Tag: 2021

Asking For It (2021)

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★
“Just say no.”

Not to be confused with the other film of the same title, it’s likely significant it took me over three years to cover this, after mentioning it in the earlier review. I suspect I kept seeing the spectacularly bad reviews and finding more enjoyable things to do. That cat-litter box ain’t gonna clean itself, folks. Eventually, though, I bit the bullet, and… Well, by the end, a bullet would have been welcome. For debut director O’Rourke has made a rape-revenge film, without managing either to build on the tropes of the genre, or find anything new to say. It’s the kind of film which could only have come out of the brief period when #MeToo was considered relevant.

It has not aged well. In particular, casting Ezra Miller as a men’s rights activist, because they (to use preferred pronouns, albeit sarcastically) are now spectacularly cancelled. Instead of watching the movie, I recommend instead going down the Wikipedia rabbit-hole for amusement. My favourite sentence: “Miller believed people criticized their relationship with Iron Eyes because she is “an apocalyptic Native American spider goddess” who, along with Miller as Jesus Christ, will bring about an Indigenous revolution.” Alright then. Mind you, those reviews I mentioned suggest the film was poorly received at the time too. I suppose I should discuss it. I’d rather not. Can’t I just continue lobbing snark grenades from afar? [Monty Python voice: Get on with it!]

Joey (Clemons) gets date-raped. Through Regina (Shipp), a regular at the diner where she works, she is introduced to an all-female vigilante group, the Cherry Bombers. Their mission is to make any abusive men pay – naturally, they are the judge, jury and executioners of what constitutes “abuse”. The group’s Public Enemy #1 is Mark Vanderhill (Miller) who, conveniently, is about to stage a major rally for his Men’s First Movement. Oscar Wilde once described fox-hunting as “The unspeakable in full pursuit of the uneatable.” That’s entirely appropriate for this film too. Vanderhill is a pantomime villain, and the Cherry Bombers are an all-you-can-eat buffet of alphabet soup and minority groups, smugly sure of their righteous mission. I’m not sure who I hated more. 

The whole thing feels entirely like a vehicle for O’Rourke to tout his creds as an “ally”. The end credits even include a lengthy statement about native land and its use, for additional right-on points. And yet, O’Rourke was arrested for punching a trans woman in 2022. Awkward. I am equally sure these beliefs in no way qualify him as a movie-maker, and there is precious little indication here of relevant skill. Not in O’Rourke, nor the thirty-six credited producers of various kinds. Bandwagon much? At one point, a movie marquee in the background has screenings listed for Thelma & Louise and Switchblade Sisters. Unless “There’s nothin’ I love more than watching grown men squeal” (an actual line here) is your idea of moral philosophy, those are films for which this is not fit to make a sandwich. 

Dir: Eamon O’Rourke
Star: Kiersey Clemons, Vanessa Hudgens, Alexandra Shipp, Ezra Miller

Blast

  By

★★★
“Not a bomb.”

To some extent, Sonia (Arnezeder) is the very antithesis of an action heroine here. For she spends the vast bulk of the ninety minute running-time, sitting in the driver’s seat of her car. Admittedly, this is for good reason, because somebody has wired an anti-tank mine into the car’s circuitry, in a number of diabolical ways. There’s a countdown timer, anti-tamper device and it’s also liable to be triggered if the weight in the car drops below a certain amount. Making matters worse, her two kids are in the back. The reason is because of her work in bomb disposal, part of a charity that disarms mines in the Ukraine, a task which has made her certain enemies.

Fortunately, she’s not alone. Her other half, Fred (Kiwitt), is there for moral support, and – probably more helpfully – colleagues from her agency are also present, in particular Igor (Bukvic) and Camile (Mortensen). Together with Sophie, they have to figure out both a solution to the immediately explosive situation, and find out who’s responsible. There are no shortage of candidates, and no shortage of strong female characters either, even beyond Sophie and Camile. These are involved on both sides of the scenario, as it eventually turns out. Though I must confess, I’m a little uncertain about the motivation of those involved. In particular, why the rather complex approach taken here, was deemed to be the most appropriate method. Sometimes, simpler is better, when it comes to evil plans.

That said, it’s a film which doesn’t hang about. Barely a couple of minutes pass before Sophie and her kids are sealed in, with a literal ticking clock. Though we do know this won’t be the end, because the countdown is for only half an hour, it sets the tone early. Peirani-Vignes then does a solid job of keeping the tension high, for the rest of the way. Every time you think you know where this is heading, the script, by the director and Pablo Barbetti, finds a new wrinkle to go in a different direction. As noted, I… have questions about some aspects. However, these did not stop me from remaining engaged, in particular during the front two-thirds of the film.

It did seem to struggle down the stretch. You know there’s inevitably going to be some heroic sacrifice needed. It wasn’t the character I expected: a bit of a mixed blessing, because I really wanted to see them get some degree of payback and/or redemption. Considering the entire movie takes place in an underground car-park, it feels impressively unrestricted, and the calm behaviour of the players is in sharp contrast to the ever-looming lethality of the situation. You will probably learn more than a little about the art and science of bomb disposal. While I cannot vouch for the authenticity of the information, it has the ring of plausibility. In the context of a thriller such as this, sounding legit is what matters. 

Dir: Vanya Peirani-Vignes
Star: Nora Arnezeder, Pierre Kiwitt, Radivoje Bukvic, Sara Mortensen
a.k.a. Déflagrations

Girl Gun Lady

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★★½
“Get yer kits out…”

With its combination of alternate reality sci-fi and stylized action, this feels like it could have come from the mind of Mamoru Oshii, creator of things such as Avalon and Assault Girls. It’s not. Instead, it was created by toy manufacturer Bandai – like most of their shows, it works largely as a 25-minute long advertisement for product, in this case specifically model kits. But there are some interesting ideas to be found here, though they are somewhat let down by action that clearly has no interest in being realistic, and a tendency towards maudlin emotion. I was left wondering who, exactly, it was aimed at, because the sentimentality feels at odds with the young men who are likely the target consumers.

It takes place in a high school where the favoured hobby of Koharu Tachibana (Shiraishi) is making plastic models. After buying kits of a gun and a figure called Alice, and assembling them, she wakes to find herself an unwilling participant in ‘Girl Gun Fight’. Four teams of three young women, are pitted against each other in battle, overseen by each team’s commander – hers being Alice (Ohara). Between rounds she’s returned to school, along with the other participants, but naturally, nobody believes this story. There’s an awkward twist, in that if you lose all three of your lives in the game, that’s it. You do not get back to the real world, with all trace of you, including other people’s memories, being wiped out.

That’s a wonderfully dark concept, which we see realized as members of the team’s try, and fail, to protect their last life. But it also possesses almost industrial levels of perkiness, particularly reflected in idol-like pop video inserts, and bumpers of enthusiastic model-making. Tonally, it’s all over the place. I suspect that might be the point, in the same way I don’t know at whom it’s aimed. I’m inclined to go for male wish fulfillment, with Koharu being about as far as possible from the typical model-building nerd. On the other hand, it has a lot in common with the “magical schoolgirl” trope, often found in anime, and it’s driven largely by the power of friendship.

That’s especially true in the final two episodes, when Koharu, Alice and the survivors meet the wizard behind the curtain. It all gets a bit too sentimental for my tastes, with the protagonists falling over themselves in a rush to self-sacrifice. The other weakness is action that, in the main, is nothing special – it’s very stagey, in a way at which Power Rangers might look askance. More hard-hitting fights would have added nicely to the contrast with the cheesier elements. Still, I burned through the ten episodes in three sittings, and was entertained, though the emotional impact I felt fell short of what the show was aiming to generate. I also do not feel any strong urge to take up kit-building as a hobby.

Dir: Yûsuke Taki
Star: Sei Shiraishi, Yuno Ohara, Anna Ishii, Natsuki Deguchi

Lady Lawman

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★★½
“Badge of honour.”

After the pleasant surprise which was Lady Outlaw, I went back to the well of Mauser movies, for this one, which seemed similarly themed, but made three years earlier. It’s definitely a bit less successful. More talk, and that is almost impressive considering how chatty Outlaw was. The central performances are okay, but some of those around the edges… Hoo-boy. However, this did actually introduce me to a historical action heroine I hadn’t heard of. So let’s discuss the real F.M. Miller, though it’s clear the film is filling in a lot of blanks – not the least of which is giving her a first name, Francis. In reality, nobody seems to know what her initials stood for.

However, she certainly seems deserving of respect. She was made a deputy Marshal in 1891, and consequently worked mostly transporting and guarding prisoners. But a contemporary report said, “Miss Miller is a young woman of prepossessing appearance, wears a cowboy hat and is always adorned with a pistol belt full of cartridges and a dangerous looking Colt pistol which she knows how to use.” Here, she’s a rancher, who is brought on board by Buck Johnson (Jecmenek), to help hunt down notorious outlaw Richard Andrews (Leos). He’s an interesting character, being a Black slave-owner. Or former slave-owner, the film taking place after the end of the Civil War. He turned to outlawing, and became quite a leader, to the point his men are willing to die for him.

Which is where Buck comes in, because he lost two deputies in a suicide attack by Andrews’s men. As a replacement, he brings Francis (Jasso) on board – initially for her tracking abilities, learned before her husband was gunned down by highwaymen. However, after bringing in Andrews’ sidekick by herself, she earns her marshal’s badge, and the search is on for Andrews. This involves rather more riding and talking than anything, up until a grubby brawl in the mud during a rainstorm, which is actually well-handled. However, given the blank slate that Miller presents, I would prefer them to have given her more to do. There’s no surprises here, in particular the personal connection between her and Andrews, which is not the revelation the film seems to think.

Jasso is fine as the heroine. There’s a down to earth quality about her which is winning, and she knows it’s her gun which levels the playing field against men larger and stronger than her. Jecmenek is decent too – Buck is absolutely ruthless, which makes sense by the end of the film. “Violence solves everything,” he says. Elsewhere, as mentioned, more of a mixed bag, and that’s being charitable. Some scenes are more wooden than a fence-post, and given how dialogue heavy this is, we have a real problem. Still, based on it and Outlaw, it seems Mauser’s talents are trending in the right direction. If we get the cross-over hinted at by the end of Outlaw, I would certainly not mind.

Dir: Brett William Mauser
Star: Ryan Lakey Jasso, Jake Jecmenek, Carlos Leos, Ernest Martinez

After Blue

  By

★★½
“WTF?”

No, really. What we have here may well be the most bemusing film I’ve ever reviewed on the site. It almost exists in an alternate dimension, where concepts such as “good” or “bad” have no meaning. This simply is, and it’s entirely up to you to deal with it. This takes place in a future where humanity was driven off Earth to find other habitable planets. The titular one here had a nasty side-effect, in that it killed off all the men: “Their hairs grew inside because of the atmosphere.” Wait, what? Anyway, it’s now matriarchal, and living in small communities based on nationality. There appears to be some friction between France and Poland, and it’s key to what happens.

On the beach one day, Roxy (Luna) discovers a woman (Buzek) buried up to her neck. Rescuing her proves a mistake, because she kills Roxy’s three friends before departing. Turns out she was a criminal the Poles buried there so she’d drown, and is called Katajena Bushovsky. Or Kate Bush for short, which eventually leads to unforgettable lines like, “You shaved Kate Bush an hour ago.” This is not a sentence I expected to hear when I woke up this morning. [What the director has against body hair, Polish people and Kate Bush, remains positively opaque.] For Roxy’s sins, she and her mother, Zora (Löwensohn), are sent to the mountain which is Kate’s hideout, meeting and/or fighting a slew of wild and weird characters along the way.

It’s considerably less coherent than the above makes it seem, feeling like a fever dream filtered through far too many French bandes dessinées. There are some cool elementsL the hats frequently worn by the women (top) seem to have been bought of the rack at Pinky Violence R Us, and the guns are named after fashion labels. “I’ll shoot with my Gucci. It can put a hole through rock, through wood, through bones,” is also not a subtitle I expected to read. If you are into the works of someone like Panos Cosmatos, you might enjoy this. I, however, am not, and at a hundred and twenty-nine minutes, I must confess my full attention tapped out, with about thirty still to go.

However, that is considerably further than I expected. This was something I threw on, thinking I’d discover it was nothing but pretentious art-wank, bail quickly, and pretend it never existed. Yet here I am, writing a review. It probably is nothing but pretentious art-wank, to be clear. Yet there is something to be said for a film-maker who gets to unleash his fully unfettered imagination onto the screen. How it got funded, is another question: laundering drug money would seem a plausible explanation. Then again, it’s French, so… /Gallic shrug. This certainly is not a film I would recommend, and being made to watch it again could be seen as cruel and unusual punishment. But I didn’t feel my time was entirely wasted.

Dir: Bertrand Mandico
Star: Paula Luna, Elina Löwensohn, Vimala Pons, Agata Buzek
a.k.a. Dirty Paradise

Cadejo Blanco

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★★★½
“…the size of the fight in the dog.”

Cross another country off the map: Guatemala, in this case. I should probably start by explaining the title. The “cadejo” is a dog-like spirit from local folklore, which comes in two varieties. The black (negro) one is malicious, appearing to and trying to kill travellers, while the white (blanco) is benevolent. According to Wikipedia, it “protects people, including drunks, vagabonds, and people with grudges from all evil. Emphasis added, because now and again in this, there appears to be one watching over the grudgeful heroine here, Sarita (K. Martínez). She is on the hunt for her sister, Bea (P. Martínez – maybe they’re real sisters?), who vanishes one night, after the siblings have an argument at a local nightclub.

Sarita had just discovered Bea had been seeing a gang-banger, Andrés (Rodriguez), who worked on the weekend there as a barman. She goes to his home town where he operates, and infiltrates the gang, seeking to find out what happened to Bea. Gaining their trust is not easy: she has to act as bait, luring a rival of the group’s boss into a hotel for an assassination attempt. She then discovers Bea may have been abducted by another gang operating in the area, and volunteers for a more active role in the next murder. What price is she willing to pay, in order to discover the truth about Bea’s fate, and make those responsible pay for their involvement?

The common theme here is everyone underestimating Sarita, and how far she will go to achieve her aims. The most obvious culprit is the first target, who sees in her only a fresh whore to bed. It’s a superbly tense sequence, beginning with an extended single shot of her arriving at and exploring the club where the target is located. It then becomes increasingly fraught as he first wants to take her home rather than the designated hotel – and it turns out he has a room there already. You’ll find yourself holding your breath as Sarita has to improvise: what she may lack in experience, she makes up for in quick thinking. And, by the end, in her utter ruthlessness, again underestimated by her victim.

At 126 minutes, it could perhaps use some tightening. However, it’s rarely boring, simply as a depiction of existence at the bottom of society, where life is disposable. As Andrés’s friend Damian (López) says to Sarita, if any of them die, “Nobody will care. We don’t matter to anyone. They’ll all be very happy we’re dead.” Lerner used a lot of non-professional actors, some of whom had first-hand experience of gang life, and the resulting authenticity powers the film through the choppier waters it sometimes encounters. I would recommend not investing too much in Bea’s fate, since the specifics are never detailed. Yet it isn’t the point. This is Sarita’s story, and by the end, she’s far from the brave innocent we met at the beginning.

Dir: Justin Lerner
Star: Karen Martínez, Rudy Rodriguez, Pamela Martínez, Brandon López

Night Raiders

  By

★★½
“Night of the Living Deads”

This rather gloomy slice of social science-fiction seems to take place in a post-apocalyptic version of Canada, albeit a fairly low-key apocalypse. It seems to have led to a rigidly class-based system, with a sharp division between “citizens” and the rest. That leaves the indigenous population on the outside, scrabbling hard to survive and avoid having their kids “re-educated” in military-style academies. [This pointedly echoes something similar which actually took place as recently as the sixties] To avoid being separated, Niska (Tailfeathers) and her daughter Waseese (Letexier-Hart) live off the grid in the countryside. However, after Waseese suffers an accident, they have to seek medical attention back in the city, bringing them to the attention of the authorities.

This ends in Waseese being taken away, and Niska forming a rather uneasy alliance with a local group of native Canadians, who are operating in resistance to the authorities. They have their own encampment, and one of their shamen (shawomen, I guess) had a dream which appears to be a prophecy about a saviour coming from the North. Which seems to fit Niska, much to her discomfort. She reluctantly agrees to help take a group of indigenous children to a supposed “safe haven”, if the group assists her in breaking Waseese out of the academy. Though will her daughter be willing to leave after the relentless brainwashing, telling Waseese her mother abandoned her? Then there’s the imminently looming removal – or worse – of the encampment.

It’s all very earnest, glum and comes up rather short as entertainment. I’m sure the film-makers would respond that entertainment isn’t the point, but if you’re using your movie as a parable, it helps get the message across if people are engaged. We’ve seen this kind of crypto-fascist villain state too often before (most obviously in The Hunger Games), and writer-director Goulet doesn’t bring much new to the table. As bad guys, they’re fairly milquetoast. Indeed, when someone says “Cree can’t take care of their own families”, I was kinda forced to think, “You might have a point,” given Waseese was tramping round the woods and living in an abandoned school bus when we first meet her. A call to CPS hardly seems unmerited.

The best thing about this is the look of the film, which does a very good job capturing the fall of civilization as we know it. While it’s never clear exactly what happened to cause this, what’s left is largely a blasted wasteland of badly-damaged buildings, whose inhabitants are clinging on by their fingertips. However, few of the characters living in this setting are given much in the way of depth, and the plot does things like throw in a virus epidemic which goes nowhere, because it’s 2021 and every self-respecting dystopia needs one. The finale teeters over into the fatuous, with Waseese suddenly being able to mind-control a flock of flying government drones. I’ll admit, I did not see that coming.

Dir: Danis Goulet
Star: Elle-Máijá Tailfeathers, Brooklyn Letexier-Hart, Alex Tarrant, Amanda Plummer

Fighter’s Life

  By

★★½
“Knocked down by the clichés”

If you fed an AI all the sports movies ever made, and then asked it to write a script, what you’d get is likely something close to this. Here’s a challenge: write down ten clichés you find in a film like this, then watch the movie (conveniently embedded below), and see how many show up. I’m willing to bet most of those on your list would be present here. The main saving grace is that the execution is done with a complete lack of self-awareness. It feels as if the writers genuinely had no clue they were treading a path which was more of a groove. Everyone involved in this is so earnest, it just about gets away with it.

Here’s the plot. Let’s count the clichés. Xia Yun (Xia) dreams of a career in MMA (#1). However, she’s stuck working in her family restaurant (#2), run by her father after her mother left them (#3). She gets a chance to enter a prestigious tournament (#4), the prize money for which could clear her father’s debts (#5). However, her trainer comes under pressure for Xia to throw a match (#6). Despite this, she reaches the semi-finals, where she suffers a setback (#7), losing to a Brazilian fighter. It’s subsequently revealed her opponent cheated (#8), giving our heroine the chance to win it all (#9), in front of her mother (#10). Oh, yeah, add a freebie: there might be a life-threatening illness involved at some point as well (#bonus).

The other issue is, there’s a lot of stuff outside the octagon to cram in, especially when the film is only seventy-two minutes long. There’s surprisingly little actual fighting in it: certainly more drama, and possibly even more training sequences, of one form or another. This is a bit of a shame, since Xia Jiao looks more convincing than the actresses in many a Hollywood film. Not least in her quick hands, which suggest she might be a fighter trained to act, rather than an actress trained to fight. Whether that’s true or not, I don’t know: if not, then a “well done” to Xia for making it look convincing. Or at least convincing enough to fool my (admittedly, untrained) eyes.

The brief running-time may work in the film’s favour, in that it can hardly be accused of outstaying its welcome. It’s technically solid, and though clearly smaller in scale, doesn’t look cheap. The components are in pace for a decent, quick-paced action film; it’s just that the makers don’t appear particularly interested in delivering one. They seem more interested in the dramatic elements: as noted above, those aspects are absolutely nothing you have not seen, many times before, and the execution does little to elevate them. A hat-tip to Denis for pointing me in the direction of this one: I’m always looking for suggestions, and it certainly wasn’t the worst I’ve seen – even this week. There’s just little here to merit a second viewing.

Dir: Huang Binhao
Star: Xia Jiao, Yu Shan Chuan, Bai Yao, Sarah Chen

High-Rise Invasion

  By

★★★
“Writer’s tower block.”

This animated series bears a certain resemblance to another Japanese show on Netflix, the live-action Alice in Borderland. Both are adaptations of Japanese manga series (Alice started three years earlier), which see a number of young people suddenly transported to a lethal and sparsely populated version of their city. There, they have to figure out how to survive, and what the heck is going on, in the face of enemies human and… well, not-so human. Both shows also manage to reach the end of their first series without achieving even the slightest degree of significant resolution, though the journey to reach that point is still reasonably entertaining, and certainly does not stint on the old ultra-violence.

The fact that High-Rise Invasion is reviewed here should give you a clue to another difference. The protagonist here is Yuri Honjō (Shiraish), a schoolgirl who finds herself on top of a network of skyscrapers connected by rope-bridges. There’s no way down – except to plummet to your death. That’s a fate encouraged by mask-wearing opponents, who appear to be mind-controlled, and whose goal is to drive those without masks to suicide. Or failing that, simply to kill them. Yuri teams up with another girl, Mayuko Nise (Aoki), who has the skills necessary to survive. They seeks for Yuri’s brother, Rika (Enoki), as well as the truth about what is going on, and a way back to the normal world.

It’s certainly a concept that grabbed my attention, and the approach here doesn’t stint on the splatter, with torrents of gore. There’s a nice variety of opponents, each of whom have retained something of their original personalities, and wield their own weapons, ranging from swords to baseballs (!). The first few episodes are excellent, with Yuri struggling to find her footing in this bizarre and murderous setting, and learn the rules by which it operates. The problem is, it increasingly feels as if these were made up as the show went along. For example, sometimes the control of a mask is iron-clad and inescapable. Sometimes, it’s basically no more than giving suggestions to a wearer who retains their free-will, and feels contrived as a result.

The larger arc is not bad. The show finishes with both sides having to team up in order to defeat the near god-level creature known as “Archangel,” who basically sees all humanity as evil and is intent on purging it from the world. By the end of the twelfth 25-minute episode, however, it doesn’t feel like you have moved enormously far or learned a great deal. Yuri is still looking for her brother. We don’t know who is running the whole endeavour, and nor is anyone much closer to finding a way out. There’s a certain unevenness of tone too, with odd moments of slapstick and panty shots, that feel at odds with the grimdark approach. I was adequately entertained, yet the apparent lack of a second season generates no great sense of loss.

Written: Masahiro Takata and Tōko Machida
Star (voice): Haruka Shiraishi, Shiki Aoki, Yūichirō Umehara, Junya Enoki

Baby Assassins

  By

★★★½
“We kill people so we don’t have to get these annoying jobs.”

I’ve read complaints that the trailer mis-sells this, over-hyping the action components. Fortunately, I went in largely blind, so had no such preconceptions. I can see how it could be fair comment: while bookended by solid action, the middle is much more an oddball Japanese comedy. [If you’d told me this was directed by Sion Sono, I’d believe you] I still found it largely engaging, while occasionally hilarious and – sometimes simultaneously – utterly baffling. It’s about two teenage assassins, Chisato (Takaishi) and Mahiro (Izawa), who have been told by their handler they need to start fending for themselves. That means moving into an apartment, and finding work which doesn’t involve killing people.

As the line of dialogue above suggests, these are tasks for which both young women are singularly unsuited. Mahiro, in particular, is a self-confessed sociopath, who can barely keep up a normal conversation for five minutes, without wanting to shoot somebody. And it’s an urge that usually wins. We see this at the beginning, when a convenience store interview turns violent, and she has to fight her way out, past the manager and his (surprisingly loyal) employees. In the end, Chisato helps her get a job at the maid cafe where she works. I’d heard of those, but… yeah. Not sure if the depiction here is exaggerated for comedic purposes: it’s startlingly bizarre. Things ultimately go awry there when a Yakuza boss visits, and does not follow establishment etiquette, shall we say.

I was reminded of Violet and Daisy, in that this is as much about the relationship between the two young hired killers, as their actual killing. However, here the duo’s background is entirely opaque. How did they become hitwomen? Who is hiring them? Where are their parents? These are all questions that the film is utterly disinterested in answering. To be honest, the concept is a little shaky. Surely murder pays well enough that a part-time job in a 7-11 is not necessary? However, if you can roll with it, there’s a lot of amusement in getting a glimpse of what assassins do when not assassining, especially if you’ve ever lived in a similar arrangement. 

Izawa, a stuntwoman who doubled for Rina Sawayama in John Wick 4, handles most of the action. In addition to the early convenience store brawl, there’s also a final fight against the much larger Mimoto. It works, because Mahiro makes no attempt to out-power her opponent or go toe-to-toe with him, instead opting to use her advantages in speed and agility to gain an edge. I would like to have seen more of this, and some of the humour here is perhaps trying too hard to be “quirky”, complete with air quotes. But these are a pair of characters with which it’s fun to spend time, and certainly provides more amusement than I needed. I’ll be checking out the sequel, Baby Assassins 2 Babies, in short order. 

Dir: Yugo Sakamoto
Star: Akari Takaishi, Saori Izawa, Masanori Mimoto, Mone Akitani