind!).

Being CG, and of a 2008 vintage, the animation is good at doing what 2008-era CG was good at, which is movement rather than emotion – as you’d probably also expect from a film produced by a video-game studio. The sequences and shots where the camera is swooping in and around the battle participants, are sometimes spectacularly good, and in general, while in motion, this is effective and exciting. Beyond the technical, its problems are more a plot which lurches from frantic action set pieces to expository lumps, and seems to rely too much on viewers being familiar with the characters and creatures from the games. But it has to be said, WiiPharma certainly seem to have a better handle on the proper use of containment mechanisms than Umbrella ever managed…

Dir: Makoto Kamiya
Star: Alyson Court, Paul Mercier, Laura Bailey, Roger Craig Smith

★★★½
Resident Evil: Damnation

adawong-jpgIncluded here largely for completeness, since the action heroine content likely would fall a little short of qualification on its own. Not that it’s entirely lacking, as the video at the bottom shows. But it’s definitely more a vehicle for Leon S. Kennedy (Mercer/Dorman). Which brings me to one of the odd things here: that is not a typo, it’s a double-credit for the character, because two different actors played the role, one providing the voice, the other the source for the motion-captured animation. Not sure I’ve seen that before.

Anyway, Kennedy finds himself dumped into the middle of a former Warsaw Pact satellite nation, the Eastern Slav Republic, which is being torn apart by a struggle between Government forces, under President Svetlana Belikova (Lee/Lee), and rebel groups. Both sides are making use of B.O.W’s, Bio-Organic Weapons, which have now been developed to such an extent that humans can now mind-control some of the creatures, using a parasitic organism called Plaga – albeit not without some unpleasant effects. Meanwhile Ada Wong (Taylor/Andersen) – hang on, last time I saw her, she was dying in one of the novels? – is trying to insert herself into Belikova’s circle, with her own agenda in mind. It all builds to an extended battle, pitting Leon and rebel commander, Alexander Kozachenko (Wittenberg/Earnest), along with the Lickers the latter controls, against the monstrous Tyrants fighting on behalf of Belikova.

This is particularly well done, a lengthy, escalating sequence of animated carnage, even if it does require something of a deus ex machina to show up at the end. It’s clear that animation has progressed markedly since the first movie, and this film takes full advantage of those improvements in its action scenes. For the purposes of this site, I’d really like to have seen more of Wong, whose moral ambivalence is intriguing; I reached the end, and still didn’t know on whose side she was supposed to be. [She does show up in RE: Retribution, played by Li BingBing, albeit dubbed there too]. The scene below, where she goes hand-to-hand with President Belikova, is a lot of fun – Belikova certainly counts as one of the more hard-core politicians I’ve seen! Bet she could kick Hillary Clinton’s ass…

And that is as close to politics as I’m ever going to get o

Dir: Makoto Kamiya
Star (voice): Matthew Mercer, Dave Wittenberg, Courtenay Taylor, Wendee Lee
Star (motion-capture): Kevin Dorman, David Earnest, Jolene Andersen, Melinda Lee

Skirt Day

  By

★★★½
“Those kids became my enemies.”

skirrtdayGuaranteed to put anyone off education as a career, this stars Gallic sex-kitten from the 80’s, Isabelle Adjani, now all middle-aged and playing French literature teacher Sonia Bergerac. whose career has devolved into hell – hence the line atop this review. She’s teaching a teenage class who, virtually without exception, clearly don’t want to be there, when she finds a gun in one of their bags. A struggle erupts, and when the dust settles, Sonia has the gun, a student is lying on the floor with a bullet-wound, and a siege situation has begun. On the outside, police negotiator Labouret (Podalydès) is having a bad day himself, trying to avoid a blood-bath, while his political masters try to spin news of the unexpected hostage crisis. But inside the theater, Sonia finds that it’s not just political power that grows from the barrel of a gun: she hasn’t ever had pupils pay such impeccable attention to her lessons before…

Made in 2009, this has, if anything become even more topical in the light of the refugee crisis which has become a hot-button issue in Europe of late. For this pulls few punches in its criticism of those who adopt politically-correct policies, simply to avoid trouble with minorities. The title refers to one of Sonia’s unusual demands, a day that women can wear skirts without the risk of harassment by political or religious conservatives, and writer-director Lilienfeld is also scathing in his criticism of immigrants who don’t integrate into their new homeland (a later reveal indicates it’s the latter aspect which is most important), as well as, it appears, yelling at local kids to get off his damn lawn. It is almost certainly the case that aspects of this will make more sense to a local audience; viewers outside France have to work backwards from what’s presented, to read Lilienfeld’s view of French society, rather than the other way around. However, he is also careful not to paint the pupils with a single brush: some are every bit as aggrieved with the status quo of appeasement as Sonia – and, arguably, with greater justification.

It’s not a film without its problems. The exterior scenes don’t have anything like the same impact, and the end feels almost like the director ran out of things to say, and opted for the simplest way to tie up all the loose ends, regardless of how abrupt it might seem. But it’s still genuinely thought-provoking – not something we find often in our genre here – and even if you don’t necessarily agree with everything Lilienfeld has to say, he deserves respect for saying it in a reasonable way. Adjani, who largely came out of retirement to make this, does a great job: the scenario sounds kinda silly, yet largely through her portrayal of a woman at the absolute end of her rope, it becomes plausible enough to work. Hard to imagine anything like this coming out of Hollywood, that’s for sure.

Dir: Jean-Paul Lilienfeld
Star: Isabelle Adjani, Denis Podalydès, Yann Ebonge, Sonia Amori
a.k.a. La Journée de la jupe

Journal of a Contract Killer

  By

★★★
“The hits just keep on coming…”

journalStephanie (Powell) had been an assassin for the Italian Mafia, but had abandoned that life and settled down in London with her daughter. Years later, she is shocked to see her former lover, Alessandro (Canuso) show up at her job, and even more so when she gets an order she can’t refuse from her old employer, Franco (Gambino) – to kill Alessandro. Despite some qualms, not least how the family will react to her taking out one of their own, Stephanie carrier out the mission. But soon after, she finds herself being watched by the enigmatic Sam (Leese), who says he is there to protect her. Is that really the case, or does he have an entirely different purpose?

Maylam directed one of our favourite B-movies of all time, the post-apocalyptic monster flick, Split Second, starring Rutger Hauer. This isn’t anywhere near as good, though still made for an okay ninety minutes of entertainment. I think the main issue is Powell: not so much for her performance as such, more the stylistic choice made for it. I think the director and actress were going for a “dead inside” vibe, portraying Stephanie as someone who has had all emotion wrung out of them, through years of dealing death on a professional basis. It’s difficult to pull that kind of thing off while still retaining any sense of a likable character; Jean Reno in Leon is an example of it done well, but the results here come across much more as a flat monotone. There’s only one scene where Powell gets to let rip with unrestrained emotion, and it’s undeniably the film’s most effective sequence; you wish there had been more of this.

The story-line is well constructed, however, and it doesn’t pull its punches; there isn’t what you’d call a happy ending for anyone involved. Probably another misstep to claim the movie is inspired by true events, for that’s a label abused so badly for over four decades [at least since the days of Texas Chainsaw which, while inspired by real-life killer Ed Gein, utterly does not fulfill its poster claim: “what happened is true”], everyone I know immediately rolls their eyes and refuses to believe a word of it, whether actually the case or not.  In its favour, the film does remain restrained in terms of her abilities, with no sense of Stephanie being turned into some kind of superheroine. Instead, everything she does is plausible, though I’d like to have seen them devote more time to her shift from “hooker for the mob” to “hit-woman for the mob,” which seems sudden and jarring, involving little more than a random assassination of an innocent bystander. However, this restraint does perhaps lead to a lack of memorable moments; there’s not a surfeit of action either, despite what the trailer below wants you to think. Just go in expecting something low key, and you’ll be okay.

Dir: Tony Maylam
Star: Justine Powell, Adam Leese, Jake Canuso, Marco Gambino

Minty: The Assassin

  By

★★
“Walking in a Minty wonderland…”

mintyWhen a film clearly doesn’t take itself seriously, and in particular, when it almost takes delight in acknowledging its own flaws, this does convey a certain immunity to criticism. “Yes, we know this is crap,” it seems to be saying. “So what?” But on the other hand, it’s hard to be a parody of comic-book fan-service, when you actually are comic-book fan-service. The heroine here is Minty (Madison), an assassin who works for a man known only as Big Boss (Parker, channeling the spirit of Michael Clarke Duncan). When he is kidnapped by Dr. Brain Bender (Joslin), an evil scientist – really, how could he be anything else with that name? – and his vampire sidekick, Double Delicious (Taylor), Minty, powered by chocolate, has to fight her way up through the levels of the Cock Tower [sic], defeating Bender’s other minions, up to where Boss is being held. While Bender can’t beat Minty himself, he transfers his mind into DD’s body, and there’s only one way for our heroine to prevail…

If you guessed the answer is “lesbian canoodling,” give yourself two points.

It’s very much a mixed bag here. Some moments fall entirely flat, and the film often isn’t as funny as it thinks it is. This is in part because most of the supporting characters don’t have the acting chops to pull off the satirical aspects, which is a lot harder than it looks. “Broad comic mugging” seems to be the main direction provided by Baldovino, and that rapidly becomes more tiresome than entertaining. However, there are some scenes which do work well. I particularly enjoyed Minty going up against a Bruce Lee look-alike (the fight here was nicely put together and edited), while there’s also an animated interlude featuring Minty being chased through a Prince of Persia-style level by a psychotic rabbit. This ends in an arterial way that feels like it comes out of a particularly twisted Tex Avery cartoon.

Unfortunately, the finale then gets itself bogged down in soft-core shenanigans with poor continuity e.g. in one shot, Delicious is topless, the next, she’s wearing butterfly-shaped pasties. [Look, you’re either willing to get undressed or you’re not. Have the courage of your convictions, and don’t change your mind mis-scene] Admittedly, it’s preceded by Dr. Bender explaining that the goal of all fanboys is to see the heroine naked, so this is simply delivering on that promise. But blatant foreshadowing doesn’t make it any more interesting or entertaining, and the movie doesn’t at all make it clear that Bender is actually a fanboy who has somehow come across into Minty’s comic-book world for nefarious purposes. Maybe there’s a director’s cut somewhere that explains all this. Instead, as seen here, it’s a probably over-ambitious and occasionally entertaining mess, not without its charms, yet some way short of being charming enough.

Dir: Eugene Baldovino
Star: Elina Madison, Chip Joslin, Tabitha Taylor, Anthony Ray Parker

Naked Avenger

  By

½
“Setting a new low, in just about every conceivable way.”

nakedavengerStar Jill Kelly is an adult actress. I mention this, because it seems highly likely that most of her 300+ other works – perhaps The Butt Sisters Do Philadelphia or Sodomania: Slop Shots 5 – are likely better scripted, filmed, edited and generally well-made than this dreadful piece of crap. I should have known, given Donald G. Jackson’s involvement – he’s probably the worst film-maker I’ve ever had the misfortune to encounter, and I speak as someone fully familiar with the works of Ed Wood, Andy Milligan, J.P. Simon and Uwe Boll. They are all pretenders beside Jackson, and even though this barely runs an hour, your patience will be sorely tried. And by “tried”, I mean at the level where gnawing a limb off to escape will seems credible.

The threadbare excuse for a plot concerns an international sex trafficking organization. This is apparently run by about three people out of a junkyard in Hicksville, with the women acquired by hanging out in the parking lot of strip-clubs, or picking up conveniently hitch-hiking strippers. The latter is what brings our heroine (Kelly) into the picture, with her driver (LeBreck) opting to pause on the way back to “sample the merchandise”. She breaks free, which leads to the excruciating middle section of the movie. This intercuts the chief pimp (Mizrahi) on the phone, with her wandering through the woods, naked save for a pair of shoes, carrying a gun. Phone-call. Wandering. Phone-call. Wandering. Then, just for variety… Nah, I’m kidding. Another phone-call and more wandering.

Eventually, she makes her way through the woods and there are some horribly constructed gunfire sequences. I wouldn’t even call them “gun battles,” because you never get the sense the participants are in the same zip-code. There’s no logic or continuity here. At one point the heroine is recaptured, wearing a shirt and about to be locked up; the next scene, she’s back, wandering naked and free again, without explanation. There are no real performances to speak of either, because the amount of interaction between the participants is negligible, and as mentioned above, if you want to see Kelly naked, there are many, many places you can do so to a far greater extent. These offer the additional benefit, that you won’t be subjected to the pathetic excuse for film-making present here. Between them, Kelly and the occasionally catchy electro soundtrack give this half a star; these are absolutely the only redeeming features to be found, and utterly pale in comparison to the flaws.

Dir: M.T. Bird + Scott Shaw
Star: Jill Kelly, Robert Mizrahi, Daren LeBreck

Nina: Crazy Suicide Girl

  By

★★
“Well, it’s certainly different. Note: different, not necessarily good”

NinaPosterThis micro-budget Italian offering seems to go about things almost entirely in reverse. Rather than establishing the characters, then dropping them into a scenario, this starts with Nina investigating a missing girl, Anna. The disappearee seems to have some connection to the dodgy “Xstasy” video company, fronted by Cesare Mazza (Guerra), and behind that, an apparent Satanic cult under the leadership of Marcus (Visconti), who is actually a woman. Apparently, they take the offcasts of illegal Eastern Europeans from the porn shoots, and sacrifice them to their demonic master.

But what’s never really addressed in any real detail is Nina. Is she a cop? A private detective? An assassin for hire? And what exactly did she do to merit the title of, and I quote, “Crazy suicide girl.” Must have been something pretty cool and interesting, right? We never learn. She does point a revolver at her temple and pull the trigger, but since we have no clue if it’s loaded or not, I’m finding myself underwhelmed there. She does torture someone with a blowtorch to extract information from them. But I had just finished watching 24: Live Another Day, and let’s be honest, that isn’t enough to turn Nina into Jack Bauer in a dress.

I did quite like the heroine, who has an off-center attitude to her and a look which is not conventionally pretty. But the film probably needs to decide what it wants to be, and stick with it, rather than trying to combine aspects of the hard-boiled detective thriller, Dennis Wheatley adaptation, soft-porn and action heroine genres. Because, the scripts doesn’t handle any of them particularly well. For instance, the “detecting” aspects are so conveniently simplistic as to be an embarrassment, right from when Nina discovers a porn DVD in Anna’s bedroom. Another problem is an almost total lack of motivation for anyone involved here, from Nina through Cesare and up to ‘Marcus’: they seem to exist purely because the plot demands they do.

There’s no shortage of nudity and the gore effects are fairly plentiful, if characterized more by enthusiasm than quality. But it’s only at the very end, which hints at a sequel with the potential to be more interesting than this film, that you get some idea of what this was trying to accomplish. It’s a shame there wasn’t less of a gap between intent and execution, pun not intended.

Dir: Christian Arioli
Star: Irene Giordano, Mauro Cipriani, Gabriele Guerra, Stefania Visconti

Shaolin Girl

  By

★★★
“Shaolin lacrosse, rather than soccer.”

Shaolin Girl photo 02Rin Sakurazawa (Shibasaki) has been training in shaolin kung-fu for over eight years. When she returns to Japan, she finds her dojo abandoned and derelict, and her former master Kenji Iwai (Eguchi) is now working as a cook in a local restaurant. She is recruited by a waitress there, Minmin (Yuqi). for the lacrosse team at the local Seikan University, but learns some harsh lessons on the nature of teamwork The university president, Yuichiro Oba (Nakamura), has another agenda, and seeks to draw Rin over to the dark side, by getting her to use her skills for more violent ends which he can then exploit. But it turns out that she was sent to China for good reason…

After the recently reviewed Beach Spike took volleyball to extremes, albeit to dubious effect, the inspiration here is equally obvious. That’s clearest during the end credits, when a lacrosse shot does exactly the same “turning into a fiery dragon” thing as in Shaolin Soccer. Still, despite having Stephen Chow as executive producer, and the presence in minor roles of a couple of actors from Chow’s Western breakout, in Chi Chung Lam and Kai Man Tin, this does go its own way for much of the film. Fortunately, it doesn’t try to reproduce the “plucky bunch of underdogs” story, which Soccer was affectionately parodying. This is far more about Rin’s personal journey of enlightenment, as she realizes there’s more to that than simply the physical aspects. Indeed, if you’re looking for action, the first two-thirds of this will be pretty disappointing, and even the lacrosse games aren’t very interesting.

Things certainly perk up in the final act, Rin eventually being provoked – mostly through attacks by Oba’s minions on everyone she cares for – into an assault on the villain’s lair. This appears to bear some relation to Bruce Lee’s unfinished Game of Death, as she works her way up through a pagoda, to the top level where she faces Oba, and… Well, things veer off into Matrix territory, with Rin apparently being The One, or something. If heavy on the CGI, it’s certainly spectacular, with the water effects being particularly lovely. All told, I didn’t mind this: it struck a nice balance between the elements, and it’s a winning performance from Shibasaki. However, it certainly suffers in comparison with its predecessor, and it appears clear Chow’s work on this, involved little more than cashing the cheques.

Dir: Katsuyuki Motohiro
Star: Ko Shibasaki, Tôru Nakamura, Kitty Zhang Yuqi, Yosuke Eguchi

RIN ~Daughters of Mnemosyne~

  By

★★★
“Harry Potter, with more lesbians.”

mnemosyne2There’s something to be said for not laying everything out on the line for your audience from the get-go, and only gradually revealing pertinent information. But do it too often, or for too long, and you run a significant risk of driving them away in bafflement. Such is probably the case here: for rather too long, it’s clear that the characters know a great deal more about what’s going on than the audience. The central character is Rin (Noto), a private investigator who, we soon discover, is immortal. We find this out because she keeps coming back after getting killed by Laura (Ohara), an assassin employed by the mysterious “Apos,” who thinks he/she is a god, and is intent on proving it. Turns out, this immortality is the result of Rin ingesting a spore from a tree known as Yggdrasil – yep, that’s ancient Norse. In Japan – which normal people can’t see. If a woman is infected, she becomes immortal. If a man does, he turns into an “angel”, a monster that hunts and eats the immortals, who have an irresistible urge to have sex with the angels.

There’s more. A lot more, spanning a century or so. Probably too much more than should be crammed in to six 45-minute episodes, but as I noted with AHS: Coven, that’s not necessarily a bad thing. It’s fairly clear where it’s all going to end: a battle between Rin and He-who-must-not-be-named, Apos. Before we get there, however, there’s a lot of sex, much of it of the girl on girl variety, though with a significant quantity of BDSM as well, befitting is apparent origins on a Japanese version of Skinemax. That certainly makes this unsuitable for minors: some is necessary to the plot, but a lot of it feels more like fan service – a bit of a shame, because it needlessly devalues what’s a fairly intriguing concept, containing a good deal of imagination. Rin’s daily business, such as finding lost cats, always seems to end up dragging her into much more complex affairs, linked either to Apos or some big corporation.

Some of these are well done and are capable of standing alone, such as the third episode, which covers biological weapons and human testing, still something of a taboo subject in Japan (Don’t mention Unit 731. I mentioned it once, but I think I got away with it).  However, the closer we get to the big bad, the more confusing and less interesting things become. One review put it beautifully: “It feels like you’re just watching the characters explain what the hell is going on, while raping and eating each other.” I think the creators are trying to up the ante, but there’s little or no emotional wallop to the sexual sadism, with the result that it becomes kinda dull. However, it does also play to anime’s strengths, in that whatever the mind conceive, can be depicted. If you don’t get a frisson when the angel wings start sprouting, you’re a more phlegmatic individual than I. Overall, it’s worth a look, though you may want to track down the episode synopses first, and use them as a cheat-sheet.

Dir: Shigeru Ueda
Star (voice): Mamiko Noto, Rie Kugimiya, Nobuyuki Hiyama, Sayaka Ohara

[Random amusement: while looking for pics, I did a Google Search for images with “mnemosyne anime”. One of these things is not like the other. #AmyPondWTF?]