Tag: 2023

Revolver Lily

  By

★★½
“Just when you think you’re out…”

Yuri Ozone (Ayase) was once one of the most feared assassins in all of Japan, before she vanished off the grid around 1914. A decade later, she is quietly running a brothel. As you do, I guess. Anyway, Shinta Hosomi (Hamura) is a young man, who can only watch as the rest of his family is ruthlessly slaughtered by a party seeking… something. However, he was told in the event of such an incident, to see out Yuri and she would help him. Naturally, this drags her back out of “retirement” – quotes used, since she’s not exactly of pensionable age – and into the middle of a battle between different section of the Japanese military, with war looming on the horizon. 

Fortunately, she has some assistance, in the form of Yoshiaki Iwami (Hasegawa). He’s a lawyer, and all round fixer, who is able to help provide Yuri with the information she needs to be able to survive. It turns out that Shinta is in possession of very valuable documents, which are the key to unlocking a large sum embezzled away in government funds. However, it turns out that these are only part of the matter, because whoever has these also needs pass-codes to access the funds, which are held entirely separately. If this all seems quite messy, and perhaps also not dissimilar to The Three Faces of Gloria… Yeah, I would say you are probably right there. With added coincidence, such as Yuri just so happening to find herself on the same train as Shinta.

What works here in particular is the period atmosphere. It’s clear there was a lot of money spent on the production, with the mid-twenties era being lavishly recreated, in costumes, transport and decor. The action in general isn’t bad, with Ayase knowing her way around a fight sequence, though her enemies are strictly from the Imperial Stormtrooper school of firearm training. Even at close range, they are always too slow, too inaccurate, or both, to the extent their incompetence almost begins to feel like a running joke. But there are still some well-staged set pieces, such as one which unfolds in thick fog, giving an otherworldly, and almost ghostly feel to proceedings. 

Unfortunately, the film managed to lose my attention entirely in the middle section. With a running-time of 139 minutes, I felt there was a severe lack of focus in the central narrative, with too much attention on various political shenanigans i.e. Army vs. Navy, and secondary characters. I also found the obvious pacifist messaging rather trite, and somewhat ironic given both the copious amounts of violence on show, as well as the actual actions of Japan during the following decade, such as their invasion of Manchuria in 1931. Outside of the period setting, I had a strong sense overall of having been here before. While the action was decent, given the overall length, it seemed spread too thin to, alone, justify the movie’s existence. 

Dir: Isao Yukisada
Star: Haruka Ayase, Hiroki Hasegawa, Jinsei Hamura, Kavka Shishido

Barbaric Acts

  By

★★★½
“Revenge has never been so… messy.”

This begins with a caption detailing the horrendous number of gun deaths annually in Brazil, including several thousand per year in police actions. Given the synopsis, I wondered how the film was going to reconcile this with its own subject – would the answer to gun violence be… more gun violence? The answer is, the film doesn’t really bother to try, instead embracing the contradictions in a way that permits no logical conclusion. Indeed, it fails to offer one. The original title translates as Barbaric Times – Act I: Revenge Therapy, hinting at more to come – this explains, if not excuses, the abrupt and unfinished ending.

Carla (Abreu) is a happily married attorney, until her daughter is shot during a botched street robbery. This sends her spiralling down into an increasingly dark place, as it becomes clear there will be no conventional closure, the case simply being one of too many for the authorities. A self-help group doesn’t, and nor does mercenary vigilante justice, the operative in question believing one dead thug is as good as any other. Her husband (Mello) leaves Carla as she won’t let go, and her spiral culminates in an attempt to shoot herself in the same spot as her daughter. Yet this proves a potential turning point, Carla realizing only one person can take revenge for her. But how far up the chain should her quest for vengeance take Carla?

It certainly gets you into the head of its heroine, on her descent into psychological hell. The refusal to take a stance regarding the morality of her position is admirable, and I found myself pulled first one way, then the other. I particularly enjoyed Carla yanking the rug out from under the pacifist proclamations of the self-help group’s leader (Lemmertz), by offering her the murderer of her parents on a plate. I suspect it’s this kind of moral equivalency which led to some of the more sniffy critical opinions in the film’s home country. Me? I acknowledge and respect the position that, yes, sometimes violence is the solution, thank you very much.

Aside from the abrupt ending, it does feel stretched quite thin, and the pacing is a little weird, with the narrative bouncing around in time. It surges with a pulse-pounding chase sequence through the streets after Carla encounters the criminal responsible. Then it circles with a notable lack of aim or purpose for extended periods, before reeling you back in with a change of direction. The overall impact is positive, and occasionally shocking, such as the discovery that in Brazil, buying a car involves casually deciding the degree of bullet-proofing you want. Bernstein intends it to be the first in a trilogy about violence in Brazilian society. On the strength of this, I hope he gets the chance to make further installments, despite clearly being more interested in asking hard questions than providing difficult answers. 

Dir: Marcos Bernstein
Star: Cláudia Abreu, César Mello, Júlia Lemmertz, Alexandre Borges
a.k.a. Tempos de Barbárie – Ato I: Terapia da Vingança

Night of the Hunted

  By

★½
“The unspeakable in pursuit of the uneatable”

It has got to the point where ‘A Shudder Original’ has become more a threat than a promise. I was hoping for much more from Khalfoun, who gave us the brilliant Maniac remake. However, here he is hogtied by a terrible script, more interested in providing left-wing political messaging than  entertainment – the very definition of “woke”. At one point, the heroine actually says, “My whole life has been about pleasing men.” Seems like a you problem, honey. But it sums up the tone of this whole misbegotten endeavour. Though to be fair, watching this a week before the Presidential election didn’t help: I reached my annual quota of smug bullshit months ago.

The missteps begin almost immediately, when we’re introduced to pharmaceutical executive Alice (Rowe), who is about to leave a convention, being clumsily reminded by her husband at home that she has a fertility appointment. Seconds later, we discover she’s having an affair with co-worker John (Scippio). “What a great way to get our empathy!” said no audience, ever. On the way home, they pull into a gas-station only to find it’s the bullseye for a sniper (Stanic), who has already killed the sole overnight employee. He’s operating from a nearby billboard (top) which, in one of the film’s few interesting moments, can be read in two, diametrically opposite ways. Paul is quickly dispatched leaving Alice alone, except for a walkie-talkie through which she communicates with the active shooter.

Turns out, he has a laundry list of grudges, with his lines apparently created by a Twitter-scraping bot, or possibly an AI told to parody right-wing talk radio. I certainly can’t believe it took four human writers to come up with this garbage. It’s exactly the kind of scenario where the killer doesn’t need a reason, and all the efforts to give him one backfire completely. Compare and contrast the more effective Downrange, and you’ll see what I mean. It may have had its flaws, going too far into enigmatic. It’s still preferable to having the killer self-identify as “The right-wing nut, the conspiracy theorist, stop the lie, storm the Capitol,  election fraud, domestic terrorist, anti-vaxxer, anti-this, anti-that.” You’ll be forgiven for mentally tuning out mid-sentence.

Things only get worse thereafter. For naturally, the shooter idiotically ends up leaving his position of strength, and wandering around inside the gas station. This is so he can drop vague hints as to the specific nature of his motivation (which seems curiously focused on Alice), but more importantly, allows the heroine to battle him hand-to-hand. Do not expect either of these aspects to approach remotely satisfying, and my reaction when the end credits rolled was “That’s it? Really?” Of all the reasons I watch genre movies, getting political lectures from Frenchmen is pretty far down the list. This has pissed away all of Khalfoun’s goodwill, and a good chunk of that for producer Alexandre Aja too. As for Shudder? I will not be subscribing.

Dir: Franck Khalfoun
Star: Camille Rowe, Stasa Stanic, Jeremy Scippio, J. John Bieler
[A version of this review previously appeared on Film Blitz]

Shero

  By

★★½
“Lifestyles of the rich and attractive.”

Not to be confused with Sheroes – because I know I did – this is a TV series from Singapore, marking the country’s first appearance on this site. So that’s nice. It’s the story of the Zhang sisters, Yin Xi (Wong), who runs an (almost) all-female bodyguard company, SHERO, and her younger sibling, photographer Yin Chen (Peh). While on a job in Australia, Yin Xi is attacked, and disappears: unknown to anyone, she is hospital, having lost her memory. Yin Chen takes over the company, and works to unravel the mystery of why her sister was attacked, with the help of Yue Rui Xiang (Tan), the CEO of a shipbuilding company who is a client of SHERO.

Turns out, there is a lot going on here – as you can imagine, given there are twenty episodes, each around 45-50 minutes long. Fifteen and a quarter hours, in total. So, for example, there’s an eventual connection to the murder of the sisters’ parents, seven years previously, which needs to be addressed. It also feels like SHERO need to ramp up the background checks on their employees, since it feels like all of them have secrets. Or as another example, there’s one worker who was a former drug addict – which is okay, this was known when she was employed. But her mother is a raging alcoholic, now victim to a blackmailer; a situation now seriously affecting her daughter’s work for the company. 

So, really, there’s as much soap opera here as action, with romantic entanglements and family drama very much the order of the day. I was expecting something a little more like Pamela Anderson’s V.I.P. series (which I feel I must get round to reviewing), but this is much more one over-arching story-line across all twenty episodes, with occasional side-plots. Everyone in the show is almost weirdly attractive, and while I get that Singapore is one of the richest countries in the world, this feels almost a promotional video for the country [Makers Mediacorp are a state-owned media company, so that may be a factor]. Certainly, the Australian capital of Canberra gets its product placement in – and they are not the only ones. 

There are some action scenes, mostly martial arts based, though guns seems to end up doing most of the killing. But they’re competent rather than particularly outstanding. The use of both amnesia and multiple personality disorder as plot points is hackneyed, both of these coming and going as the plot requires. Though I was impressed by how unexpectedly bleak the show ends up being. While I might not have made it to the end had I been more actively watching it, it was simply something not too demanding, to distract me while I got my daily exercise in. As such, it filled the gap in my morning regime adequately. Yeah, “adequate” seems like the right word for this overall.

Dir: Chen Yiyou
Star: Joanne Peh, Romeo Tan, Carrie Wong, Nick Teo
The whole series is available with subtitles on YouTube.

Hurry Monday

  By

★★
“Sounds like somebody’s got a case of the Mondays.”

The phrase “blandly competent” comes to mind here. There’s not a great deal to criticize about this, from a technical standpoint. For example, the dialogue is audible, although does vary somewhat in tone, depending on the location. It’s reasonably well-shot, and knows better than to try and go beyond the restrictions of its resources. However, this lack of ambition may be its biggest problem as well, because it’s very intent on colouring strictly within the lines. Smaller-scale films need to push the envelope a bit to stand out, and this instead seems content to go the obvious route at almost every turn. Even the story’s main surprise was not much of one, and provoked little more than a shrug.

The heroine is Nedraphine Ramos (Salgado) – known as Ned by most, for obvious reasons. She and her partner David (Hu), have just pulled off a major jewel robbery in Los Angeles. This netted them ten flawless gems, worth over a million dollars. But the aftermath sees David shot dead, forcing Ned to high-tail it out of California. She heads back to her home town of New York for the first time in years, seeking to fence the loot to a mysterious, little-known individual called the Nubian, before dropping off the grid. She bumps into former high-school sweetheart, former soldier Dale Matthews (Renard). But it quickly becomes clear that someone wants to get their hands on Ned as well as the gems, and will stop at nothing to do so.

I only finished watching the movie a few hours ago, and I’m already struggling to remember many details about this. It does feel in need of both more and better action. There are significant periods which feel more like Ned is driving and/or walking around New York, while listening to a mix tape of slow jams. For example, an extended scene of her driving to a date with Dale, accompanied by one tune, is followed by one of them wandering about together, while another, slightly different song is played. I may have been making “hurry up” gestures at the screen. I could also think of a number of more interesting potential twists: for example, David had faked his own death.

Not sure we ever did discover who was behind the attempted abductions, or what they were trying to achieve with them. There’s only one antagonist, and Ned is looking to arrange a meeting with them anyway, so what was the point? There are fragments where something intriguing does peek through. The notion of a whole, almost John Wick-esque world of thieves and fences, has potential. The best scene might be a simple conversation between Ned and the Nubian – the latter has a calmness about them, which I found highly effective. However, the movie doesn’t appear interested in exploring this in any depth. Not when there’s another song which needs to be levered into proceedings.

Dir: Vaughn Christion
Star: Sofia Salgado, Wesley Renard, Crawford Hazelwood, Owen Hu

Exquisite Bodyguard

  By

★★★
“Three’s Company”

I’m going with the title by which this is generally known. Not to be confused with the title given on the print – Female Bodyguards – or the one in the subtitles, Perfect Bodyguard. The Chinese title, per Google Translate is, The Stunning Bodyguard. Definitely something about bodyguards then: the rest is up to you. This is another one of these direct-to-streaming movies coming out of China, which I must confess to enjoying of late. They are, in many ways, the spiritual descendants of the Hong Kong GWG entries. This poster looks particularly like Heroic Trio. Though I have yet to see anyone in these films at the level of Moon Lee or Cynthia Khan – indeed, I doubt I recognise anyone. Still, thanks to Denis for pointing me in the direction of this specific one.

As is sadly often the case, the presentation was less than whelming. In particular, a good chunk of the audio track had been replaced with generic stock footage, which may have strayed in from a video game, with just that and the dialogue present. This was particularly unimpressive during the opening sequence, which is a large-scale gun battle, definitely diluting its impact. This issue persisted throughout, though at least it didn’t impact understanding of the plot. Jiang Nanying (Gab), Hu Lififei and Ma Yanni (Liu) are three bodyguards. On a mission to protect pharmaceutical scientist Huang Jiadong (Lun), Ma is killed, but Jiang ends up marrying Huang. Except, he gets kidnapped at their wedding. 

Three years (!) later, Jiang is in for a couple of shocks. Not only is Ma not dead, she is now working for the people on whose behalf Huang has been working since his matrimonial abduction. He’s beginning to suffer second thoughts, because his boss is pushing for experimentation on human subjects. I should mention this all takes place around pre-war Shanghai, with Huang a specialist in finding an artificial alternative to opium. Needless to say, his employers are less than respectable. Jiang ends up breaking into the compound, and tries to persuade her husband to leave. Naturally, it isn’t going to be quite as easy as that, despite Ma also having qualms about her current choice of employment. 

There’s fifteen minutes of fights and things getting blown up real good at the start, and round about the same at the end. This is great stuff, a mix of hand-to-hand combat and gun-fu, which is as good as anything you’ll see out of far bigger, Western, action heroine movies. I dunno if the actresses concerned are doing their own stunts. I can’t say it matters much. Running a crisp 71 minutes, the middle section is a little dull in parts. The script is not apparently interested in doing much except hitting the obligatory points, and you can mostly see these coming. Audio issues aside, it looks slick, and not particularly low-budget. I’ve a feeling I’ll be reviewing more Chinese imports in the future. 

Dir: Yuan Guangan
Star: Tingting Gan, Wang Hui, Lun Bo Ke, Liu Sasa

Black Bags

  By

★★½
“Lost luggage.”

The first half of this is better than average, setting up an intriguing scenario that feels as if it might be going somewhere. Unfortunately, the second half manages to go almost nowhere, the hard edge honed to that point being severely blunted. We end in something which feels more appropriate for an “Aren’t All Men Bastards?” marathon on the Lifetime channel. It centres on Tess (Rulin), a pregnant woman returning to her new home in the countryside on the bus – her husband having forbidden her to drive. However, she ends up collecting the wrong suitcase, picking up an identical one belonging to another passenger. When she gets home and opens it, she finds a severed head. Worse, the case’s owner is now at her door.

This is Sara (Vandervoort), a black-gloved killer, who now wants – no, make that requires – Tess’s help to dispose of the evidence. Sara does have the courtesy to explain why she is carrying about a head. Eleven years ago, she’d had an affair with a married man, resulting in a daughter. The child now has leukemia, and she went to ask the father for help. It did not go well. But what’s also clear is that there is a good deal going on, to which we, the audience, are not privy. Tess’s husband seems sketchy from the little we have seen of him, and it gradually also becomes apparent that the switching of bags was no random accident, Tess being very specifically the target. 

It’s during the disposal things start going wrong for the movie. An abandoned factory, I can accept. One with an open vat of bubbling green stuff, perfect for dissolving heads? A little too convenient.  Then, let’s go get pie together! And tell the waitress we literally just got away with murder! It feels quite at odds with the smart person Sara had been – those gloves are there for a reason. The more we find out, the more it feels like the script is shooting itself in the foot, while simultaneously tying itself in knots. Which is quite an achievement, if you think about it. It also drops the twist we’ve been anticipating since the beginning, though your reaction may be more “Huh” then “Wow”.

In the end, the biggest problem may be trying to make Sara sympathetic. Once it’s been established that she flat-out decapitated someone, it’s always going to be a difficult road back, regardless of her motivation (and by throwing not just a child, but a sick one at us there, the script is guilty of trying too hard). It is both more plausible and entertaining when she’s behaving like Villanelle, than when Sara is trying to be the concerned parent. Unfortunately, it’s the latter which becomes heavily weighted as we reach the end, she and Tess eventually seeming to bond over motherhood. A particularly superfluous coda whacks another half-star off the rating, and solidifies the final score as below average. Bit of a shame.

Dir: Josh Brandon
Star: Laura Vandervoort, Olesya Rulin, Ryan Francis, Drew Pollock

Lamb Game

  By

★★★½
“Ribbons and bows.”

This kinda teetered on the edge of inclusion or not, for about 90% of the movie. The heroine is quite passive, and the action is largely handled by others. It’s still solidly entertaining, and is definitely upper-tier as Die Hard knockoffs go. But it didn’t have a sufficient action heroine quotient… until the very end. There, she finally gets her act together, and takes the fight to her opponents. Was it enough? I was still on the fence, until one bravura shot convinced me. It doesn’t necessarily make logical sense, sure. However, it was just so damn cool, I had no option but to stamp its card and allow the movie entrance through these hallowed portals.

It begins at a wedding, where Shirley (Hung) is about to get married. A gang of jewel thieves led by Di (Chan) shows up, and a firefight with the authorities breaks out. Her husband-to-be decides to have a go. It does not end well for him. A few years later, Shirley gets locked in the building where she works at an archery hall, during a typhoon. By chance, Di and his cronies are also there, working on another robbery. He’s not happy when he realizes Shirley has witnessed him killing his target, and sends his over-sexed brother and another minion to hunt her down. Fortunately for Shirley, another resident in the building is blind martial artist, Nan Ge (Cheng, who used to be married to Yukari Oshima).

This is supposed to be set in Hong Kong during the late nineties, not that any Western viewer could probably tell. But especially in the opening scene, at the wedding, it does feel like a throwback to the golden days of Hong Kong action cinema, before the British colony was handed back to the Chinese. There’s some glorious slo-mo, blood squibbing and gun-fu, that really had me thinking this might be an undiscovered gem. The rest can’t quite live up to the same, heady delights. Yet it’s still a nicely crafted piece of low-budget entertainment, with some particularly impressive photography, which seems to have strayed in from a much bigger production. The setting is cool too, although it appears nobody in Hong Kong has heard of “fire exits”.

Shirley does spend most of the early going running and hiding, with the most memorable bit of violence an encounter with a protruding nail. Eventually, though, Nan Ge is no longer around to protect her, because… of reasons, and she has to fend for herself. Shirley’s employment might be a factor there. It’s a shame, from our perspective, this took so long to show up, since there’s potential for a lot more. To be clear, I was still enjoying proceedings – just on a non-GWG level. When “Action Shirley’ finally does appear, it’s more like dessert than the main course. Go in with that as your expectation, and you should still find yourself enjoying the meal.

Dir: Huang Yi
Star: Lynn Hung, Ricky Chan, Mark Cheng, Zhao Jing Shu Yu

Redhead

  By

★★
“Better dead than redhead.”

Written, directed by, and starring husband and wife team Sam and Johnna Hodge, this is the kind of film it would be easy to deride as poverty-row garbage from the bottom drawer. There’s precious little plot, some of the performances are painfully amateur, and it seems to exist mostly as a show-reel for spraying around corn syrup with red food colouring in it. And yet… If Chris and I made a movie – something we have discussed – it might well end up being not too dissimilar to this. On the other hand, if we had a spare $55,000 lying around – the budget here, according to the IMDb – we’d probably go on a nice holiday instead. 

Autumn Blacksmith (Hodge) survived being abducted and tortured by infamous psychopath Oscar Sawyer (Stinnett), finally escaping after killing him. However, the experience left her severely traumatized, and the slightest unfortunate interaction with any man is sufficient to push her over the edge into a murderous rage. Cue the corn syrup. Rinse, repeat for 90-odd minutes, until the end credits roll. Occasional hallucinations of Sawyer returning from the grave to haunt her, and a brief attempt by her therapist (Holland) to check in, offer a small touch of variety. The West Virginia cops, led by Detective Rogers (Robinson), are not exactly Sherlock Holmes. Then again, locals are remarkably chill about Autumn’s spree. The bartender where she kills her first victim says of him, “He was always an asshole.”

I was reminded of Michael and Anne Paul, another husband and wife film-making duo. They made Roman’s Bride, where the red-headed wife also goes on a killing spree. I think that worked a bit better, because its lead actress had an innocence about her, that provided an interesting contrast to her savagery. Here, Autumn is more blatantly mad, to the point you wonder why any man would try to chat her up. As a viewer, you’re never brought along on the journey into insanity. The way some of the local community end up assisting with, or even active participants in, her murders could have been used to provide another twist to the narrative. Nah. Open another bottle of Karo instead. 

Technically, it’s okay: the camera gets pointed in the right direction, it doesn’t succumb to underlit scenes, and the audio is fine. The soundtrack, also by Sam Hodge (not a surprise), has a nice throwback vibe, sounding like it was ripped off an eighties video nasty. But there is no real sense of progression or development, and the ending feels particularly sudden, going to the end credits immediately after she has disembowelled her final victim, a peeping Tom. We’re very little forward from where we were after her first murder. A sequel is in production though, so it appears there was enough of a market for this kind of thing. Will I watch it? [Sighs heavily] Yeah. I suspect I probably will.

Dir:Johnna Hodge, Sam Hodge
Star: Johnna Hodge, Ashley Stinnett, Will A. Holland, Travis Robinson

Brave Citizen

  By

★★★½
“Bully for you…”

It appears that Korean educational establishments seem to have the same problems as Japanese ones – at least, going by the way they are depicted in the respective country’s movies. I certainly would not want to be a teacher in either country. Here, Mooyoung High has an award-winning anti-bullying policy. It’s a complete fabrication, as both staff and pupils are fully aware. The roost is run by Han Soo-kang (Lee), whose parents hold so much influence, he can do whatever he wants. And what he wants to do is run a reign of terror with his clique. He already drove a substitute teacher to commit suicide, and is now focused on subjecting Go Jin-hyeong (Park J-w) to daily torture.

Into the school comes replacement teacher So Si-min (Shin). Initially, she appears meek and submissive, to a fault. But her background is the complete opposite. She’s actually a former boxer, who missed out on an Olympic spot because… of reasons, shall we say, and is also well-versed in a number of other martial arts. When she sees Han brutalizing Go, she steps in, though manages to defuse the situation without violence – at least, initially. Since she wants to become a permanent member of staff, she can’t unleash her skills on the bully openly. So she dons a cat mask, in order to beat Han up. The resulting humiliation drives him mad, and he vows to find and defeat the kitty vigilante, by any means necessary.

There’s a good deal to enjoy here, in particularly the performances by leads Shin and Lee. The former captures a multi-faceted personality in So, who has a strong inclination towards justice, but is aware of the need for restraint – again, at least, initially. I enjoyed how the film is basically romance-free. She has a friend who is a cop. but there’s no indication this is anything but platonic, and the film doesn’t waste any time pretending otherwise. On the other side, Lee makes for an easily hateable villain. Han is entirely aware that he is untouchable by the authorities at the school, and struts about arrogantly, like a psychotic peacock. Right from the first scene, you’ll be very keen for him to get his just deserts. 

It does, probably, take slightly too long to get there. While there’s no romance, the film does tend to stray off into subplots that we could have done without. The main one is So’s strained relationship with her father, dating back to the Olympic try-outs where… yeah, I can’t say that aspect rang particularly true, or added much to proceedings. The action is moderate: the cat mask leaves me wondering how much of it was being done by the lead actress. But even if it wasn’t her, it’s still fairly well-handled. The story develops mostly as expected – if you’re anticipating a final face-off in which her real identity is exposed to the school, you won’t be far wrong. But it doesn’t feel clichéd, and most of the 112 minutes go by more than pleasantly. 

Dir: Park Jin-Pyo
Star: Shin Hye-sun, Lee Jun-Young, Park Jung-woo, Park Hyuk-kwon