Tag: 2023

Escape

  By

★★★
“Now, I always fight back…”

This feels almost like a throwback to the silent era, and ‘white slave’ films with titles like Traffic in Souls, combined with a significant fear of ‘the other’. As such, it’s both painfully simplistic, and endlessly fascinating in the layers of interpretation which can be read into it, should you be so inclined. On the most basic level, it’s your everyday tale of “good” girls, kidnapped for sale to the highest bidder, who need to fight to retain their modesty and virtue. [Though let the record show, at no point is there any bikini-wearing wielding of automatic weapons, despite what the poster clearly wants you to think. The heroines here prefer weapons of the blunt and/or pointy variety]

Director Ford is no stranger to this site, having previously given us Never Let Go and The Ledge. This is similarly workmanlike, benefiting from a straightforward approach and uncomplicated plot. Young, attractive women on holiday (this was filmed in the Canary Islands) are being abducted and sold off as sex slaves. The tactics used by Andras (Cronin) and his gang vary from luring their targets to a remote cabin, to barging into their vacation apartment and chloroforming them. The net result is the same: they end up in a cell, deep in the bowels of a remote building, awaiting shipment to a buyer, located somewhere even more foreign. The latest victims are Tamsin and nurse Karla (Marks), who join seven other girls in peril, including Lucy (Rankin).

As well as the clearly xenophobic approach – foreign places are bad, and foreigners worse – there’s also a notable class element here. All the girls appear “nice”, from middle- to upper-class families, while their captors are rough-hewn working-class thugs. The exception is Jude (James): also the only one with a conscience, he provides Karla and friends with the opportunity to free themselves. This mass escape definitely feels like it’s taken from women-in-prison films, the women turning the tables on their captors. Karla, in particular, initially intends to leave, but for reasons connected to her past (everyone here has issues – see the quote, top), decides to go back and make Andras pay, using the pointy weapons mentioned above.

This is the gnarliest, though not the only bit of violence here, and the film doesn’t hold back. Despite some digital blood, other effects are clearly practical and the audio work enhances the effect nicely. There’s an subplot about the search for the girls back in Britain, which is almost entirely superfluous, and could surely have been replaced with some gratuitous nudity. The film is so chastely moral in that department, it could almost pass the Hays Code. It feels like there are too many interchangeable victims as well, who sometimes blur together, especially when they are running in different directions. Is that Tamsin? Or Karla? But it’s rarely boring, and as a melodramatic throwback, pushes enough of the right buttons.

Dir: Howard J. Ford
Star: Sarah Alexandra Marks, Sophie Rankin, Sean Cronin, Louis James

Knuckle Girl

  By

★★★
“Punches below its weight.”

This film is based on a Korean webcomic, but has been relocated to Japan. I can’t help wondering if something was lost in the process, because it feels like I should have liked this more than I did. Ran Tachibana (Miyoshi) is a promising amateur boxer, who gets devastating news when the body of her sister Yuzuki is found inside a burned-out vehicle. The cops call it suicide and quickly close the case. Except Ran doesn’t believe the corpse is Yuzuki, and begins to investigate what might have happened. The search leads her to an underground fight club run by the brutal Nikaido (Ito), who is holding Yuzuki hostage. He makes Ran an offer: beat his undefeated champion, and he’ll let Yuzuki go.

Naturally, it’s not as simple as that, with Nikaido reneging on his word. Fortunately, Ran has help in the shape of bike mechanic Kamiya (Maeda) and hacker Naruse (Hosoda), who help her go after Nikaido and take down his operation. There’s also concerns on the criminal side, with Nikaido’s bosses feeling he’s a loose cannon. It all feels too much to cram into a single movie, and I suspect it might have been better served in the form of a TV series. As is, elements like Yuzuki’s “magic blood” don’t appear to have much purpose. They seem there purely so fans of the comic will go “Oh, yeah!” and make little or no sense to casual viewers like me.

I think it’s probably a case whee less would have been more in terms of plotting. Keep it simple, perhaps removing side characters like Kamiya or Naurse, and focus just on Ran infiltrating the fight club and working her way up through it. Sure, it wouldn’t score points for originality, but it might have sustained my attention better. As is, in between the action, I must confess this sometimes struggled to retain focus. Considering the obviously non-trivial amount of resources that went into the production, it’s a shame they didn’t put as much effort into the story. For this undeniably looks spiffy, with the underground arena, in the shape of an eye, well-designed, and I liked the over-perky pair of MCs as well.

But I’m here for the fights, and these were… decent enough. I appreciated that the film acknowledged the heroine’s lack of size, and explicitly discussed how she would need to use her speed and agility to beat larger opponents. That’s true, even with the equalizer of knuckle-dusters, given to her by Nikaido to even up the betting odds a little. Miyoshi only had a few months training, but it’s likely easier to train an actress to fake fight, than a fighter to fake act, and it’s adequately convincing. But there are really only three or four sequences in the whole thing, with the story having to rush past most of them, because it has to deal with all the other elements. It’s all okay, I suppose, yet definitely feels like a wasted opportunity.

Dir: Hong-Seung Yoon
Star: Ayaka Miyoshi, Gôki Maeda, Hideaki Ito, Kanata Hosoda

Miss Adrenaline: A Tale of Twins

  By

★★★
“Life going in cycles.”

The concept of twins, separated at birth, is one which has been used frequently in films and television. Sometimes for comedic effect, such as Arnold Schwarzenegger and Danny DeVito in Twins, or the two Jackie Chans in Twin Dragons. But also for dramatic impact: the most famous example is probably that of Luke and Leia in the Star Wars franchise, who were parted in order to hide them from their father. In our genre, Orphan Black works along similar lines. But this Colombian telenovela goes full-bore into it, across almost the entire duration of its sixty-seven episodes, with the concept a young woman adopting her twin’s identity being at the core of the show.

It begins with Romina Paez (Molina), who is a BMX champion in the Mirla, a poor neighbourhood. After winning a race, she uses the interview to rail against the loan sharks who prey on the locals, offering much-needed money at extortionate rates, and extracting repayment with brutal violence. This interview has two results. Firstly, the Chitiva brothers who run the loan sharkage, are unimpressed, and decide Romina should pay. Secondly, it brings Romina to the attention of rich girl Laura Vélez (also Molina), who sees Romina is her spitting image. She goes to investigate, and finds that they actually have a common mother. Mom used to work for Laura’s dad, got pregnant and had them both. Dad took Laura to his family as “an adoptee”, while Romina remained with her natural mother.

These two elements clash, when the Chitiva brothers order the assassination of Romina and her mother. Except, it’s actually Laura is killed, while visiting her mother in the barrio. Romina escapes, and decides the best option is to pretend to be dead, and indeed, pretend to be Laura. However, Romina/Laura is intent on bringing those responsible for “her” death to justice, and it’s not long before reports of Romina’s ghost haunting her old stomping grounds are passing around. Investigating from the position of law is honest cop Cristobal “Whiz” Ruíz, who eventually comes to know Romina’s secret. But in another twist, the crime lord at the top of the tree, above the Chitivas… is Laura’s mother, Virgina Vélez (León).

Yeah, it’s a fairly ridiculous concept, and what unfolds over the rest of the show often teeters on the brink of implausibility. While I get the “twins” thing, the idea that after twenty entirely separate years of upbringing, in utterly different circumstances, they would still perfectly resemble each other physically, to the extent that even their own parents can’t tell them apart, strains credulity. Romina basically blames everything from the sudden loss of memory to her changes in personality on a head injury, and after a quick visit to the doctor, who naturally pronounces her right as rain, that’s the end of the matter. She still has to manage her double life, and the ever-expanding circle of people who know about it, on both sides of the class divide.

Inevitably, there’s a whole lot of soap-opera nonsense going on here, across the uniformly photogenic cast. Laura’s boyfriend falls for Romina, Whiz falls for Romina, Whiz’s colleague falls for him, and it all gets incredibly messy emotionally. This is probably the least interesting part of the show, though it does occasionally work. The final episode, for example, has Whiz pouring out heart in wedding karaoke, but it’s done with such obvious and heartfelt sincerity, that it powers past the obvious schmaltzy aspects, and I was genuinely happy for the man. On the other side, Leo Chitiva (Bury) is the most interesting of the low-level villains. He’s another one who loved Romina, but his criminal life is incompatible with that, leaving him with difficult, yet interesting, choices.

I say “low-level,” because I think my favourite character is likely Virginia, especially as the show proceeds and she needs to become increasingly ruthless (as shown, top) as she struggles to escape the net closing around her. I would love to have seen a prequal series, explaining in more details exactly how she went from humble origins, both to running a major criminal organization, and also marrying her, apparently utterly oblivious husband. I get that some spouses are oblivious to their other halves being a serial killer, and also there’s Virginia’s “charitable foundation” which probably operates as a front. Still, I suspect I’d have at least something of a clue, if Chris was running the Cuban mafia out of the office here.

There is a bit of weirdness here: the Colombian version of the show runs for 67 episodes, but there are only 65 on Netflix. It’s possible there may also be differences in the ordering, but I haven’t been able to confirm that. I’m not sure why two episodes would not be available on Netflix. While other streaming services have removed episodes for content (such as the blackface episodes on It’s Always Sunny in Philadelphia, I can’t think of anything here which would be so contentious. My instinct might be music rights: the show uses a lot of popular Colombian songs and artists, and getting clearance globally could have proved too problematic. I can’t say I noticed at the time, though it isn’t really the kind of show that demands 100% of your attention.

I would like to have seen Romina make more use of her BMX skills. This is significantly stressed earlier, but definitely fades out of the picture as we get deeper into things. But between Virginia and some of the other women characters, such as Whiz’s partner Alex Bedoya (Camila Rojas), who is occasionally a bit of a bad-ass, it does end up qualifying for the site. It ends more or less as you would expect, but if my somewhat shaky Spanish is to be believed, there is a second series on the way. Though with the Spanish language title perhaps being Romina Embarazada, which translates as “Pregnant Romina,” I’m not certain I’ll be writing about it here!

Dir: Rafael Martínez Moreno 
Star: Juanita Molina, David Palacio, Zharick León, Kevin Bury 
a.k.a. Romina Poderosa 

Apaches: Gang of Paris

  By

★★★
“Creuser deux tombes”

I guess the title is trying to riff off Gang’s of New York, though this is set significantly later. It begins in 1884, when the Apache gang run the Parisian underworld. Young orphans Billie, Paulie and Tricky are on the fringes, until Tricky is killed when forced to play Russian roulette by the gang’s leader, Jésus (Schneider). Billie is framed for the death by a corrupt cop, and spends fifteen years in jail. When she gets out, now a grown woman, Billie (Isaaz) seeks revenge on all those responsible for Tricky’s death, infiltrating the Apaches to get close to Jésus. Matters are complicated, by the presence in the gang of Paulie (Paradot), who was brought up by Jésus, and also by the seductive nature on her of the Apache lifestyle. 

There’s a fair bit of truth to the history here. From what I’ve read, the Apaches were a force to be reckoned with in Paris, from about the turn of the century through the outbreak of World War I. They valued style as much as savagery, preying on the middle- and upper-classes. I’ve not been able to find any indication women were a significant part of the Apaches, beyond using prostitutes as decoys to lure and distract the intended targets of a mugging. Still, can’t argue Billie makes the necessary impression, stabbing the Paris police chief (who is also the man who framed her) to death in a cinema, when she was indeed supposed just to be there as bait.

To this point, the film has done well at generating the atmosphere of a wild, anarchic setting, and populating it with interesting characters. It even manages to overcome the deliberate use of anachronistic songs on the soundtrack, opening up with the not-so sultry 1880’s sounds of… um, Iggy Pop? The problem is, the further in we and Billie get, the less interested she appears to be in her vengeance. The turning point might be when she goes after someone who has abandoned the Apache lifestyle entirely. My reaction to this was, “Oh. Is that it?” – and not for the last time either. You may well find yourself saying the same thing when the end credits abruptly roll.

The problem is less her diversion from revenge, than the absence of anything significant to replace it. I’m usually the last person to want romance in a genre film, but that would at least have helped explain her growing indifference to something which clearly sustained Billie through her fifteen years in jail. The nearest is when Paulie tries to kiss her and she repels her advances. It’s only when Jésus gives her an order she can’t obey, that Billie remembers why she’s there, though what results is hardly redemptive. I’ve read the budget was 4.5 million Euros, and if that’s true, I’m very impressed, since it looks consistently good. With a decent lead performance too, it feels they were just half a script short of having a successful feature.

Dir: Romain Quirot
Star: Alice Isaaz, Niels Schneider, Rod Paradot, Artus

[A version of this review previously appeared on Film Blitz]

Safehouse

  By

★★
“Safehouzzzzzz…”

I ended up having to watch this twice. The first time, I literally fell asleep. In the film’s defense, it had been a tough day, highlighted by a trip to the dentist to get a crown reattached [in related news, I’m now off Milk Duds]. But a couple of days later, I watched it again. While I did manage to retain consciousness this time, I can’t say I enjoyed the film significantly more than the dental work. This is mostly down to a script which seems to mistake being confused and borderline incoherent, with being mysterious and interesting. Not giving the audience enough information simply results in them tuning out, rather than becoming intrigued. 

Carla Perez (Delgado) lives in the dangerous border town of Mexicali, with her brother, and hoping to become a doctor. He’s playing a dangerous game, informing on the local cartel to the American authorities. This, inevitably, gets him a visit from their hitmen. In the ensuing gun-battle, he is killed and Carla, fleeing for her life, finds a tunnel in a scrap yard. Using it to escape, she surfaces on the other side of the border, in a residence being used by federal agents Caskill (Seay) and Marshall (Jenkins) as a safehouse for a key witness. However, before even meeting them, she finds herself on the wrong end of a shotgun being wielded by a wounded woman. While fleeing that, she discovers a corpse in the next room. 

It is, sadly, more or less downhill from here, in terms of a plot, with the film almost willfully concealing relevant details from the viewer. This simply allows us the chance to ruminate on the ludicrous central idea. Specifically, that the best place to hide a cartel witness is… right by the Mexican border. In a house which just happens to have a smuggler’s tunnel exiting in it. And when things go pear-shaped, don’t bother to call in reinforcements, or anything like that. Mind you, Carla’s actions don’t exactly make much sense, right from the point she pops out of the tunnel like a cork, and just kinda hangs around, rather than high-tailing it to anywhere else. It’s not as if she’s being chased by the carte… Er, never mind. 

This is a shame, since some of the other elements aren’t bad. The performances do the job, and Street seems to have a decent amount of directorial talent, shooting the action in a way that is energetic without being hyperactive. Carla isn’t an especially action-oriented heroine, yet she shows plenty of courage, and empathy for those she ends up nursing (though the medical elements are probably not a strong suit!). Other female characters do more, such as the blonde cartel sharpshooter who shows up for the final assault (top). She’s cool. In the end though, I think that my initial reaction – falling asleep – was probably an accurate assessment of the film’s overall quality, and I should have stuck to that.

Dir: Paul Street
Star: Alondra Delgado, Robert Seay, David Thomas Jenkins, Jessica Martin del Campo

Baby Assassins 2

  By

★★★
“2 Much 2 Young”

After the unexpected pleasure of Baby Assassins, it’s more or less back to the same well for the sequel. Young slacker assassins Chisato (Takaishi) and Mahiro (Izawa) are still gamboling casually through life, staggering from one adult problem to the next. The latest crisis is a massive unpaid gym bill, accumulated and ignored for several years. At the bank to pay it off, they have the misfortune to be there during a robbery, and their dispatch of the perps gets them suspended from the assassins’ association, for unapproved use of their skills. As in the first film, menial work beckons, in this case as business mascots. It… does not go well. 

Bigger problems lurk, in the shape of lower-tier assassins Yuri Kamimura (Iwanaga) and Makoto Kamimura (Hamada). They want in to the association, and the benefits which come with it – I guess, pensions, healthcare and paid time off. But the only way in, is to create vacancies by killing current members. No prizes for guessing which two come into their crosshairs. It makes for an interesting contrast, with the two young men not dissimilar to the two young women. They’re close friends, yet are in many ways socially inept: there’s an ongoing plot thread about Makoto being too shy, to ask out a waitress on whom he has a crush. They don’t have quite the same food obsession though: witness the extended post-credit discussion about dumplings between Chisato and Mahiro. 

Initially, this seems like a lot of fun, through approximately the point of thebattle between the two heroines in their gigantic headed mascot costumes. However, it feels as if the makers don’t have enough ideas, beyond recycling concepts from last time: the mascot work feels like a mild spin on their equally unsuitable maid cafe jobs. It leaves things stretched thin. I don’t think the women actually carry out any genuine assassinations in the entire 101-minute running-time. There is, instead, discussion about desserts, an extended game of shogi, and a lot of references which I suspect may make considerably more sense to a local audience. This is fair enough, considering it was made for a local audience. It just left me feeling it should have come with liner notes.

The action remains decent though, being both imaginative and well-executed. The bank robbery was a particular highlight, and the inevitable climax, pitting our pair against the duo who have been hunting them, also works and makes good use of the environments. The characters are still fun to be around, and enough of the absurdist humour works, to make for decent enough entertainment – albeit a step below its predecessor. However, if there are any further installments in the lives of Chisato and Mahiro, I hope to see more rigour in the structure. The novelty value of just hanging out with them has now definitively worn off, and I’d need to see development of an actual, significant plot to convince me it’s worth my while.

Dir: Yugo Sakamoto 
Star: Akari Takaishi, Saori Izawa, Joey Iwanaga, Tatsuomi Hamada
a.k.a. Baby Assassins: 2 Babies

The Marvels

  By

★★
“Bombs away!”

Like it or not, the history of action heroines is littered with commercial failures. Cutthroat Island set the gold standard for a long time, but there have been many others, from Barb Wire through to Mulan (no – the other one…). The reasons for their failure varied: sometimes the film was at least partly to blame; sometimes, it was external factors. But last year, The Marvels took things to a new height. Not just the biggest bomb of the year. Or even the biggest bomb in girls with guns movies. While Hollywood accounting will always leave such things uncertain, The Marvels may well be the biggest loss-maker in film history. It had a production budget of $270 million, which doesn’t take into account marketing or other post-production costs, and took in only about $206 million worldwide. Take off things like the cinemas’ cut, and the loss for Disney and Co. is estimated at a staggering $237 million.

Why did The Marvels fall so hard? To be honest, discussing that is perhaps more interesting than talking about the film itself. Not that it’s terrible. There are movies where, you see three minutes and are left wondering, “What the hell were they thinking?” and whose failure was inevitable. Cats, for example: even as something of a connoisseur of bad movies, I’ve not been able to bring myself to watch more than clips. The Marvels is not on that level. Sure, it’s not very good, and we will get to that. But it’s no worse than other movies from the Marvel and DC Cinematic Universes. Line this up with Morbius, Suicide Squad and Madame Web – I’d defy someone without prior knowledge to point the finger at The Marvels as being the worst-ever bomb.

I think a whole slew of factors went into its failure, beyond the quality of the movie. As we saw recently with Furiosa: A Mad Max Saga, even good films can tank abysmally. Here, in no particular order, are the elements I think were involved:

  • Superhero fatigue. After Avengers: Endgame, interest and ticket sales could only go down.
  • A sequel to a film no-one wanted. Sure, Captain Marvel did well. But it was certainly helped because it came between Infinity War and Endgame. She is not anything like an iconic character.
  • A run of underwhelming Marvel entries. Thor, Black Panther, Ant-Man, Guardians of the Galaxy. All made less than the preceding films in those franchises, and were less well received critically. At some point people will just stop watching.
  • General downtown in cinema going. The pandemic whacked the legs out from box-office returns, and people haven’t come back. In this case, perhaps related to:
  • Quick release on streaming. It was available on Disney+ less than three months after hitting cinemas. Anyone on the fence would be forgiven for thinking, “I’ll just catch it at home.”

It’s worth mentioning a couple of reasons I don’t think had much impact. Some suggest the actors’ strike handcuffed the film, preventing the stars from doing publicity for it. Others blame a backlash against women-led movies. But neither of these seem to have affected other entries. For instance, you might have heard of this little woman-led film called Barbie? It did okay, or so I’ve heard. You don’t need to invoke conspiracy theories to explain The Marvels‘ failure. The fact it’s taken me, a devoted fan of action heroine movies, more than seven months to get round to watching it, probably tells you all you need to know.

So, let’s get to the film, which sees three action heroines for the prices of one! How can you go wrong? Well… As well as Carol Danvers, a.k.a. Captain Marvel (Larson), there’s Monica Rambeau (Parris), whom I last saw as a little girl in Captain Marvel, so I guess several decades have passed since then? Like so much here, don’t expect an explanation. She apparently got superpowers after some “Hex” thing, and can manipulate electromagnetic radiation. There’s also Kamala Khan (Vellani), Ms. Marvel, who is a dedicated Captain Marvel fan-girl, but has powers courtesy of a magical bangle. However, the other bangle is in the possession of Dar-Benn (Ashton), leader of the Kree who intends to use it for malicious purposes. Because reasons, Danvers, Rambeau and Khan swap places with each other whenever they use their powers, which complicates trying to stop Dar-Benn.

I’m not prepared to swear to all of the above, since the film makes the assumption I have seen the related TV shows WandaVision and Ms. Marvel, which fill in the background of both Monica and Kamala. I have, in fact, not. This, combined with my general apathy about the MCU, left me frequently confused and/or uninterested in the finer points of whatever was going on. The lack of internal characterization present here which resulted from it, left me not caring very much about anyone – especially Khan, who seems like an annoying teenager, shoehorned in purely to appeal to other annoying teenagers. [Memo to Marvel: make movies to appeal to a minority, and only a minority will find them appealing] Rambeau isn’t much better, and Danvers just seemed like your basic, overpowered superhero.

Most of the running-time – and, at least, it’s relatively short, not much more than 90 minutes before the closing credits start – is spent bipping around the galaxy, going to places the film presumes we know, and meeting people we are supposed to recognize. I would say, the budget shows up on screen, and the action is decent, especially when the three heroines figure out how to team-up properly. But it tends to have the same problem as in Captain Marvel, where the fights frequently feel so artificial as to be lacking in impact. The only sequence which genuinely entertained me had the crew of a space-station pursued and eaten by feline-shaped extra-terrestrials, while Midnight from the musical Cats plays. It’s utterly glorious. Shame it is also so totally at odds with the po-faced approach generally taken elsewhere, which leaves little or no impression at all.

To be honest, I’d rather have five $50 million movies than one costing $270 million, and if this brings an end to the fondness for ridiculously over-priced Hollywood movies, it’s a price I’m willing to pay. It’s a shame it will, almost certainly, have a negative impact on our genre, because we’ll be forced to hear again that nobody wants to see action heroines. That’s not the case, of course. But if you spend more than a quarter-billion dollars and this underwhelming result – complete with, inexplicably, musical numbers – is all you can manage, it’s not hard to conclude something needs to change.

Dir: Nia DaCosta
Star: Brie Larson, Teyonah Parris, Iman Vellani, Zawe Ashton 

Bang Bang Betty

  By

★★½
“Why not Kill-shot Kiara?”

If I was feeling mean, I’d have tagged this as “Pretty shitty Bang Bang”. But while undoubtedly amusing, that wouldn’t be 100% fair. For in the field of low-budget urban action heroines, this is actually better than most. Now, by broader standards, that’s still not exactly great. However, I’ve seen enough of the genre to appreciate and welcome mere technical proficiency. Simply by having decent audio, I was already impressed. It’s the story of Kiara Sommers (Nunno-Brown), a former soldier who is now a prosecuting attorney. During a meet with one of her informants, she is shot and left for dead, but rescued by another veteran, Ray Smith (Parrish) and nursed back to health. [I’ve vague memories of a Chow Yun-Fat film with this plot]

She’s then able to take revenge on the man responsible, local crime-lord Darnell (Walzer). Which is a bit awkward, because he is her boyfriend. There’s also Valerie Mendez (Hernandez), who used to be a colleague of Kiara in the army, and is now walking a dangerous line, playing for both sides, as a cop and an inside woman for Darnell. It feels as if considerably more thought has gone into this than many in this field, whose plot could typically be written on the back of a beer-mat, and leave room for your pint. Some other elements also deserve praise, such as a soundtrack which isn’t just the director’s rapper mates on shuffle (though there is still a fair bit of that).

While Nunoo-Brown and Hernandez are decent enough in their roles, there are several elements that manage to stop this reaching three stars, which would be close to an all-time high for the genre. There’s a serious question over Kiara’s complete ignorance of her boyfriend being a organized crime boss. I mean, really? Some of the supporting cast are not very good: Walzer in particular struggles with his delivery. There’s also a point where a significant character is killed in front of another. It should have a devastating impact, yet their lack of reaction is notable. A few minutes later in the film, they’re cracking wise with Kiara and Valerie. The bruising on Valerie’s face is a continuity disaster. 

My biggest issue, however, was the bad CGI. The muzzle flashes were marginally acceptable, but the explosions are poor, and the CGI blood close to the worst I’ve ever seen. Having no blood at all would have been a vast improvement. It’s a particular shame, as some of the hand-to-hand action is decent enough (again, compared to what I’ve seen previously), with both lead actresses occasionally impressing. I did laugh when Valerie attempted a lucha libre throw on Darnell’s henchman, only to be tossed aside, and told “That superhero shit doesn’t work in real life, does it?” More of this degree of self-awareness might have been welcome, yet it’s probably wise not to ask for too much. I’ll settle for competence, and there’s just enough here to leave me mildly interested in the sequel, already in post-production: Bang Bang Betty – Valerie’s Revenge.

Dir: Alexander T. Hwang
Star: Kakra Nunoo-Brown, Gerald Parrish, Emily Rose Hernandez, Marc Anthony Walzer

Dangerous Waters

  By

★★
“Dangerously stupid.”

This was Ray Liotta’s last movie: he died during shooting. Cruel though it may be, I can’t help wondering if he died of embarrassment. Certainly, I note that his character never gets a proper send-off: while I must remain vague for spoiler purposes, you don’t see his face. Not that he’s in this much. A rambling conversation with the heroine is the bulk of it. But that’s getting ahead of ourselves. We begin with single mom Alma (Burrows) dragging unwilling teen daughter Rose (Rush) on a sailing trip from Florida to Barbados. The boat belongs to her new boyfriend, ex-cop Derek (Dane), and at first, things are pleasant, despite Rose’s obvious desire to be anywhere else but on the high seas.

She’s right to be concerned. A mysterious encounter in the middle of the night leaves one of the passengers dead, and the other two having to fend for themselves, on a badly crippled craft. Turns out, Derek wasn’t quite the above board law enforcement officer Alma thought. He was in cahoots with some very nasty people, in particular one individual known only as The Captain (Liotta). Surviving will require Rose to get on a liferaft, go to a desert island, get back on the liferaft, and finally get picked up by the boat belonging to The Captain. Fortunately, she is both the daughter of a deceased soldier, and has taken shooting lessons. Who better to take out a ship full of hardened criminals?

Yeah, that whirring sound are my eyes rolling. It’s all pretty dumb and largely implausible. I’m not sure what’s less credible: Rush as a teenager, or Burrows as a woman in her late thirties [Put it this way: I’d like to wish a happy 25th birthday in July to Saffron’s performance in Deep Blue Sea] Then there’s the plot, which wanders round in circles aimlessly, between sporadic bouts of action. I guess it gives the viewer plenty of time to try and figure out what Derek’s plan was supposed to be. Similarly, Rose swings between being an unbeatable bad-ass, and whimpering in the corner or unable to hold an oar. But since the movie opens with Rose telling her story to law enforcement, there’s no tension or threat to her. We know she’s going to survive. 

I will say, it looks slick, and the action is fairly well-staged, especially once we get to the boat. This is certainly watchable, though I almost dozed off during one of the longer liferaft sequences. It’s the story that’s the problem here, not least because the big surprises are little or no surprise at all. Maybe the unscheduled loss of Liotta, and the obvious rewrite required was a factor. However, that tragedy can only go so far in explaining the welter of problems with the story. It’s the kind of thing which might pass muster as a TV movie on a lower-tier cable channel. I was expecting more, and certainly, Liotta deserves better as a memorial. 

Dir: John Barr
Star: Odeya Rush, Eric Dane, Saffron Burrows, Ray Liotta

Dope Girls

  By

★★
“Welcome to the dope show.”

This shouldn’t be confused with the BBC series of the same name announced last year. This is very definitely American, another in the ongoing series of urban crime movies which seem to pop up, with some regularity on the likes of Tubi. I keep watching them, in the hope they’ll be good, but am usually disappointed, mostly due to cheap-jack production values and repetitive story-lines. This is at least watchable in the former department, though is definitely marked down for a startlingly abrupt “To be continued” ending. I hate cliff-hangers in books: they do not work any better on movies, and this isn’t exactly Dune Part One, shall we say. Not least because it runs only 75 minutes, including end-credits.

It’s the story of Dee (Pinckney), who comes out of jail with a grudge, and sets about trying to take over the drug trade in the city where she lives (I think it’s Philadelphia). The first obstacle standing in her way is CJ (Whitehurst); after she succeeds in facing him down, he hires an assassin to take her out. But the assassin is not a fan of CJ’s, so looks to switch sides and play for Dee. In her corner, she also has her cousin, Stephanie (Hicks), and a select group of other women with appropriate skills. The one of most note is Stasha Fields, also known as Star (Feindt), a dirty cop who is looking to make it on her own terms.

These make for an interesting set of characters. The film’s main problem is not doing nearly enough with them. Considering how short this runs, there is an awful lot of sitting around, talking about doing things, and not nearly enough actual doing of these things. Outside of the opening scene, in which Dee goes to confront CJ in his apartment, I’m hard-pushed to think of more than a couple of other significant moments of action. Although someone does get shot towards the end, it’s in a non-lethal manner, which is something of a surprise in this genre, since it usually can be depended on for a significant body-count. Here: not so much. There’s even preciously little dealing of the dope.

You’re therefore left largely to rely on the drama for interest, and that’s a bit of a mixed bag. As mentioned, there does seem to have been some thought put into the personnel. Pinckney and Feindt at least can reach convincing on some occasions, while director Deniro – and I’m wagering that is probably not his real name – knows the value of silence, rather than burying every scene in rap music, another staple of the field. In the end though, we reach the closing caption, without having moved an adequate distance from where we were after the first scene. We know a lot more people, to be sure. But to what extent do we know them? Maybe we’ll find out in Dope Girls 2. Maybe I can be bothered to watch it.

Dir: Black Deniro
Star: Kenisha Pinckney, Eva Lin Feindt, Joaquin Whitehurst, Taria Hicks