Tag: 2020

A Killer Rising

  By

★★½
“FBI Agent Jekyll and Hyde”

At least a star of the above rating is purely for the concept, which is one just brimming with potential. The problem here is entirely down to execution that isn’t just lacklustre, it’s entirely devoid of all lustre. First and foremost, there is absolutely no reason for this to have a running time of 122 minutes, especially when the first half makes its point inside about ten, and then sits there, as if waiting for a bus. It’s a particular issue, because it’s only the second half where things get adequately interesting. You will need a great deal of patience – or, probably more likely, some household chores to take care of – in order to reach that point.

The heroine is Kacee Rhona (Beckly), an irascible FBI agent with a long history of disciplinary issues, going back to her days at Quantico. It’s perhaps not surprising, considering her childhood was a hellish landscape of abuse, from which she barely escaped at all, only after defending herself against her biological father. You do wonder how someone with such obvious psychological issues was accepted into the FBI, but whatevs. Seems she’s quite good at her job, and is now hot on the trail of a serial killer, Montague (Anderson) who has been kidnapping, raping and murdering (not necessarily in that order) a slew of women. It’s largely your standard “loose cannon with issues” thriller, with which we’re all (overly) familiar. While Beckly is… okay, the rest of the cast are well short of convincing, and the production’s resources are insufficient for what it’s trying to do.

Then, however, the killer brutally attacks Agent Rhona, leaving her literally dead for several minutes, and causing something inside her to snap. She becomes a vigilante while officially on sick leave, targetting those whom the law has not been able to punish. And who better to become a serial killer of serial killers, than someone trained to catch serial killers? It’s a bit like an unhinged, female version of Dexter, and is an awesome concept. Her colleagues are… well, for obvious reasons, somewhat ambivalent about this, when their suspicions are drawn towards one of their own kind. On the other hand, Rhona’s operation outside the law has its advantages, especially with Montague still on the loose.

I’d love to see this given the production it deserves, with a better supporting cast, and elements that accurately reflect the supposed FBI setting, which never reaches even “unconvincing”. It feels like a nicely twisted take on Silence of the Lambs, and I could imagine a young Jodie Foster or Angelina Jolie in the role of the heroine. But any remake would also need to go at the script with a pair of garden shears, removing all the extraneous nonsense which drags the front hour down to an uninteresting crawl. There was eventually marginally enough here to keep me going, yet I’d not blame anyone if they chose to cut their losses before that point.

Dir: Michael Fredianelli
Star: Stacy Beckly, Derek Crowe, Kevin Karrick, Jaren Anderson

Brides of Satan

  By

★½
“Cool poster though.”

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

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

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

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

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

Revenge Ride

  By

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

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

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

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

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

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

Wolfwalkers

  By

★★★
“Mononoke Hime, with potatoes…”

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

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

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

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

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

On The Edge

  By

★★★½
“Makes a good point”

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

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

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

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

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

And Tomorrow the Entire World

  By

★★★
“Chewy, yet slightly crunchy.”

Plenty of films in our genre use violence, either as a tool of the plot, or simply for entertainment purposes. Fewer consider the philosophical and moral underpinnings of violent acts, in the way this does. Luisa (Emde) is the daughter of a rich, aristocratic family who is now a law student. She rebels against her upbringing by joining the P81 commune which is fighting against extreme right-wing groups in Germany. But there is a growing schism in the commune, between those who are opposed to injurious violence, and those who feel the ends justify the means. As Luisa drifts into a relationship with group leader Alfa (Saavefra), she finds herself drawn increasingly to the latter camp – albeit without an appreciation for the potential consequences.

It would be easy for this to descend into political polemic, yet it largely manages to avoid that. Luisa and her pals may be “fighting the good fight,” but they’re clearly not without significant flaws. For instance, Alfa regards the group as his own, personal all-you-can-eat buffet of young women, with Luisa just the next platter. It also does a good job of illustrating the slippery slope, from civil disobedience through property damage to full-on violence against people. At which point, I’d say you lose the moral high ground, and the film acknowledges it can become counter-productive. As someone says after a clash between left- and right-wing factions: “They are angry, really angry, and who’s going to pay? You, Alfa? No, it’ll be someone, somewhere, who had nothing to do with this.”

It’s still a shock when the full force of the German state and (the apparently infamous) Section 129 of their criminal code, is dropped on P81, making Luisa and Alfa fugitives. They hide out with Dietmar, a former activist in the 80’s, who spent time in jail for his acts then, and now lives quietly, working as a nurse. He offers a particularly cynical view regarding the futility of their actions, based on his own experiences: “We were absolutely convinced that we could build a new society. I was going to be a minister.” This is lost on Luisa, who steals a hunting rifle from her family’s home and prepares to launch an assault on an enemy gathering.

The film opens with her tossing away the gun, but at that point it’s not clear whether this was after, or instead of, its use. It’s on that decision that the film’s climax pivots: will she step back from the precipice, or embrace wholeheartedly what it means to take a life, even of someone you regard as lower than an animal? [Pointedly, Luisa is vegetarian…] This was Germany’s entry for the 2021 Best Foreign Film Oscar, though it did not make the final list of nominees. It definitely has that sense of earnestness the Academy likes, and is not so much biased ignores any other side exists – which may be the point, it being easier to hate someone who is kept distant and seen only as “the enemy.” But even an entrenched old hack like myself still found it more thought-provoking than I expected.

Dir: Julia von Heinz
Star:  Mala Emde, Noah Saavedra, Tonio Schneider, Luisa-Céline Gaffron

Babysitter Must Die

  By

★★★½
“The babysitter, murders”

Josie (Scott) is a babysitter, though her real interest is her work as a leader in the Girl Guide-like “Mustard Seed” summer camp. In this she mentors young girls, and accumulates some nifty skills of her own. This is relevant, due to her current situation.  She’s taking care of Sophie (Hazen), the youngest daughter of the Castillo family. The father is a rich music mogul, and they live in a remote mansion, deep in the Utah mountains. The family come back early, but before Josie can leave – she’s playing hide and seek with Sophie – there’s a home invasion by three people, under the leadership of The Woman (Yeaman). They’re no regular burglars, but members of a Satanic cult, intent on retrieving artifacts hidden in the house by its previous owners. These can then be used to sacrifice the inhabitants, and open a portal for… something not very nice to enter our world. 

It’s quickly made clear that the new arrivals have no problems with killing anyone who attempts to interfere with their mission. But they don’t initially know about Josie’s presence. You can probably work out how the rest of the movie goes from there – and you’ll be more or less right. Josie gets caught, escapes and taps into her inner warrioress, to ensure at least Sophie survives the night. She picks off the intruders, one by one, before eventually facing off against The Woman. 

While there’s not an enormous amount new or special in the execution, there are enough wrinkles to lift this above average for the “home invasion” sub-genre. Firstly the heroine is unusual enough to be interesting. She’s a quiet, understated type, who’d rather spend the night babysitting, than go to a party with her friends. Her background in the Mustard Seeds provides a justification for some of her abilities, though it’s an angle I’d like to have seen used more. Maybe, given the Christmas setting,  thrown in some Home Alone-style improvised defenses? The other main strength is the antagonist being a woman too, and Yeaman delivers the necessary level of intensity to pull off the role. The apocalyptic motivation is also a fresh one, and there’s enough background dropped in over the course of proceedings, to give this more depth than “because cultists”.

There are some holes in the plot. For example, at one point when Josie is fighting one of the cultists, things get a bit noisy – but the other two seem completely oblivious. There are also points where Josie’s actions seem illogical, or at least where her motivation is unclear. However, Glass keeps things moving forward with sufficient energy to overcome any issues. Credit is also due to cinematographer Neil Fernandez, who does a good job of capturing the isolation, from the opening shot as Josie drives up with her Mom to the mansion. An early game of hide-and-seek both foreshadows subsequent events, and gives us a good look at the home’s interior. For a small-scale, relatively low-budget production this was a pleasant surprise. At 76 minutes, it does what it needs to, and in a lean, efficient way.

Dir: Kohl Glass
Star: Riley Scott, Melinda Yeaman, Nic Fitzgerald, Scarlett Hazen

Kung Fu Mulan

  By

★★★
“Disney gets some of their own medicine”

Going into this, I was expecting it to be really terrible. After all, this Chinese animated version seemed to be little more than a mockbuster, riding on the trails of Disney’s live-action version of the Mulan story. That is a little unfair, since this film began production back in 2015, five years before its Chinese release in October 2020. But it’s that timing – less than a month after Disney’s version came out – which inevitably invited comparison, and the local reaction was utterly scathing, despite an advertising tagline of “Real China, real Mulan.” It was compared unfavourably to a Western version of Chinese food, and lasted only three days in cinemas before being pulled, not taking in even one-tenth of its relatively small $15 million budget.

This is why I was braced for something at the level of pre-school stick figures. The reality, however, is nowhere near that bad. The animation is, it must be admitted, functional rather than impressive, but matters are helped significantly by decent voice acting and a plot which doesn’t appear tailored towards 12-year-olds. We join Mulan (Guest) already in progress, with her in the army and going on a mission to assassinate the prince of an invading army from the Northern grasslands, who are attacking the Central plains. Except, nobody mentioned there are two princes. She stumbles across the young one, and refuses to kill him.

While escaping, she ends up falling off a cliff with the older one, her actual target, Arke (Lee). As they make their way back to civilization, they fall for each other, partly because he conveniently forgets to mention the whole royalty thing. Needless to say, her superiors are not impressed with the failure to complete the mission. But there is a possibility of her marriage to Arke bringing peace between the two kingdoms, though there are some who are not in favour of that possibility either, and intend to use Mulan a pawn towards their own ends. I will say, there’s simply more plot going on here than in Disney’s version, and if the visual side is considerably plainer, the lack of ill-defined superpowers for its heroine is definitely a plus.

However, it doesn’t take advantage of the freedom which animation provides. While there are occasionally pretty moments, it falls short of capturing the majestic grandeur of China, and animated martial arts is always going to be less impressive than the live-action version. Though the dubbing is solid, with Guest in particular bringing her character to life, any cartoon version of Mulan is always going to end up being compared to Disney’s animated one, and this is just not as good. The main deficit here is the inability to make an emotional connection to the viewer. I never cared about the fate of Mulan or her country in the way I did while watching the classic edition. But considering my expectations going in, this was far better than I feared. Then again, I quite like the Western version of Chinese food. :)

Dir: Wallace Liao
Star (voice): Kim Mai Guest, Allan H. Lee, Vivian Lu, Greg Chun

Alone

  By

★★
“Getting away from it all.”

Jessica (Willcox) is making a break from her new life, packing up her possessions and driving away from her home and family in the big city. However, it’s not long before her journey through the countryside begins to hit bumps in the road. Specifically, in the shape of another driver (Menchaca), whose actions against Jessica veer between the aggressively hostile and the creepily over-friendly. The two encounter each other on a number of occasions, the incidents escalating until he finally drugs and kidnaps her. She wakes to find herself locked in the basement of a remote cabin, and needs to find a way to avoid a fate which, it appears, others before her have suffered.

A remake of Swedish film Gone, the major failing here is not enough happening to sustain the running time. The story needs to spend significantly less time on the build-up; for example, by cutting out the background stuff about exactly what it is, that Jessica is escaping from. We are given no reason to care, and it has little or no relevance to the movie’s central conflict. Similarly, there are likely too many encounters between her and him, before he finally abducts her. We get the picture after virtually the first one – and I have to say, the sensible thing for anyone to do thereafter, would have been to reject any further attempts, rather than engage in additional contact.

Of course, logic and common sense tend to be anathema to this genre, though there are times here where Jessica does behave credibly. For instance, her method of getting out of the basement is genuinely smart. I also liked the scene where, after her escape, she finds a hunter in the woods – only for the man to show up, and claim she’s his mentally-ill sister (an idea made plausible by her understandably hysterical reaction). But for every one of these positives, there are two negatives, such as her getting hold of his phone and calling… his wife, to let her know she’s married to a predator. While I admire the spirit of sisterhood there, I’d have suggested self-preservation might have been a better use of those cellphone minutes.

Eventually, we get to a finale, which has some more credibility speed-humps. Firstly, the coincidence that, in this gigantic forest, he buries a body right next to where she is hiding. And secondly, that when someone attacks you from the back seat of your car, you will immediately accelerate away which simultaneously fighting them, driving at top speed down a narrow forest track until the inevitable accident. Okay… This does lead to a half-decent brawl between them, on the scorched earth of a patch of cleared forest, with the crash having acted as a nice equalizer (despite the apparent lack of seat-belts!). It is, however, very much the definition of “too little, too late”, and can’t rescue this from the multiple missteps which have preceded it.

Dir: John Hyams
Star: Jules Willcox, Marc Menchaca, Anthony Heald

Gunjan Saxena: The Kargil Girl

  By

★★½
“In plane sight.”

This is the story of Gunjan Saxena (Kapoor), one of the first women to be admitted into the Indian Air Force as a pilot. Near the beginning is a rather effective scene in which she’s taken up to the cockpit of the jet on which she is flying with her father (Tripathi). The look of wonder on the young girl’s face as she sees the flight deck does a better job of putting over the sheer joy of flying than all the many montages that will be crammed in over the next 110 minutes. It’s a “Miyazaki moment”, if you are familiar with the work of Hayao Miyazaki, which often features sequences that capture the same joy.

She wants initially to be a commercial pilot, against the wishes in particular of her older brother Anshuman  (Bedi) and her mother. But her father is encouraging and sympathetic, even when her career diverts Gunjan into the Air Force, part of the first batch of female recruits. The rest of the film is notable most for its well-crafted and polished predictability. She has to overcome barriers, both physical (she’s too short to become a helicopter pilot – fortunately, she has long arms. No, really: that’s literally the get out) and those of a military culture which is not yet prepared to treat women as equals. Inevitably, there’s a commanding officer who takes the recruit under his wing, and Gunjan overcomes her own self-doubt, with the help of her father’s encouragement.

She is sent into battle as part of the Kargil war in 1999 (more of a spat, really, lasting a couple of months on the border between India and Pakistan), but public concern over her possible fate as a POW forces her removal from the front lines. It all ends up looping back to the scene at the beginning where, equally inevitably, an emergency gives her the chance to redeem herself, on a mercy mission to rescue injured colleagues who are under enemy fire. Apparently, disobeying orders in the Indian military gets you feted for your initiative, which would seem to be something more likely to happen in movies about the military, than the actual armed forces. 

There have been significant complaints about this being an unfair depiction, with the Air Force writing to the Indian censors objecting to the way it was portrayed. That may explain the lengthy pre-film disclaimer, including this odd paragraph:

The producers, directors, artists or others associated with this film are all law-abiding citizens and have not created this film to incite any disorder or lawlessness.

Saxena herself said she never experienced discrimination at the organization level, only from individuals. Obviously, I can’t speak to that, and my concerns are more about the very obvious and cliched nature of the script. There is a good point to be made, about the importance of chasing your dreams, in the face of adversity, and Kapoor’s depiction is winning and likable enough. I certainly can’t complain about the technical aspects, especially in the flying sequences, which are also well constructed. It’s just that the “woman overcomes the adversity of being a woman” story is a cinematic dead horse, and this has little or nothing new to add to it.

Dir: Sharan Sharma
Star: Janhvi Kapoor, Pankaj Tripathi, Manav Vij, Angad Bedi