Tag: 2020

The Kill List

  By

★★★½
“Dressed to kill.”

For a TV movie, this is very impressive. When you hear that phrase, I usually think of something which appears on Lifetime or, worse still, Hallmark. But it seems that Thai television is made of sterner stuff. This plays much tougher, more like something you might see on AMC or FX. The story may not be particularly original, but it’s done with enough style and energy to make for more than passable entertainment The heroine is Angie (Rittapinun), an orphan who was brought up by her uncle and trained as an assassin. Her latest mission involves the retrieval of a data chip which contains a list of all the members in the organization of which she’s part. In the wrong hands, it could be disastrous.

Except the mission goes wrong, and the chip ends up in the hands of a hooker, Nina (Pitaktrairong), whom Angie let live because she was reminded of her sister, not seen since the day their parents were killed. This gets Angie disavowed by the organization, and they send further killers after her. Meanwhile, detective Sam (Asavanond) is hot on the trail of Angie for all the corpses left in her wake. Policeman and hitwoman are – probably inevitably – forced to team up, because the conspiracy behind things has tentacles considerably closer to home than is comfortable for either of them. It all leads to a confrontation where the truth about Angie’s bloody childhood is revealed.

Yeah, there’s not a lot here which you won’t have seen done before. It seems to be inspired mostly by Hong Kong movies like Naked Weapon, and that’s certainly not a bad place from which to start. It is refreshingly free of romance: I kept expecting Sam and Angie to fall for each other, but their relationship is kept strictly professional. [Sam, instead, is heavily crushed on by a policewoman at the station] I was a little disappointed that the film does not follow through on the bleak tone for which it appeared to be heading. Too many people who are supposed to be dead, turn out not to be, though there is at least one fairly unexpected fatality.

The action isn’t bad, even if I was amused by the Imperial Stormtrooper level of marksmanship displayed, as a way of getting round the whole pesky firearms problem. Rittapinun snaps off some nice kicks, making an especially good first impression with some high-heeled kung-fu, aided by enthusiastic stuntwork from those she’s fighting. While there does appear to be some doubling for the more gymnastic moments, it’s done well enough to pass muster. An occasionally over-melodramatic moment or two don’t harm proceedings too badly either, and the makers keep things moving along at a brisk pace, with few pauses of excessive length. I found the performances hit their mark, even if there’s nothing particularly novel about the characters: cop who gets 48 hours to solve the case, troubled assassin with a heart of gold, etc. This is still pretty serviceable and I enjoyed it – though after Ninja: Prophecy of Death, anything would seem an upgrade.

Dir: Chalerm Wongpim
Star: Thikumporn Rittapinun, Sarawut Mardthong, Netchanok Pitaktrairong, David Asavanond

Run

  By

★★★½
“Meals on wheels.”

The title here is used ironically, because “run” is the last thing the heroine can do. She is Chloe Sherman (Allen), a teenage girl who has been plagued by medical issues since birth, requiring full-time care from her mother, Diane (Paulson). She’s partially paralyzed, unable to walk, and also suffers from severe asthma. Chloe is, however, awaiting the result of her college application, and is eagerly looking forward to starting a new, independent life, having been home-schooled by Mom, who is the very definition of a helicopter parent. One day, Chloe discovers some of her medication is in her mother’s name, and gradually discovers more evidence that something is very wrong with Diane. If her suspicions are right, the bigger question is, what can Chloe do about it?

This feels like it might have been a COVID-19 project, filmed during the pandemic. There is a limited cast, and the action mostly takes place in the Sherman house. That isn’t actually the case – it was filmed before that, though it’s planned theatrical release was cancelled due to the outbreak, and it ended up becoming a Hulu Original. As such, it plays quite well, with an enjoyably ludicrous approach that, on occasion, makes it resemble a Lifetime TVM. Albeit one that somehow ended up being made by proper film-makers, with a real cast and actual production values. For a smart madwoman, Diane is remarkably stupid. I mean, flat-out Googling “household neurotoxins” – not even bothering with an incognito window – is just silly.

The same goes for Chloe, who swings from whip-smart to panicky and useless, at the drop of some animal medication. I mean, there’s a phone in the house. Dial 911 and be done with it. However, I found it fairly easy to put such logical thoughts to one side, and just enjoy this for its pot-boilery goodness. Paulson is very good at this kind of role. I mean, there’s a reason nobody has appeared in more seasons of American Horror Story than her. Allen is solid too. Interestingly, she does actually use a wheelchair, which gives scenes like her crawling across the roof, to escape after being locked in her room, an additional intensity. She doesn’t seem to have appeared in any films since, which is a shame.

It’s sequences like that which merit its inclusion here, though we have covered similar territory previously with Wait Until Dark. The more hysterical tone in this case, means its closest cousin is probably something like What Ever Happened to Baby Jane, a similar two-hander in which a controlling partner seeks to manipulate a relative. This is more physical than the mental gaslighting in Jane, with Diane realizing that she needs to control Chloe’s body first, in order to control her mind. Conversely, Chloe needs to liberate herself physically first. It’s all rather more nuanced than it initially appears, though works well enough on just a surface level too. It’s certainly a very different take on maternal love.

Dir: Aneesh Chaganty
Star: Kiera Allen, Sarah Paulson

Inmate Zero

  By

★★½
“Death sentence.”

Zombies and jail aren’t quite as new an idea as you might think. The Walking Dead had a major arc which took place at a prison, the facility’s fences now more useful for keeping things out than in. And back in 2005, The Asylum released the (surprisingly decent) Dead Men Walking, about a zombie outbreak at a maximum security jail. But this is, as far as I know, the first to combine zombies with the women-in-prison genre. Admittedly, it skews considerably more toward the former. However, there’s no denying its place on this site, with its heroine being ex-Special Forces soldier Stone (Chanliau), now held in a black site in the North Atlantic.

She’s there because she allegedly killed a US Senator and his family, whom she was supposed to be bodyguarding. While there is rather more to that story than this, it doesn’t particularly matter. What matters is that she’s now on death row in the women’s wing, awaiting execution. After being attacked by another inmate, she’s moved to the prison infirmary, where she’s joined on the ward by someone from a different area, where dubious medical experiments are being carried out. That person then dies. If you noticed the Z-word in the first paragraph, you will be utterly unsurprised to hear they do not stay that way, and it’s not long before being behind bars is probably the safest place to be, for both prisoners and guards.

On the plus side, you have the advantage of the occupants largely being the hardest of hardened or vicious criminals. These are people for whom human life is cheap, and so the action required to survive are not something over which much sleep will be lost. The brutality is well up to the standard you’d expect for the genre, and the effects seem mostly of the practical kind, which I always prefer over CGI. It’s a solid enough location, offering no easy way out, with the authorities hovering, and ready to wipe everyone out (as in Return of the Living Dead) should it prove necessary. The minor pieces are this in place for a decent enough entry, albeit one which missed the sell-by date on the zombie craze by most of a decade.

The problems, however, are in… well, just about everywhere else. The script is a series of cliches, joined with dialogue where cliched would probably be an improvement. The characters never get past stereotypes, whether its sympathetic guard Brooks (McGinley), queen bee Butcher (Joseph) or cowardly warden Crowe (Garda). The zombies probably show more depth, and their actions are largely limited to shrieking and gnawing on faces. The further into this you get, the more apparent it becomes that imagination stopped at the overall scenario, and does not extend to constructing interesting roles or giving them lines which could credibly be spoken by actual people. Been a while since I’ve seen a film with such a gap between the technical elements and the artistic ones.

Dir: Russell Owen
Star: Jess Chanliau, Philip McGinley, Jennifer Joseph, Jane Garda
a.k.a. Patients of a Saint

Run Sweetheart Run

  By

★★★
“/snorts in Lola”

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

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

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

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

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

I’m Your Woman

  By

★★★★
“Taking action”

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

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

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

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

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

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

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

Slate

  By

★★★½
“A clean slate.”

This is definitely an interesting idea, and potentially the most meta action heroine film I’ve seen.  Cha Yeon-hee (Ahn) has wanted to be a movie heroine ever since she was a child, though it’s an ambition which has always eluded her – in part because of her refusal to work her way up in the industry. She eventually and grudgingly accepts a stunt double position in a historical swordplay film, and shows up on the set for her first day. However, due to circumstances involving a magical clapperboard (hence the title) and an inconvenient portal, she finds herself transported to a parallel dimension. It’s kinda like modern Korea in clothes and speech, but run by warlords and their sword-carrying minions.

This is perfect for Yeon-hee, who adopts the person of Soul Slayer, the character she was supposed to double in the movie, to protect the village from Taepyeongso (Park) and his henchmen. There are only a couple of problems. Firstly, the sword she brought with her is a movie prop, incapable of inflicting any actual damage. Secondly, the real Soul Slayer shows up. At least she’s not the first person from her world to have been carried over, as there’s also a YouTube paranormal blogger, called Ghoster, who “vanished” a few months previously, and is there to help explain what’s going on. Will Yeon-hee make it back to the real world? And will she even want to, or will she prefer to stay in the dimension where she is the heroine she always wanted to be?

It’s a lovely concept. In a story of a downtrodden heroine getting the chance to be all she can be, it’s a little reminiscent of Everything Everywhere All at Once, though there are just the two worlds to occupy here, making this a lot more restrained – not necessarily a bad thing. It’s also a bit like The Wizard of Oz, in that everyone in the “heroine” world has a counterpart in the regular one, be it large or small. For example, Taepyeongso  runs a street stall in our world. There’s a good moral here too, about the value of holding to your dreams, even if the ending may be a little too new age-y for my personal tastes.

However, I did feel they left quite a lot of the potential on the table; it’s not hard to think of further ways Yeon-Hee could have parlayed dramatic skills into use here, yet the movie prefers to concentrate on a power struggle for succession among Taepyeongso’s underlings. Some more action would have been welcome too. If occasionally over-edited, what we get is pretty good, with some sword fights that have real impact, the participants battering away at each other with what feels like full force. While this is an independent Korean film, it looks more than competent on every level, and I’d like to see more from both director and star, down the road.

Dir: Bareun Jo
Star: Ji-hye Ahn, Min-ji Lee, Tae-San Park, Lee Se-Ho

Charlotte Who? – A Gaelic Football Story in America

  By

★★★★
“When Irish eyes are smiling.”

I stumbled across this entirely by accident, Tubi’s autoplay feature putting it on after watching some World Cup highlights. But the start was intriguing enough to keep me watching, and turned out to be a really good documentary, even if the story is a bit clichéd. The original title was the rather more forthright, Who the Fxxk is Charlotte? and that sums up the approach here. Any viewers with an aversion to strong language should not apply. It’s the story of the Charlotte, North Carolina women’s Gaelic football team, and their quest to win the national title. Gaelic football? Yes: an Irish sport, which combines elements of football and rugby. In Ireland, it’s close to a religion with fierce rivalries that go back to the 19th century. 

The Charlotte club was formed in 2000, and based on what we see here, is as much a social organization as a sports club. There does appear to be quite a lot of consumption of adult beverages. But there’s no doubt, they take the sport seriously, and recruit from all round the area, both Irish and American players. On North America, teams can bring in experienced players from Ireland, known as “sanctions”, to help grow the sport. But some clubs do that to excess: Charlotte refuse to go that route, putting their team at a potential disadvantage compared to Boston, or their arch-rivals from San Francisco, the Fog City Harps. The film follows Charlotte as they develop their team, and take part in the 2016 and 2017 senior women’s tournament, for the best sides in North America. 

There are absolutely no pretensions here. It’s a very straightforward approach, and that no-nonsense style fits the participants to a T. Unlike some docs, there’s no off-field drama here, be it artificial or genuine. It’s all about the sport, and it’s depicted as a classic underdog story with plucky Charlotte trying to beat their larger, more established and more “sanctiony” opponents. Though in regard to the last, I would have been curious to see actual numbers: how many of their team were Americans, and how does that compare, say, to the Harps? It’s an easy enough sport to pick up for a viewer, though in some of the games, it was occasionally hard to know the exact score. A score bug in the corner would have been useful. 

In some ways, the structure feels like it mirrors that of a classic kung-fu film. The heroine loses the first battle against her nemesis, but this only increases her resolve. She withdraws, trains harder and learns new techniques, in order to prepare for the rematch. That’s what we have here, with the 2016 tournament ending in defeat. The Charlotte coach also retires, his previously pledged three-year term having come to a close. Yet this opens the door for a dual-headed approach, with two managers of different styles. Considering this is a sport about which I knew almost nothing going in, it was all remarkably engrossing. If you’re not cheering by the end, you’ve clearly got no Irish in you.

Dir: David N. Stiles
Star: Aoife Kavanagh, Catríona O’Shaughnessy, Jan Henry, Kevin Tobin

White Haired Devil Lady

  By

★★★★
“Hair today, gone tomorrow.”

I’ve been on a bit of a kick of Chinese Animal Attack Movies of late. These are basically their version of those SyFy Original Movies, and typically involve some giant creature – snakes or sharks are particularly popular – menacing the population. Some are rather good fun. Others… are not. But I discovered that the same Chinese streaming services also do seem to have a small selection of action heroine flicks. Much the same goes there, in terms of quality: it will be a cold day in YouTube hell before I can get through Beauty Detective Mission. But now and again, there’s a minor gem like this, which helps to make up for all the crap I (and Chris) have endured.

This is not to be confused with any of the other “white hair” films. Most obviously, White Hair Devil Lady from 1980, but potentially also The Bride With White Hair or even The White Haired Witch of Lunar Kingdom. Though from what I’ve seen, some share a common origin: this one was adapted from the novel series Baifa Monü Zhuan by Liang Yu Sheng, and he’s also mentioned in relation to other movies. Anyway, what we have here is an evil court official, Eunuch Wei (Chui), who seeks the Red Pill which will give him immortality. Due to his murderous activities and general disregard for the local population, he incurs the enmity of Lian Ni Shang (Zhang W), who will do anything to stop him.

Making matters more complex, Wei orders a martial arts school, the Wudang Sect, to deliver the Red Pill to him – its leader, Zi Yang (Zhang Q) does not realize this is a ploy to get rid of them. The lead member he sends, Zhuo Yi Hang (Shi), also knew Lian when she was a little girl. Cue romance, betrayal, and eventually, Lian being framed for the murder of Zi Yang. Given this runs 74 minutes, including credits, there’s quite a lot going on. On occasion, it does teeter on the edge of over-stuffed, yet I’ve definitely seen far worse in the wu xia genre, of terms of narrative coherence. Once it settles down, it’s fine, even if some elements seem swiped from Crouching Tiger, Hidden Dragon i.e. the couple falling off a cliff embrace, accompanied by an emotional cello.

However, we are here for the action, and this is pretty damn impressive. It is somewhat quickly edited, yet like the plot, stays just this side of coherence, and the cinematography and design are super, especially considering the budget on this likely was not that high. Elements like Lian’s weaponized hair are rendered beautifully, and the CGI feels like it was used more to enhance the proceedings, rather than creating them wholesale. If the whole thing does feel like a throwback to the kind of flying fantasy films Hong Kong was making in the nineties, it’s does with enough care and attention to detail to pass muster. My attention was undeniably sustained throughout, and that’s more than can be said for many a more expensive work. It’s embedded below for your viewing pleasure.

Dir: Tianyu Zhou
Star: Zhang Wei Na, Shi Jun Zhe, Norman Chui, Zhang Qi

Sisters Apart

  By

★★
“A phony kind of war.”

There seem to have been quite a few movies out of Europe over the past couple of years, about the female soldiers fighting in Kurdistan for independence with the PKK and related groups. French films Les Filles du Soleil and Soeurs D’Armes both covered similar territory. It seems fertile territory, offering an inbuilt contradiction between the general perception of how Islam treats women, and them taking part in front-line action, in a way well beyond what “liberal” Western democracies typically allow. Oddly, it feels as if most of the stories being told, involve a search for relatives, and I’m a bit ambivalent about this. It feels slightly lazy writing, as if there’s no other reason a woman could want to take up arms in order to defend her homeland.

This does at least somewhat sidestep that issue with its set-up. The heroine here is Rojda Xani (Bagriacik), a Kurd refugee now living in Germany, and a citizen of the country who has joined their army. Her mother comes to join her, but does not bring Rojda’s sister, Dilan (de Haas), as previously arranged. Indeed, Danil seems to have dropped off the grid almost entirely, a situation which causes Rojda increasing concern – as if trying to get her mother to adapt to life in Germany wasn’t stressful enough. Despite qualms of those around her, Rojda decides to apply for the post of interpreter with the Bundeswehr who are deployed to Kurdistan, training soldiers there. On arrival, she finds a possible source of information about her sister’s location, but getting her to talk won’t be easy. The harsh reality of the conflict also brings into focus Rojda’s (largely selfish) reasons for being there.

This is almost entirely low key – likely too much so for its own good. That’s particularly so at the ending, where things don’t so much end, as peter out in a largely unsatisfying way. It is perhaps “realistic”, in that life is rarely tidy or follows a three-act structure. However, if I wanted real life, I’d watch a documentary. Rojda does make for an interesting heroine, one trying to balance between her own family culture and the standards and practices of her new home. She’s certainly far from dumb, speaking at least three languages, but is also fairly impenetrable, emotionally. Much of the time, it’s hard to be sure what she’s feeling. I’m not sure if this was deliberate – it would be in line with the film’s understated approach – or a shortcoming, either in writing, direction or performance.

There are some points where this does come to life. For example, her new colleagues quizzing her about life in Germany – can girls there sit next to a boy in the cinema? Again, this demonstrates the weird double standard (to Western eyes) by which these women live. Or there’s the bafflement of her commanding officer (Letkowski) when he’s told the Kurdish women have nobody in a similar role: “Sometimes she gives orders, sometimes I do.” I wish there had been more of these moments, which render the near passivity of the rest, all the more infuriating.

Dir: Daphne Charizani
Star: Almila Bagriacik, Zübeyde Bulut, Christoph Letkowski, Gonca de Haas
a.k.a. Im Feuer

My Sisters

  By

★
“Sisters that’ll have you crying for mercy.”

This felt oddly familiar, like I had watched it before. One scene in particular – a maintenance man comes to replace a light-bulb, only to become an apparent threat – had me certain I had seen this. But no review of it existed, either here or Film Blitx, my non-GWG site. [For, make no mistake, its credentials here are fringey at best.] My working theory is that I probably fell asleep and missed so much, I deemed it impossible to review, then forgot about it entirely. Yet here we are. I managed to stay awake for an adequate amount of time this viewing, though full disclosure: I did have to pause it about 15 minutes in. I’m still reviewing it  – mostly so I don’t go round the loop a third time.

The hook here is that the whole thing was filmed in 24 hours, something touted by, it feels, every member of the cast and crew during the end credits. On the one hand, it is quite an impressive achievement, considering even the quickest of quota quickies would still need several days [Though 24 hours would be an eternity for Rendez-vous, shot using one take, the first, and thus filmed in under two hours] To the movie’s credit, technically it looks pretty good. The audio is a little ropey in places, however. My question would be: why film it in one day? What did this add to the film? For it seems no more than a pointless gimmick.

Not least because it feels as if the script was also tossed together in a day, easily representing the movie’s weakest element, and bouncing back and forth in time like a meth-crazed ping-pong ball. I’m unsure whether the tedium it induces is a result of its lack of coherence, or if it would have been just as dull with a more conventional narrative. The basic idea is a women’s support group, who decided to become vigilantes, helping their “sisters” who are trapped in abusive relationships by targetting their abusers. [It’s odd that I watched this the same day as the similarly themed Ride or Die. At least that admitted to the psychosis in its vigilante.]

This leads them into conflict with a shadowy men’s support group, the Freemen Society, who don’t take kindly to the women’s actions. The film does a particularly poor job of defining its antagonists, who remain a nebulous threat for the bulk of the running time, and are bad because we are told they are. Yet we discover at the end that one of the women has been an unreliable narrator all along, lying even to the rest of the support group. We are given no particular reason to care about them: there is far too much talk, and the dialogue consists of little more than a series of buzzwords that, presumably, made more sense back in 2020, during the white heat of people giving a damn about #MeToo. That concept has aged like Amber Heard’s milk, and combined with mediocre execution and flat-out terrible writing, these are sisters who need to be doing it to themselves.

Dir: Adam Justice Hardy
Star: Sara Young Chandler, Shanera Richardson, Nadia Marina, Diana Sanchez