Tag: 2021

Kate

  By

★★★
“Dying to kill you.”

The action heroine plotline of a woman defending a child – sometimes her own, but more often an acquired kid – is a common one. The “Mama Bear”, as TV Tropes called it, was most famously used in Aliens, but shows up with some regularity in our genre. See also Ultraviolet, Furie and The Long Kiss Goodnight (have I really never reviewed that?), while Gunpowder Milkshake was the most recent example. Of course, it’s not just heroines to whom it can apply; indeed there’s another page on TV Tropes called “Badass and Child“, covering the likes of Leon: The Professional. But the pairing of an action heroine with a (usually female) child has particular resonances, that perhaps merit general discussion, before we get into the specifics of Kate.

Firstly, it offers an easy justification for any and all subsequent violence. In Western society, women are not supposed to be aggressive. They are seen as the caring, nurturing gender, but protecting their offspring is one of the few times when they are “allowed” to engage their inner monsters. Again, it’s not limited to the female sex (think Taken), but male characters tend to have a wider range of potential motivations e.g. patriotism, personal power, so you don’t see paternal protection as often. [And that’s quite enough P’s.] In most cases – Ripley being an exception – the mother figure is already something of a bad-ass, so has that “very particular set of skills” necessary. It’s just the specific direction of her targets which is a result of the threat to her offspring. 

There is also, quite often, some kind of emotional resonance, in the cases where the child is not biologically related [when that is the case, you don’t typically need or get any more explanation, blood being thicker than water]. Maybe the kid acts as a surrogate, a replacement for one previously lost (Alien), or the heroine could never have. Or if a girl, the protagonist can perhaps see a younger version of herself. The other common theme is the use of the child as a key, to unlock the adult. Often, the latter has lost her humanity, typically through harsh circumstances, becoming largely a lone figure, with her emotions suppressed. The “childlike innocence” of the young person, to use a cliché, can be used as a psychological crowbar, pricing open the hard shell of the grown-up, allowing them to reconnect with their humanity. The more emotionally-driven immaturity also stands in contrast to the adult’s stoicism, often to an extreme degree. 

Which brings us to Kate, since the film demonstrates most of the above, to a certain degree. It is, to some extent, an unfortunate victim of its own timing. Probably safe to say, I would have enjoyed this more, had it not come out almost immediately on the heels of both Gunpowder Milkshake and The Protégé – films with which it has rather too much in common. All three movies are about female assassins, who find themselves at a crossroads in their professional and personal lives. In Kate and Milkshake, the protagonists find themselves, more or less unwillingly, in charge of a young girl. In Kate and The Protégé, they operate under the guidance of an older, male veteran killer, who trained them since childhood, but may or may not have their best interests at heart. Throw in to this, the “investigating your own murder” plot-line from classic film noir D.O.A., and you’ll understand why this seemed over familiar. 

It begins in Osaka, where Kate (Winstead) takes out a yakuza boss, despite qualms over the presence of his daughter. She tells her mentor, Varrick (Harrelson), she will do one last mission before she retires – yeah, that cliché. But before it happens, she’s poisoned with radioactive polonium, which will kill her in a few hours. Intent on extracting vengeance, she finds it was apparently ordered by Kijima, brother of her previous victim. To try and lure him out, Kate abduct his niece, Ani (Martineau), the girl who was there when Kate killed her father. But Ani becomes a target as well, due to a power struggle within the criminal syndicate, and Kate her unwilling protector. This makes the whole “I killed your father, actually” thing more than a bit awkward, especially as Kate needs Anu’s help if she’s to discover the truth about her own assassination. For that is even more disturbing than she expects.

As you can probably tell, there’s nothing new in the story. This doesn’t mean it’s devoid of merit, for the execution is solid.  Nicolas-Troyan, previously here for The Huntsman: Winter’s War, brings a perpetual neon sheen to Japanese urban life, leaving half the film feeling like cut scenes from Blade Runner. While lovely to look at, this is very much a foreigner’s view of Japan, which makes Kate’s familiarity with the culture a bit jarring; she speaks Japanese, and is obsessed with ‘Boom Boom Lemon’, a (fictional) local soft-drink. The heroine could have done with more of this kind of humanizing quirk; for much of the movie, she seems more like a machine for revenge, rather than a woman clinging to her last hours of life, as the perfectly-machined tool of her body increasingly betrays its owner.

The other positive is the action, which is well-handled, and occasionally savage to an almost extreme degree. The peak is likely an early battle between Kate and a large number of gang members, culminating in Kate stabbing an opponent up under the chin, the blade coming out through his nose. I have not seen that before. However, the keyword there is “early”. The film probably needs a better sense of escalation, and the lack here stands in contrast to the likes of the John Wick franchise. I can’t say I was ever bored here. However, I didn’t feel there was enough to make it stand out from the (recently very sizable) crowd. I suspect this will likely vanish into the crowd of Netflix originals, and quickly be forgotten.

Dir: Cedric Nicolas-Troyan
Star: Mary Elizabeth Winstead, Miku Martineau, Woody Harrelson, Tadanobu Asano

Cowgirls vs. Pterodactyls

  By

★★½
“Where the deer and the pterodactyls play.”

A title like this is inevitably going to come with all manner of expectations, and these will largely be things that any film is ill-equipped to fulfill. That’s all the more the case, when your movie is clearly a super low-budget endeavour. By most objective standards, this could be seen as terrible, and I wouldn’t argue with you. But for all the flaws, and enthusiasm that exceeds technical ability, this is made with clear affection for its elements. That goes quite some way in mind to excusing the problems. In particular, there’s a love for the world of stop-motion dinosaurs, which I share. For example, the narrator is Martine Beswick, who co-starred in the classic stop-motion dino epic, One Million Years B.C. I presume Raquel Welch was unavailable…

Truth be told though, there’s only one “actual” cowgirl here. That’s Bunny Parker (Vienhage), who is hired by schoolmistress Rebecca Crawford (Wiley), after her husband is snatched and taken away by a pterodactyl. No-one believes her, flying reptiles not exactly being native to to the wild West, which is why she turns to Parker for a search and rescue mission. Also along for the ride is saloon madam Debbie Dukes Riley Masterson III (Vega), who has come into possession of a satchel of pterodactyl eggs, which may help explain the creature’s aggressiveness. After a long trek through the wilderness, they reach the cave complex where the beasts make their home. Let battle – involving guns and a convenient, large box of dynamite – commence!

I did enjoy the stop-motion work by Ryan Lengyel. Even if it’s not up to the standards of Ray Harryhausen, to put it mildly, the work involved is still apparent, and his models’ interactions with the human cast were particularly well done. Kennedy matches this footage with larger models and puppets, and the results were worthy of praise, given the clearly limited resources. That said, other aspects are embarrassingly sloppy. Would it have killed one actress to have removed her glaringly anachronistic nose-ring? Some of the guns, too, look like they came out of a Christmas cracker. Period pieces like this are particularly unsuited to low-budget work, and it seems fair to suggest that Kennedy bit off more than he could chew.

However, he wisely keeps things moving, and at 71 minutes, this isn’t likely to outstay its welcome. Well, providing you do have the necessary tolerance for movies where imagination greatly outstrips the budget. The three leads all go at their roles similarly i.e. perhaps with more enthusiasm than talent, though it’s an approach appropriate to the overall attitude. Less successful is import scream queen Thompson, whose character Doris Yates seems to serve little real purpose. She may well have emailed her scenes in. I went into this thinking, “It’s probably going to suck, but I hope it does so in a reasonably entertaining way.” Overall, I’d say that nailed it, with just about enough moments where we were laughing with the film, rather than mocking it.

Dir: Joshua Kennedy
Star: Madelyn Wiley, Haley Zega, Carmen Vienhage, Dani Thompson

The Retreat

  By

★½
“Striking a blow for equality. With an ax.”

After the unexpected pleasures of What Keeps You Alive, I guess what this proves, is that film-makers are able to make shitty lesbian horror movies every bit as badly as straight ones. Truly, a lack of talent is blind with regard to sexual orientation. This begins in a way not dissimilar to Alive, with a lesbian couple whose relationship is on shaky ground, heading out into the wilderness.  Sadly, things then diverge in just about every metric of quality. In this case, it’s Renee (Pirie) and Valerie (Allen), who are heading off to a country B&B to meet up with two gay friends.  Except, when they get there, the friends are nowhere to be seen. The new arrivals then proceed to ignore more red flags than would be found on May Day 1980 in Moscow, until they get kidnapped by the local homophobic psychos. They have a thriving business in live-streaming snuff films, and welcome the arrival of some fresh meat.

Well, until Renee and Valerie escape, and rather than hightailing it out of there – you know, like any normal, sensible person would do – opt to take on their attackers, because Rural Homophobes Must Die. Oddly, those subsequent deaths are shown in a degree of detail that borders on the gloating, while the murders of their victims take place out of frame. Hmm. Well, when I say “shown”, I’m talking loosely, because this has to be close to the most atrociously-lit film I have ever seen. At one point, our heroines are enjoying a nice picnic in broad daylight. Just a few minutes in story time later, it’s either the middle of the night, or an unexpected total solar eclipse popped up. Because the audience are left peering into darkness, trying to figure out which vague, blobby shadow is doing what, and to which other vague, blobby shadow. I don’t know whether it’s bad film-making, or a really bad transfer, but it’s borderline unwatchable.

From what I could determine, peering into the gloom, it doesn’t have anything much new to offer either. But then, the specific sexual orientation of horror movie characters is rarely relevant: I just don’t care. The film, meanwhile, seems to think that putting lesbians in, is enough to allow them to trot out any number of overused elements everywhere else. They’re wrong. A poorly filmed, cliched horror movie does not become any better because its two heroines are sleeping with each other. Dangling ends abound, such as Renee’s easy familiarity with firearms, which serves no notable point, and there is precisely one (1) decent kill. It even fails as a commentary on society, being far too obvious and simplistic to work on that level. To succeed, a film like this typically needs to have at least one of the following body-parts: a brain, a heart, or guts. Trying to replace all three with a vagina isn’t a recipe for success.

Dir: Pat Mills
Star: Sarah Allen, Tommie-Amber Pirie, Aaron Ashmore, Munro Chambers,

The Protégé

  By

★★★
“Q’s the boss?”

It’s nice to see Maggie Q get back into the action genre again. It’s where she achieved renown – most obviously in the second Nikita TV series, but we were already aware of her, thanks to Q’s work in Hong Kong, such as Naked Weapon [let’s just not talk about Model From Hell…]. Of late though, she has worked mostly in other fields; while still genre-friendly, such as Death of Me or Fantasy Island, they’re just not our genre. So, when I heard she was playing an assassin, out for revenge after someone kills her mentor (a role originally given to Gong Li), this immediately got moved to the head of the list, since it seemed like a throwback to why we love her.

While I wanted to really like this, I can only say it’s… okay. This is mostly due to a serious mistep in the second half of the film. I can’t talk about it specifically, for spoiler reasons. But it effectively renders everything which had happened up to that point as irrelevant, and sidelines Q’s character in what had been, to that point, her story. The motivation for the character behaving the way they did seems murky at best. I trust this is all adequately vague. Anyway. Q plays Anna, a Vietnamese orphan rescued during a mission by hitman Moody Dutton, and brought up as his daughter and apprentice. Thirty years later, they have formed a close-knit pairing, until Moody is killed after making inquiries into a long-disappeared person.

Anna vows to find and punish whoever is responsible, and soon finds herself under attack as a result, after persisting despite being warned by the mysterious Michael Rembrandt (Keaton). Their relationship subsequently develops, and these events put Rembrandt’s loyalties under pressure. Unfortunately, this is where the script implodes, in part due to the lightly outlined reason above. But it’s also due to other missteps like an extended flashback to Anna’s time in Vietnam, which do not add anything of significance, and instead divert proceedings, just when things should be accelerating towards a grandstand finale – one that never happens.

If I have major qualms about Richard Wenk’s script, I’ve no real problem with Campbell’s direction. The veteran has a good pedigree, including one of the best Bonds ever in Goldeneye and the two recent Zorro film, and knows where to point a camera. Q doesn’t seem to have lost much speed either, though there is a terseness to some of the killings here. It’s not inappropriate – she’s a professional, after all – but I’d have liked the fights to go longer. As is, the first such scene, where she takes out a mob boss and his bodyguards in about ten seconds, is a good indicator of what to expect. Still, in this area it’s solid stuff, with some moments of intense hyper-violence, such as an opponent going face-first through a sink. That helps lift this to the point where it’s still worthwhile. Yet I can’t help feeling it’s just not as good as it should have been.

Dir: Martin Campbell
Star: Maggie Q, Samuel L. Jackson, Michael Keaton, David Rintoul

Vanquish

  By

★½
“Red, white and blew”

I want to like Rose, who seems to be making a concerted effort to become an action heroine. It hasn’t always worked out – see The Doorman – but she keeps plugging away. It’s against that background I watched this, which I knew going in ranked among the worst-reviewed action heroine movies, certainly of this year, and probably all-time. As I write, it’s at 4% on Rotten Tomatoes and 2.7 on the IMDb. For comparison, the latter scores both Barb Wire and Catwoman at a 3.4. Hell, even Bloodrayne comes in at 2.9. But surely Vanquish could not possibly be worse than that? Unfortunately, I am here to tell you: yes, it can. It’s the cinematic equivalent of a wax bowl of fruit. LOOKS like the real thing, but contains no nutritional value, and isn’t even a pleasure to eat.

Michael Caine famously said of his role in Jaws 4, “I have never seen it, but by all accounts it is terrible. However, I have seen the house that it built and it is terrific.” I can only imagine Freeman needed a new home – or more likely a kitchen remodeling – for there’s no other reason for him to have taken this part, and he all but sleepwalks his way through it. He plays Damon, an ex-cop now confined to a wheelchair, from which he runs a crime empire. His career, Victoria (Rose), is an ex-soldier who needs help with the medical expenses of her little daughter. She agrees to carry out a series of collections for him, over the course of one night. 

There are so many red flags here, not least his threatening her daughter, a pointless bit of leverage. Then the first collection brings her face-to-face with the man who killed her brother. Really, what are the odds? Any normal person might go, “Hang on a moment…”, consider the possibility Damon might just have a hidden agenda, and turn their mad skills on him. But we need the movie to happen, and so Victoria ploughs on, through a series of non-escalating and largely uninteresting confrontations. She has cameras strapped to her, so Damon can follow her actions, and yell marginally helpful advice at sporadic intervals. It’s less than 15 minutes before the end, that any genuine sense of free will appears for the heroine.

I will say, it is framed and shot in a competent manner, with some nice use of colour palette. Otherwise, though, this is startlingly uninteresting. It is not, of course, the worst film I’ve covered here, by a long shot. But this clearly wasn’t cheap. I’ve not been able to pin down a budget, but I’d say $20 million seems a minimum figure, unless the producers had compromising pictures of Freeman. Among other GWG movies with eight-figure budgets, this does definitely need to be in the conversation for worst ever, possessing almost no redeeming features. Poor Rose needs to have a word with her agent, before her career goes the route taken by Michelle Rodriguez

Dir: George Gallo
Star: Ruby Rose, Morgan Freeman, Patrick Muldoon, Nick Vallelonga

Blood Red Sky

  By

★★★
“Vampires on a Plane”

Or, maybe, “Die Hard with vampires”? It’s a bit of both. Mother and son pairing, Nadja (Baumeister) and Elias (Koch), are on their way from Germany to New York, so that Nadja can receive treatment for her rare blood disorder. However, the plane is barely over the Atlantic before it gets hijacked by a group of terrorists. They intend to turn back and crash the plane into London – after parachuting off it – blaming Islamic fundamentalists, because… Well, various theories are suggested, but it’s not really important. What matters, is Nadja ends up getting shot repeatedly. But she doesn’t die. Remember that “rare blood disorder” from earlier in the paragraph? As you’ve probably worked out already (especially if you’ve seen the trailer, so it’s not a spoiler), she’s a vampire, and so is faster, stronger and more lethal than the hijackers now threatening her son’s future.

Excepts, it’s not quite as simple. For the most lunatic and deranged of the terrorists, Eightball (Scheer), figures out what’s going on and decides to fight fire with fire. Injecting himself with Nadja’s blood, he also turns a bit bitey, and it becomes good vampire + passengers versus bad vampire and terrorists. Nadja needs to ensure, not only that the latter don’t prevail, but the cover of darkness does not allow Eightball and any others like him to escape into the world at large. Complicating matters further, the change in course back towards Europe means dawn is approaching, and these are your old school, burst into flames when exposed to direct sunlight vampires.

There’s plenty going on here, and even at over two hours long, it doesn’t feel like the film drags. Director Thorwarth knows his way around escalating tension, and does a solid job. However, it feels as if he left a good deal of potential on the table, mostly due to the structure. This is painfully flashback heavy. It opens with the plane landing on a remote Scottish landing strip, with apparently just two survivor Elias and a Muslim physicist (Setti). It then skips back to mother and son’s arrival at the airport, playing forward from there, except with further flashbacks, detailing how Nadja got infected. These do definitely defuse the tension of the hijack situation; the details of how she became a vampire don’t really matter much.

What I liked was the notion that vampirism doesn’t change you. If you’re a good mother, you’re still a good mother; if you’re a psycho, you’re still a psycho. Just, in both cases, better equipped to defend yourself. The look is, appropriate enough for a German film, Nosferatu-like, with Nadja losing her hair; oddly, Eightball doesn’t, perhaps to assist in identification. Must be a later stage. :) 30 Days of Night is another touchstone, though in the “Unexpected Vampire” subgenre, this definitely falls well short of From Dusk Till Dawn. It did remain entertaining enough, and offers enough new twists on the established mythology to stand on its own.

Dir: Peter Thorwarth
Star: Peri Baumeister, Carl Anton Koch, Alexander Scheer, Kais Setti

Gunpowder Milkshake

  By

★★★★
“Jane Wick.”

Yeah, it’s kinda like that. As in John Wick, the hero(ine) is an assassin for hire, in a world where there exists a significant infrastructure of support for hitmen and hitwomen. After they fall foul of the wrong people, our hero(ine) becomes the target, but has more than enough skills to be able to fend for themselves, and takes the fight to their aggressors. Oh, yeah, and it also borrows significantly from Leon: The Professional, in that the assassin becomes the protector of a young girl. Hmm. But this leverages those two with very large injections of style. Not quite to the level of Sucker Punch, but heading that way. Thiscand enough original ideas, made it work for me, despite the familiar elements. 

It has been interesting to read the reviews, which seem sharply divisive. Critics appear either to like it or hate it, with not much “It was alright.” I think this is one of those films where you need to buy into the approach as much as the concept. For example, it seems to take place in a world inhabited solely by people in the film. There are few if any bystanders. The location is deliberately vague (it was filmed in Berlin), with a deliberate attention paid to the colour palette used. According to the director, for example, yellow represents death – such as the large, yellow duffel-bag with “I ♥ Kittens” on the side, in which the protagonist totes her weapons. If you’re not down with this approach, I can see how this could annoy rather than amuse.

Said protagonist is Sam (Gillan), a killer with abandonment issues ever since her mom (Lena Headey) walked out on her, fifteen years earlier. Sam is tasked by her employer, Nathan (Giamatti), with recovering a haul of stolen cash. But she finds the thief was coerced into action, after his eight-year-old daughter (“8¾!”, as we are reminded on several occasions), Emily, was kidnapped. Likely reminded of her younger self, Sam takes custody of Emily, though the cash is destroyed in the process. This, and a previous job where she killed the son of a very important person, makes her persona non grata, and the hunter becomes the hunted.

Fortunately, she’s not without allies. In particular, there are the Librarians, three women who run the armoury available to all assassins [like the Sommelier in John Wick]. This trio, played by Yeoh, Angela Bassett and Carla Gugino, have a lot of previous history with Sam and her mother, and opt to take her side in the impendng war. Of course – and the development is so obvious, it doesn’t count as a spoiler – Mum also returns. The 5½ women (counting Emily as the fraction), have to stand their ground, first at the library, then in a final battle at the diner, the neutral ground (coughContinentalcough) where Sam’s mother left her, all those years ago. 

The action is good, rather than great. It is, at least, not over-edited and is definitely helped by Papushado’s dedication to style – it all looks striking, which makes it (literally) punch above its weight. Nowhere is this clearer than an amazing slow-motion pan down the length of the diner towards the end, which is the kind of shot you’ll want to rewatch several times, in order to see everything that’s going on. It does feel as if Yeoh was somewhat underused, though I should probably give up expecting anything Crouching Tiger-like these days. That was over twenty years ago, and Yeoh turns 59 in less than a week. That said, she still holds her own with the less mature actresses admirably – says the man, younger than her, who needs a stunt double to change the batteries in the ceiling smoke detector.

Despite the shot mentioned above, the fight in the library is definitely the film’s highlight and in terms of pacing feels like it should have been the climax. With the women defending their turf, it has the feel of an Alamo-like final stand. Instead, things potter on for a further 20 minutes thereafter, with the makers feeling like they have chosen to coast over the finish line, rather than engaging in a final sprint. I felt another area of criticism was the use of music, which often seemed to reach Baby Driver levels of over-emphasis. I once described that film as “like I was trapped inside Edgar Wright’s iPod, while he hummed along to his own mix-tape,” and if this isn’t quite as bad, there’s even less reason for the songs here. They’re a grab-bag that don’t offer a sense of time or place. I blame Quentin Tarantino.

It is notable that the film is split firmly along gender lines. with every one of the protagonists being women, and every one of the antagonists being men. However, it’s fortunate that seem largely to be about the extent of the messaging, and nobody particularly pays attention to this. Everyone is kept quite busy trying to kill each other. It’s also a bit less of an ensemble piece than I expected from the trailer. Especially in the first half, it’s Sam vs. the World, with the Librarians introduced, and then shuffled off to one side until Sam is ultimately forced to turn to them for help. That’s not particularly a criticism. I like Gillan, who was born about 25 miles from where I was, so is likely the nearest I have to a local action heroine. She can carry a film perfectly well, even if I’d rather have heard her natural Scots accent.

Comparing this to Black Widow from a few weeks ago, both films got four stars, but only Milkshake merited our seal of approval. I think it’s because the latter’s strong sense of visual style does give a rewatchability that the relative pedestrian approach of Widow didn’t achieve. You’ll see things here which you have likely never seen before, and while that originality definitely does not apply to all the plot elements, it does at least have the grace to take those things from some very, very good movies.

Dir: Navot Papushado
Star: Karen Gillian, Chloe Coleman, Paul Giamatti, Michelle Yeoh

Gunpowder Milkshake (2021)
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Jolt

  By

★★★
“Crank-ette”

Certainly the kind of action film for which you need to suspend your disbelief. In this case, the closest parallel is, as the tag-line above implies, the Jason Statham vehicle, Crank. In it, Statham’s character was poisoned, and had to keep his adrenaline permanently up for the rest of the film. to avoid dying. Here, it’s almost the reverse. Beckinsale’s character, Lindy, was born with a rare condition, “intermittent explosive disorder”. This is pretty much what it sounds like: uncontrollable aggressive outbursts, like a physical version of Tourette’s. This is a real thing. Not so real? Lindy is also “blessed” with high levels of cortisol, which make her faster and stronger than anyone else. Somewhere in the middle? Lindy controls her IED with electric shocks from a handheld device given to her by her therapist, Dr. Munchin (Tucci). All told, I’m tagging this as SF. #ChangeMyMind

She’s just about coping with life, until her new boyfriend, accountant Justin (Courtney), turns up as a corpse. Turns out he was working for some very shady characters, and apparently paid the price. Time for Lindy to put her affliction to good use, despite the efforts of the cops, such as Detective Vicars (Cannavale) to prevent her. She works her way up the criminal food-chain towards Gareth Fizel (David Bradley – who played Walder Frey in Game of Thrones, so knows about getting hunted by single-minded young women!), cracking heads as appropriate. Yet, things may not quite be what they seem. Not least, after the opening narration by Susan Sarandon, we kept expecting her to show up. You’ll have a wait. It’s also obvious that someone like Lindy has her uses, as a blunt instrument with which to solve other people’s problems.

While the ending is very clearly trying to start a franchise, I’m not certain there would be much more to offer. It is a pleasure to see Beckinsale kicking butt, in a way we haven’t seen in a few years (probably since the last Underworld film, Blood Wars). However, I can’t help thinking she doesn’t seem “right” for this kind of characters, which I would have expected to be all rough edges, rather than Beckinsale’s smoothness. It almost feels as if it was, perhaps, originally written for the likes of low-budget action god Scott Adkins, only for them to do a quick search-replace of “he” with “she” in the script, after Beckinsale showed interest and they got more money. Even there, it might have been more convincing with somebody like Ruby Rose as Lindy, who could bring the necessary edge to proceedings.

To be honest, the action was a little disappointing too – perhaps more so in quantity than quality, as it does have a couple of decent, well-choreographed brawls. I didn’t feel particularly as if there was much sense of escalation to proceedings; I mean, it’s not as if Bradley is going to pose much of a threat, is it? I can’t help comparing it to Black Widow which, despite its flaws, did build to a rousing climax. Here, although I was never bored, it is kinda easy to see why this bypassed cinemas and went straight to Amazon Prime.

Dir: Tanya Wexler
Star: Kate Beckinsale, Bobby Cannavale, Stanley Tucci, Jai Courtney

Black Widow

  By

★★★★
“The name’s Widow. Black Widow…”

I said it in my review of Captain Marvel, but it probably bears repeating here. I’m basically completely unfamiliar with the Marvel Cinematic Universe. Avengers: Infinity War? It may have become the biggest film in cinema history, but I’ve never seen it, and that’s par for the course. Of the 13 MCU films released since the beginning of 2015, I have watched just three. So if this required any prior knowledge, or information not present in the actual movie, I was going to be hosed. Another concern coming in, stemmed from one of those three movies: Captain Marvel. It was the epitome of the dumb comic-book film, and more a chore than a pleasure.

This had been long-delayed too, and that’s never a good sign, though it’s hard to blame the makers in this case. It was originally slated for release in May 2020, but of course, COVID-19 scuppered that, causing several reschedulings. The split release, simultaneously coming out in theatres and on streaming service Disney+, also came as a bit of a red flag. That’s because I’ve found films which debuted on streaming have largely been underwhelming. From Mulan through Wonder Woman 1984, as well as non-GWG entries like Godzilla vs. Kong and Mortal Kombat, the results haven’t impressed me. Could Black Widow buck the trend and deliver the summer box-office blockbuster which never happened last year? Well, if you counted the stars at the top, you’ll probably have worked out that it did, more or less avoiding the potential pitfalls. 

However, it has also become the first four-star film not to get our seal of approval. Put simply, while it delivered 2+ hours of very solid entertainment, I have no interest in seeing it again. To me, that is a key element in awarding a seal; the film must be one capable of getting (and standing up to) repeat viewings. This didn’t – though again, I want to stress I’d be more than happy to go see the future installments, which seem highly likely to follow. I think it was mostly a lack of emotional involvement which capped my appreciation for it. While a fine, well-crafted spectacle, that does work as a stand-alone film, I still felt like I had arrived in the middle of the show. For example, a relatively brief explanation of her origins in a nineties Russian sleeper cell is followed by “21 years later,” and that’s an awful lot of water under the bridge.

Clearly, a lot of significant stuff had happened in that time. Piecing the parts together, it appears the two “sisters” from the sleeper cell, Natasha Romanoff (Johansson) and Yelena Belova (Pugh), became part of the “Red Room” program to create super-soldiers. Natasha defected back to the West to become part of SHIELD, and killed Dreykov, the man in charge. But Yelena remained in the system, until an encounter with a gas that undid her mind-control. She sent a batch of the gas to Natasha, which brought her into the sights of Dreykov, who was not so dead as previously assumed. He is very keen to get the antidote to his programming back under control, but Natasha and Yelena decide to take the fight to him instead. However, they need to start by finding out the Red Room’s location, which will involve an awkward “family re-union” with their pseudo-Mom (Weisz) and crypto-Dad (Harbour).

I was talking to Dieter about the film, which he had already seen (in the cinema, the mad, impetuous man!). He said it resembled “a classical spy-ploitation movie, like Bond movies might look today, if there hasn’t been that strong change in style and towards more realism with the Craig era.” That raised an eyebrow for me, and certainly didn’t seem a typical Marvel film approach. But having now seen it myself, I can definitely see where that’s coming from. In particular, I felt that Dreykov (played by British heavy Ray Winstone) would have fitted right in as a villain from that ‘classic Bond’ era. His lair makes the one inside a volcano from You Only Live Twice look like a doll’s house, and he even makes the classic, “Now you are helpless in my power, let me over-explain things to you” mistake. Notably, there’s a scene early on where Natasha is watching Moonraker on her lap-top, so I very much suspect none of this is by accident.

A couple of other elements also seem to echo Bond. Natasha has a somewhat Q-like “fixer”, Mason (O-T Fagbenle), who keep her supplied and gets irritated by her more outrageous demands. Dreykov has a monstrous and hyperviolent sidekick; despite her gender, she’s not unlike Jaws, who appears in the Moonraker clip mentioned above.  Like him, she is won over to the side of good by kindness. There’s also a dry humour present, which does hark back to the days of Roger Moore. Much of this comes from Harbour’s character, but Yelena also has a self-effacing wit. For example, she rags on Natasha about her fight poses, though inevitably, subsequently finds herself in the same posture. After the dour Captain Marvel, a little appreciation of the underlying silliness which is embodied by the comic-book genre, goes a surprisingly long way.

Indeed, I would not mind if, as the post-credit scene implies, Yelena becomes Black Widow going forward. [Though that scene was all but entirely lost on me, I believe a change is needed, due to things which happened in films I haven’t watched… He said vaguely!] Pugh, whom we enjoyed seeing on this site in Fighting With My Family, brings a no-nonsense approach to her character that I really liked. Johannson may, despite her complaints, have been getting paid the big bucks here, but I’d rather see Pugh step into the PVC body-suit going forward. Admittedly, I’d also rather see more genuine stunt-work and less obvious CGI. While it’s understandable at some points, e.g. the climax, there were times where it felt like a character couldn’t walk down a corridor without it being rendered against a green screen. I think I may be shouting at clouds in this department, however…

All told though, it’s the first film I’ve seen in a long time which made me at least somewhat sorry I hadn’t seen it at the movies. It has been about 20 months since my last cinema outing, and I was beginning to wonder if I’d ever again miss the theatrical experience. Black Widow has proven otherwise, so we’ll see if this does translate into an actual movie-going experience down the road.

Dir: Cate Shortland
Star: Scarlett Johansson, Florence Pugh, Rachel Weisz, David Harbour

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Trese

  By

★★★½
“Come get your Phil…”

While undeniably anime influenced, this originates from the Philippines, rather than Japan. It’s based on a graphic novel of the same name, by Tan and Baldisimo, and was made by Netflix’s anime branch. The six x 30-minute episodes were released with English, Filipino and Japanese language tracks. I went for the “original” Filipino, though there’s not a particular case for that. It just seemed to fit the setting better [this isn’t a hard and fast rule. I watched Gunsmith Cats: Bulletproof in Japanese, even though it’s takes place in Chicago].

In this version of Manila, there are a host of creatures from the country’s apparently rich folklore present alongside humans. Most of them I hadn’t heard of beyond the aswang, but they include everything from fire demons to electric entities. I’m sure this partly explains the show’s greater success in its native land; Westerners should probably just accept it all and go with the flow. There is a fragile truce between them and humanity, and on our side, Trese (Soberano) is charged with keeping the peace. Her family has been in this business for generations, and she works alongside twins Crispin and Basilio (dela Cruz), whom she used to “baby-sit”.

The episodes work as stand-alone entities, but there is also an over-riding arc of something malicious bubbling up from the underworld. It seems to be related to corrupt local official, former Mayor Sancho Santamaria (Tandoc). Trese faces off against him in the first show, and he’s sent to prison – but continues his occult manipulations from there, forcing her to confront him further. At which point, the real power behind the throne comes out, for a face-off in the final episode. Not all of them work equally well. There’s a fairly crap one in the middle about a film actress who spawned a pack of goblins or something, that years later came back to take revenge on her and her plastic surgeon. Yeah. I don’t think that was quite thought through to the same extent as the overall concept.

But when it works, it works really well. Some of the episodes deserve expansion to feature length, such as the one where a horde of zombies are unleashed to attack the local police-station. It plays like a cross between Night of the Living Dead and Assault on Precinct 13, and crams more action into its 30 minutes than many full-length movies.The series also does a good job of shading in  grey; across the creatures of folklore, some are friendly to humanity, while others are not, and some shift allegiance over the course of the show.

This is at its best when going its own way, rather than when, as sometimes happens, it becomes a bit Buffy-esque. The whole “heritage” thing is a little overplayed, with her family history dribbled out in little parcels at the start of each part. It’s better when simply focusing on Trese being the bad-ass she is certainly capable of being. Here’s to more of than in any subsequent seasons.

Creators: Budjette Tan, Kajo Baldisimo
Star (voice): Liza Soberano, Simon dela Cruz, Apollo Abraham, Rene Tandoc