Tag: 2016

Fight Valley

  By

★★
“Ring around the poses.”

The results of bringing female MMA fighters to the screen have been a bit mixed, shall we say. Gina Carano has looked decent in her films, but Ronda Rousey’s performances have been roundly criticized, and her Mile 22 project appears dead in the water. The performance by the recently retired from MMA Miesha Tate, which is likely the film’s major selling-point, rates… somewhere in the middle. She doesn’t disgrace herself – but that may be partly because there is no shortage of other weaknesses to criticize here. Tate is convincing in her role – yet since she’s playing a mixed martial-artist, it’s hardly proof of any acting ability. But I guess, everyone has to start somewhere, and a thinly-disguised version of yourself is a good place to begin.

The film’s heroine, though, is Windsor (Celek), part of a separated family. She lives with her mother in a well-to-do part of New Jersey; her sister, Tory, lives with Dad in a far more dangerous neck of the woods, and is persistently getting into street brawls. Tory asks Windsor for money and is spurned, only to turn up beaten to death later. Windsor goes slumming to investigate, with the help of Tory’s lesbian lover, Duke (O’Brien), and discovers her late sister was involved in underground fights. In the time-honoured trope of B-grade martial-arts films, Windsor decides to strap on the gloves so she can find and take revenge on Tory’s killer, convincing the reluctant Jabs (and this character is where Tate comes in) to train her for this purpose.

According to the IMDb, the budget here was twenty-seven million dollars. If true, I have no clue quite where that went, because this is absolutely the kind of film that could be churned out for a a million and change. It’s not like there are any name stars here, unless you count the bevy of UFC people who show up in minor roles: as well as Tate, the film also includes Cris Cyborg, Holly Holm and Cindy Dandois, among others. Though despite the poster shown, the non-Tate roles are barely cameos. Certainly, the script consists of little more than a selection of random clichés, as it lumbers towards a conclusion you would have to be legally blind not to see approaching. Hawk’s background in music videos is painfully apparent, and O’Brien is the only person here who comes out with much real credit, playing Duke in a way that is credible and, hence, surprisingly scary. She isn’t someone whose drink you’d want to spill in a bar, put it that way.

What sinks the movie is Celek, who is woeful: thoroughly unconvincing at every step of her implausible journey from Disney princess to hard-as-nails brawler, supposedly capable of going toe-to-toe with Cyborg. If they’d kept the film on the streets, since it does a semi-decent job of capturing a world where everyone operates on a hair-trigger, and had Duke trying to revenge her lover’s death, this might have had a chance of being more than the thoroughly forgettable project, deserving little more than a quick, straight-to-video death.

Dir: Rob Hawk
Star: Susie Celek, Erin O’Brien, Miesha Tate, Cabrina Collesides

All Girls Weekend

  By

★½
“Why we don’t camp, #173.”

There’s something admirable about a film entirely cast with and directed by women, especially in such a generally male-dominated genre as horror. Unfortunately, all this effort really goes to prove, is that the fairer sex are every bit as capable of turning out uninteresting crap as any man. An ill-conceived cross between The Descent and The Blair Witch Project, this has four old school friends reuniting, along with the workmate of one of them, who tags along because… Well, as with so much in the movie, for no particularly good reason.  There’s friction between the friends, from the moment Nancy (Bernadette) shows up four hours late, forcing their departure to be pushed back.

But it’s when an innocent little pre-dinner hike is suggested that things truly go off the rails. For the workmate falls, and is impaled on… well, let’s be honest, and call it a twig. The party is unable to get out of the woods and find help, finding themselves perpetually going in circles. It’s almost as if the forest itself is trying to keep them from leaving. Turns out that’s exactly the case – not much of a spoiler this – for there was a mill there, which polluted the entire area, and unleashed a curse. Now, in order to regenerate, the earth spirit is now demanding blood sacrifices. So, before you can say, “Hang on – this doesn’t make much sense,” the party are being threatened in different, mostly fairly ludicrous ways. It’s almost like a live-action version of The Gashleycrumb Tinies: “N is for Nancy, pursued by a bear,” albeit where it’s abundantly apparent that Nancy and the bear were never simultaneously in the same zip-code.

Whoever designed the poster likely deserves some kind of award, for making the film look a hundred times more exciting than it is ever capable of delivering. The final 10 minutes can’t make up for the poor pacing and horribly talky nature of what has gone before, Simon appearing to have misheard the cardinal rule of cinema as, “Tell, don’t show.” Hence, we get an awful lot of scenes of exposition and unnecessary back-chat: I mean, do we really care that one of the girls used to be fat at high-school? Does it matter in the slightest? Meanwhile, seems like at least half the deaths take place off-screen, culminating in a staggering moment where it appears someone is found drowned in a pile of leaves. What? No, really: what? About the only positive to come out of this is Bernadette, who gives Nancy more of a character arc than everyone else in the film combined, her character turning a full 360-degrees over its course.

I guess we should at least be grateful that Simon did not make the obvious artistic decision and turn this into yet another “found footage” abomination. It’s one of the few things which would have made this more of a chore to watch.

Dir: Lou Simon
Star: Jamie Bernadette, Katie Carpenter, Gema Calero, Karishma Lakhani

Cyborg X

  By

★★½
“James Cameron’s lawyer, on line one…”

cyborgxMaybe the makers of this should just have been honest, and called it Terminaliens. For the amount of wholesale theft that has gone on here is really quite staggering. It takes place in the nearish future after a weapons research program goes haywire, and the cyborg results start attacking humans all over the globe. It’s up to a band of freedom fighters to attack the central computer complex and disable the system before humanity is entirely wiped out. Through in an adorable moppet young girl, who falls under the protection of the heroine, along with some crawling through air-ducts, and you’ve got a homage to James Cameron – back when he was good, rather making three-hour epics about doomed icebergs.

The main thread has heroine Lieutenant Spears (Mauro) rescuing Jack Kilmore (Myers), an X-Corp executive who holds the key to infiltrating his company’s former HQ. You may have to resist the urge to yell “He’s a cyborg!” at your television set, but that’s actually just Myers’s style of acting. There’s also Col. Shaw (Johnson), who smokes cigars and yells a lot, while the nerdy Wizkowski (Stormoen), has a name which seems curiously close to being another Aliens rip-off… Finally there’s even a tough Hispanic chick, Lopez, who – in full keeping with the Aliens approach – is played by the thoroughly non-Hispanic Angie Papanikolas.

One upgrade on Aliens is that Danny Trejo shows up for a bit, as another one of the soldiers, which is nice. We love us some Danny Trejo. He would likely have made Aliens  Otherwise, the rampant plagiarism is all a bit of a shame, since some of the other aspects aren’t bad. The CGI drones which are Skynet’s X-Corp’s surveillance system are nothing to write home about, but the more practical effects are solid, with some surprisingly gory moments. One woman gets the front of her head blown off, while later, a man is cut in half, and left to crawl along the ground, his intestines trailing behind him. Meanwhile, Spears manages to kick ass while looking decent doing it, even when yanking a Very Large Bazooka out of nowhere. Fortunately, supplies of beauty products apparently have not been interrupted by this apocalypse.

This wouldn’t be out of place on the SyFy channel, and stands up decently enough against others of its ilk. If you haven’t seen the Terminator series or Aliens, you would probably enjoy this a good deal more – though if so, that does beg the question, why are you watching the SyFy channel? But I just wish the makers had put more effort into creating a plot that was not so tired and over-familiar. If the resources devoted to this had been applied to an original story-line, it could have been a small gem, rather than feeling like a lame rip-off of genre classics.

Dir: Kevin King
Star: Eve Mauro, Rocky Myers, Adam Johnson, Jake Stormoen

Naam Hai Akira

  By

★★★½
“Finally, a 21st-century successor to Fearless Nadia.”

akiraThis is the first “true” modern Bollywood action heroine film I’ve seen, and has to be appreciated as such. While we’ve covered a couple of Indian films before, these have either been from outside the mainstream e.g. Bandit Queen, or have carefully corralled the action into socially-acceptable avenues, such as sport in Mary Kom. Neither is the case here, though the ending certainly has its share of hypocrisy, with the heroine being more or less sidelined, “for the greater good”.

Akira (Sinha) establishes her “take no shit” attitude early, stopping a local bully – unfortunately, his influential family mean she spends three years in juvenile correction while the wheels of justice grind on. After her release, she moves to Mumbai and starts college, only to bump heads with the local mean girl, after refusing to take part in a school protest. Meanwhile, corrupt cop Govind Rane (Kashyap) is tidying up after finding a suitcase full of cash at a car accident – and by that, I mean killing off the driver. However, it kicks off a convoluted series of plot twists, in which evidence of his crimes is used to extort him, then is stolen, and ends up in Akira’s possession. Rane will do anything to ensure she won’t be able to use it, including framing her as a delusional paranoid and having her committed to an insane asylum, courtesy of a friendly doctor.

That’s a slimmed-down synopsis, and there’s a lot more going on here; probably too much, to be honest, and I think half an hour less than the actual 137-minute running time would have been a good thing all round. However, it goes with the territory: two hours is close to a minimum for Bollywood. One pleasant surprise was the lack of musical numbers; I’ve seen these shoehorned into just about every genre, including horror, and sometimes they just don’t fit. Here would likely have been one such case, so we were grateful for their absence. Also worth mentioning: this is a remake of a 2011 Tamil film, Mouna Guru, with the sex of its lead character changed.

Sinha is definitely better than expected in the action scenes: the standout sequences are a full-on brawl in the student cafeteria, after she absolutely destroys her tormentor with a potted plant [you can see a fragment in the trailer below; no subs, but if you’ve read the above, it’ll be clear enough], and her escape from the asylum through a series of unfortunate and ill-prepared guards. Again, given the running time, the action is perhaps a little on the infrequent side, yet there’s enough going on between times to keep you entertained. Particularly notable among the supporting cart was SP Rabia (Sharma), the honest cop trying to piece together the truth; both heavily pregnant and smartly competent, she reminded me to a large degree of Marge Gunderson from Fargo.

All told, this was surprisingly accessible to our Western eyes, though some cultural aspects had to be taken on trust: for example, acid attacks are, apparently, an everyday thing in Akira’s hometown. Bollywood still has some catching up to do; while decent enough, no-one will exactly mistake Sinha for Milla Jovovich or Zoë Bell. However, this is a solid step in the right direction, and will hopefully pave the way for others to follow.

Dir: AR Murugadoss
Star: Sonakshi Sinha, Anurag Kashyap, Konkona Sen Sharma, Ankita Karan Patel 

The Monster

  By

★★
“Less would be more.”

monsterThere is a time when a film-maker needs to fall out of love with their script, and approach the resulting movie with a cold, critical eye, analyzing every scene with a single question in mind: Is it essential to the story being told? And if the answer isn’t “Yes”, then the scene needs to be ruthlessly excised. If you don’t, then what results is this film, where a good idea, which could have been lean, mean survival horror at its most stripped-down, becomes instead a cumbersome exercise in social drama.

Single mother Kathy (Kazan) is driving teenage daughter Lizzy (Ballentine) to her father, when they hit a wolf that has run out into the middle of the road on a remote country stretch of highway. While injuries are relatively minor, the car is unable to continue, and they have to hang out and wait for a repair truck to show up. However, when it does, and the mechanic is at work beneath their vehicle, the wolf’s corpse vanishes. Lizzy tracks it down in the woods, only to discover it shows signs of having been eaten, leaving her and her mother to wonder: what was bad enough that it could make a wolf run? They’re about to meet the answer.

It’s all the film needs, and when it concentrates on this, Bertino (who directed above-average home-invasion film, The Strangers) crafts a taut, effective work, as mother and daughter have to put aside their differences in the name of fending off the creature. The problem is the film’s insistence on inserting entirely unnecessary flashback scenes. They’re unnecessary because the dysfunctional nature of Kathy is established perfectly well before they have even left the house; everything thereafter is superfluous, and had me suppressing an urge to yell, “Enough, already! We get it!” at the screen.

I also get that the creature is intended to be a metaphor – though whether it’s intended to represent Kathy’s addiction-affected personality or Lizzy’s issues with trust and abandonment, is likely open to discussion. Either way, the mother is the monster in this interpretation; but again, it’s the kind of thing which works best when left for the audience to figure out or not, offering bonus depth if you want it. Here, Bertino seems to prefer whacking the viewer over the head with his subtext, to the point I had to undergo concussion tests.

On the plus side, Ballentine makes for an engaging young heroine, and the monster was laudably done with practical effects rather than CGI; given the relatively small budget, it looks decent enough. If you liked The Babadook – and I wasn’t particularly impressed with that either – then you might look more kindly on this attempt to merge the cerebral and the visceral. Only the latter half worked for me, the former providing more of an annoying distraction than offering any enhancement to the story.

Dir: Bryan Bertino
Star: Zoe Kazan, Ella Ballentine

The Darkest Dawn

  By

★★½
“Illegal aliens”

darkestdawnThis is apparently a sequel to a previous movie about an alien invasion of Earth (and, specifically, the United Kingdom) from the same director, Hungerford. While I haven’t seen it, this likely didn’t impact things too much here; I sense it’s perhaps closer to a separate story, unfolding in the same universe, than a true sequel. It’s the story of teenage sisters Chloe (Leadley) and Sam (Wallis), with the former getting a video camera for her birthday – just in time for said invasion to kick off, with their family being separated in the ensuing chaos. Toting her camera, Chloe and her sibling take shelter, then scurry through the blasted landscape, facing the threat not just of the extra-terrestrials, but renegade bands of survivors. For it also turns out Chloe, specifically her blood, is a key to the resistance. What are the odds?

There’s a strong sense of Cloverfield here, with the alien threat glimpsed more in passing than directly. The major difference is probably the human element, since the sisters are in peril from other people, as much if not more than from the invaders. Of course, the whole “found footage” thing has been utterly done to death since Blair Witch – and I think even that was vastly over-rated. Here, it adds precious little to proceedings, and there’s not much which could have been done equally as well (or, arguably, better), with an external viewpoint. It has all the usual issues of the genre; most obviously, why the lead character keeps filming, when on multiple occasions common sense and survival instinct would dictate dumping the camera and legging it. But then, a more conventional approach probably would have led to the production costing a great deal more than £40,000 (approx. 1/500th that of Cloverfield).

The two leads are, I believe, YouTube stars rather than professional actresses, and that’s a bit of a double-edged sword. They do have a natural and unaffected quality, which helps their characters avoid falling into the irritating teenager trap. But they don’t have much more, and any time there is actual acting required – rather than reacting – then they come up short. While the script does give Chloe a decent arc, going from a typically self-obsessed teenage girl into a focused and determined young woman, the climax feels somewhat undercooked. It does not offer the viewer much in the way of resolution, I suspect because writer-director Casson perhaps wants to return to the same milieu in future.

While I wouldn’t be averse to that, I hope Casson (dear God, I just realized he’s only 22 and has already made and had released two cinematic features) stretches his talents into more than the found footage genre, since too often this is merely a crutch for low-budget film-makers, used to excuse away shaky camerawork and improvised dialogue. There’s some evidence of talent visible here, on both sides of the camera – providing you can get past the likely motion sickness this may cause.

Dir: Drew Casson
Star: Bethan Mary Leadley, Cherry Wallis, Stuart Ashen, Drew Casson

Resident Evil: The Final Chapter

  By

★★★½
“Sometimes I feel like this has been my whole life.”

We’d skipped the last two installments at the movies, having been burned by part three, but after the excellent content of #5, and since this was likely to be our last chance, Chris and I made it a “dinner and a movie” thing on Saturday. Was disturbed by how many kids there were for this R-rated film – hell, even a couple of babes in arms, whom I’m sure loved the non-stop violence. I guess it was deemed kid-friendly by their parents, with this one getting its MPAA rating just “for sequences of violence throughout,” rather than anything truly corrupting, such as momentary Milla mammarage. Cutely, the feature was preceded by a quick personal message from director and star, thanking us for their support of the series. Yeah, it’s utterly meaningless, but nice to be appreciated.

Onto the movie, which I think probably would have been better received by us as a stand-alone entry, if we hadn’t watched parts 1-5 last weekend. #QuickPlug: re-reviews of all those to follow later this week. For there seems to be an awful lot of ret-conning going on, in particular for the Red Queen, played here by Milla’s daugher, Ever. Not only is her origin story drastically revised from Apocalypse, there’s also a new, Robocop-esque rule that she can’t harm Umbrella employees. [I note that Anderson even lifts the same escape clause used by Verhoeven] Must be Red Queen v1.1, because all the workers at the Hive she killed in the original movie, didn’t seem to benefit from this protection…

The story sees Alice (Jovovich) returning to Raccoon City, seeking the airborne antidote she discovers – from of all people, the Red Queen, little Miss Laser Corridor herself – was created by Umbrella. If Alice can release it into the wild, it will take out all the T-virus infected. Which is a bit of a problem since, don’t forget, the list includes our heroine herself. Standing in her way is Dr. Isaacs (Glen), who has set his plan in motion to exterminate the last remaining pockets of humanity and complete his apocalyptic vision thing, along with a massive swarm of zombies he’s leading back to the Hive. On Alice’s side are a few of those final survivors, including Claire Redfield (Larter) and Abigail (Rose), adding extra girls-with-guns firepower – as if it were really necessary here.

The main problem is this: editor Doobie White really should lay off the caffeine. I don’t think it’s Anderson’s problem, as Retribution was perfectly fine in this area, but the hand-to-hand fights look like they were edited by putting them through a highly enthusiastic wood-chipper. They stay just about on this side of incoherent, but you don’t so much watch these, as experience them on a subliminal level. Maybe it’s a result of protagonists Jovovich and Glen being in their forties and mid-50’s respectively: I know if I was appearing in an action movie, you’d certainly have to edit the hell out of me to look good! But it’s still annoying as hell. The best sequence is when the camera sits back a bit and we can actually appreciate Alice, dangling from an underpass, as she beats up a posse of hapless Umbrella drones (below).

Due to this, the film is at is most effective in other areas, mostly when going wide and giving us a look at the bigger picture, specifically the sheer scope of the devastation and conflict. There’s a couple of scenes where I think the zombie count may have surpassed World War Z, and that volume is undeniably impressive. It requires, naturally, equally large-scale defense and the sequence where the humans create multiple waterfalls of fire is startling and striking. An an aside, I note the film cost only $40 million, which is $25m less than last time, and little more than the price-tag for the original, 15 years ago. Anderson is clearly great at getting bang per buck, and if the box-office reception was lukewarm in North America, the film has already almost made its cost back in Japan alone.

I also was glad to see Glen back, and just as in #3, he brings a human face to the evil corporation. [Yes, he died at the end of that one. No, it’s not a problem.] I envisage a long career for him, in the mode of Charles Dance and Alan Rickman, being the go-to guy whenever a film needs a solidly British villain. Here, he gets to show a couple of facets, both coldly calculating and manically psychotic, and is fun to watch in both. But, of course, it’s Milla’s show, and she also gets to do a bit more than you might expect: if you ever wondered what she’ll look like in her seventies, this movie will answer your question. Though going by how little she seems to have changed over the decade and a half of the series, if she looked exactly the same at that age, I wouldn’t be surprised.

Otherwise, she has become Alice, adopting a world-weary stare here, reminiscent of our cat when we annoy him. It seems to say, “I could get violent, but you’re just not worth the effort,” while she re-enacts some of the series’s greatest hits, such as the laser corridor, or a whole pack of zombie dogs (well, more dog-shaped things, to be honest). Is there closure for Alice? Yes, although not as much as I would have liked. The film had a chance to draw a line under itself in permanent marker, and allow Milla to go off into the happy suburban life her character briefly enjoyed in #5. Sadly, the script doesn’t quite have the courage to do that; let’s just say, if Mr. and Mrs. Anderson need an extra wing on the mansion the franchise’s profits has bought them, it won’t be impossible.

All told, if you’ve got this far in the series, you’re not likely to be disappointed, except by the over-active editing. If you haven’t, this is certainly not going to convince you of its merits. And that’s okay too.

Dir: Paul W.S. Anderson
Star: Milla Jovovich, Ian Glen, Ali Larter, Ruby Rose

Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter
Resident Evil: The Final Chapter

Underworld: Blood Wars

  By

★★★½
“Game of Vampires”

At this point, five movies into the franchise, it probably becomes churlish to complain about the aspects that have sustained the series thus far. You’re watching an epic war, waged down the centuries, between vampires and werewolves. It is, literally, non-sense. This, however, is separate and independent from any entertainment value, and despite some issues, this is perhaps the best in the series since the original [some may argue for the third entry, but that appears to have strayed in from a different franchise entirely, containing only peanut-allergy level traces of Selene].

Wisely, it begins with a “previously on Underworld” synopsis: it has been four years since the last installment, and neither Chris nor I could remember much of it without checking Wikipedia. Brief précis: Eve, the daughter of Selene (Beckinsale), is the key to determining who wins the vampire-lycan war; Selene has abandoned Eve and wiped her own memories to avoid being used to track her down. Now, moving into the current edition: word of this doesn’t appear to have reached the powers that be. For both her own team, under Thomas (Charles Dance, occupying the “British thespian” role previously occupied by Bill Nighy), and the rising werewolf overlord, Marcus (Menzies), want to use her to their own ends. After a bit of slaughter and betrayal, Eve and Thomas’s son, David (James) are forced north, to seek refuge in the last vampire coven, with Marcus and his pack in hot pursuit.

By this stage, Selene is clearly a character that gives precisely zero fucks. She’s lost her family, her one true love and her daughter in earlier installments, and the bastards still won’t leave her alone. By the end of this one, she has made some gains, in the shape of slutty blonde highlights and powers resulting from one too many sessions playing Mortal Kombat. I find myself endorsing both of these. It’s apparent the writers here are also big Game of Thrones fans: the Northern vampires are a cross between the Night’s Watch and Daenerys Targaryen. The whole back-stabbing familial stuff is cut from that cloth as well, and Dance isn’t the only Thrones face to show up. No, not Peter Dinklage, though the idea of him as a were-corgi appeals greatly.

It comes in at a remarkably brisk 91 minutes, a pace from which certain other movies could learn [I’m looking at you – and my watch – Rogue One], and there’s not much slack. Nor, admittedly, is there much of a complete plot: the ending opens more doors than it closes, particularly with regard to Selene’s new abilities. There are some elements that appear more style than substance, such as the heroine drinking her own blood to remember things. Wouldn’t it be easier to… ah, just remember things? I can only imagine a vampire going, “Now, I know there was something I had to do today. What was it?” [gnaws on wrist] “Oh, yeah: take the garbage out. Anyone got a Band-Aid?” It’s on much safer ground sticking to the hack-and-stabbage, though we could have done with some better lighting there. Disclaimer: we watched the 2D version, theatrically. Your mileage may vary in more dimensions, or at home.

On the plus side, we get a couple of bonus strong female characters. Lara Pulver makes a good impression as the scheming vampire, and Clementine Nicholson does a fine imitation of a low-rent Emilia Clarke, playing the Nordic Coven’s leading warrior, Lena (maybe another GoT nod in that name?). On the downside, the CGI werewolves still look awful, particularly during their transformations, and there’s another (sigh) vampire-werewolf romance, which works out as well as they always do i.e. not very. You’d think people would have learned by now. Then again, this is a universe where Kate Beckinsale is basically the same as she was in 2003 when the first film came out, and is still capable of kicking ass while being easy on the eye.

Interestingly, this entry was directed by a woman. Foerster makes her feature debut, though she has helmed episodes of Outlander, a show set just a few miles from where I grew up in Scotland. Sorry, that’s not relevant to anything – what probably is, is that Menzies played that series’s main villain. Foerster also did second-unit work on Aeon Flux and was director of photography on White House Down, so has action experience. Hard to say if this makes any particular difference to the tone here, but I generally  support more women directors in our genre, as they can potentially offer an alternative perspective. Here, though, it’s simply another entry in the franchise. If it’s unlikely to lure in or convert any new fans, those who appreciated the previous four entries are probably not going to come away feeling short-changed.

Dir: Anna Foerster
Star: Kate Beckinsale, Theo James, Tobias Menzies, Lara Pulver

Neerja

  By

★★★★
“Sticks to the plane truth.”

Time to set up GirlsWithoutGuns.org, perhaps. For this film brings home that among the most courageous of heroines are the unarmed ones – especially when facing people who are not. Such is the case with Neerja Bhanot, the 22-year-old head purser on Pan Am Flight 73 from Mumbai to New York in 1986. Just before takeoff after a stop in Karachi, the plane was taken over by hijackers from the Palestinian Abu Nidal Organization, who intended to divert it to Cyprus. Bhanot alerted the pilots, allowing them to escape and thwarting that plan. She then discarded the passports of American passengers, stopping the terrorists from targeting them. When they believed Pakistani forces were about to storm the plane, she opened the emergency exits, help shepherd passengers out, and sheltered children from the terrorists’ bullets.

Yep, there are good reasons she became the first female recipient of India’s highest decoration for bravery in peacetime, the Ashok Chakra Award, and the youngest ever. Wisely, the film opts for a largely straightforward retelling of the events of those 24 hours, beginning with Neerja’s exuberant attendance at a birthday party the previous evening, through her trip to the airport and the mundane processes of the early, peaceful leg of the flight, before all hell comes storming up the stairs into her aircraft. Against a solid background, the only element which rings significantly false is the note given to her by a friend at the airport: its clichéd contents perhaps explain the disclaimer before the movie, about “Any resemblance to persons living or dead…”

Otherwise, however, it seems to stick to the truth, as far as my post-film Googling has been able to tell. Yes, Neerja was a part-time model as well as an air hostess. She also had already been through an arranged marriage which failed, to an apparently abusive husband (though here again: “Any resemblance…”). But it’s her amazingly calm, yet smart approach in the face of the four hijackers that is most incredible, with death never more than a hair-trigger’s breadth away. This hellish and escalating claustrophobia of the incident is the film’s strongest suit. Madhvani plays it expertly to a crescendo, as the hijackers become increasingly irritated by what they perceive (not incorrectly) as stalling tactics by the authorities in response to demands for new pilots.

It’s likely one of those cases where less knowledge may be useful in appreciating it. For I’m sure most of the original Indian audience was already well aware of the story here; in contrast, as someone who hadn’t heard about it before, I found myself holding my breath on more than one occasion, with no clue of how it would end. As we enter the New Year of 2017, it certainly qualifies as one of the strongest entries of 2016, even if – or perhaps because? – the movie goes in a different direction from the more-traditional kind of action heroines, which we usually cover on this site.

Dir: Ram Madhvani
Star: Sonam Kapoor, Shabana Azmi, Yogendra Tiku, Abrar Zahoor

Electra Woman and Dyna Girl

  By

★★★★
“They’re super, thanks for asking…”

Initially a web series, the eight episodes are combined into a feature-length production here, and it’s done well enough you can’t see the join. It’s inspired by a Sid + Marty Krofft creation from the mid-seventies, which parodied the Batman and Robin dynamic. Four decades later, when it seems every other movie is a superhero of one form or another, the updated concept works deliciously well, helped by a winning lead performance from Hart as Dyna Girl. She and her partner Electra Woman (Helbig) are low-tier superheroines – without any particular powers, in fact – who operate out of Akron, Ohio until video of them disarming (literally) a convenience store robber goes viral.

That gets them the attention of CMM, the top talent agency for caped crusaders, which necessitates a move from Akron to Los Angeles. With the fame and fortune comes its share of problems, as the more photogenic Electra Woman is seen as the lead, with Dyna Girl increasingly reduced to “sidekick” status. Worse is to follow, as the first supervillain in a long time shows up in Los Angeles, and the ‘Empress of Evil’ rapidly takes out Major Vaunt, the city’s top hero. Can EW + DG patch up their creative differences and save the City of Angels? [Or, at least, the City of Vancouver, attempting to stand-in for the City of Angels…]

I was genuinely and pleasantly surprised by this. I had no clue at all what to expect, having never even heard of the show before, and not even seen a trailer. But I greatly appreciated the dry wit, often bordering on sarcasm, not often seen to this extent in American films. Helbig and Hart are, apparently, YouTube stars, which may help explain the abundant references to social media and pop culture in the script. These may not date well, i.e. jokes about Uber discount coupons or filming with your phone vertical, and if you don’t know what a “Reddit AMA” is, much of the satire there may go over your head. For now, however, it hit the mark for me, and the entirely underwhelming nature of the heroines along with their (lack of) abilities and down-to-earth personalities made them far more relatable than the likes of Jessica Jones.

As you should probably expect, the action aspects are somewhat restrained. Yet these are more successful than you’d imagine and are meshed into the rest of the film nicely – the villains who are beaten up by our two leading ladies sell their punishment magnificently, which certainly helps! It’s also refreshing that there is basically not even the hint of any romantic elements here at all; EW & DG sleep in twin bunk-beds, above each other. This charming naiveté extends to other aspects, such as Dyna Girl’s adorably dorky hair-cut, which looks like the kind of thing you do to yourself in the mirror – if you had the attention span of Dory. The self-awareness here is almost off the charts, and this shows that is not necessarily a bad thing.

Dir: Chris Marrs Piliero
Star: Grace Helbig, Hannah Hart, Matreya Fedor