Tag: 2023

Who Is Erin Carter?

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★★★★
“Discipline isn’t an issue in Ms. Carter’s class.”

Okay, I will admit that this strained credibility on a number of occasions, to the point that buttons were popping off its shirt. But I don’t think the makers were exactly going for gritty realism, and the bottom line is: I enjoyed this a lot. Certainly, more so than Special Ops: Lioness, another limited series which we were watching concurrently. To at least partially address the question posed by the title, Eric Carter (Ahmad) is a supply teacher working in a Spanish school. She lives with her partner, Jordi (Teale), and their somewhat disabled daughter, Harper (Watson). But at the supermarket, Erin foils a robbery in order to save Harper, and it becomes very clear that her skills are not limited to the arena of education.

Turns out, Erin has a past, and the publicity resulting from her impromptu heroism brings it to visit. She finds herself embroiled in murder, organized crime and police corruption, as well as more normal familial drama, such as neighbourhood jealousy and whiny pre-teen nonsense. One of the seven 45-minute episodes is entirely in flashback (unexpected Jamie Bamber!), explaining the reason she changed her identity and moved to Spain, as well as why those from her history are keen to catch up with her. Even the spectacularly unobservant Jordi begins to realize that his other half is not quite as claimed. Her original explanation of a relapse into alcoholism doesn’t exactly explain all the sudden absences, injuries and unusual behaviour Erin is now exhibiting, as she tries to manage the escalating situation.

As you can see, you will need to suspend your disbelief, not least in the reveal of the big bad, who turns out to be a remarkably coincidental person, already in Erin’s life. But there’s a lot to enjoy here, such as the sardonic comparison between “Mommy life” and Erin’s violent and deceptive past. She can go from swapping bitchy comments with a school colleague, to punching throats, in what feels like the blink of an eye. I was also impressed with the combat scenes, which tend to have Erin using anything she can find around her, and possess an impact considerably greater than most TV series. Ahmad, who was in Les Filles du Soleil, possesses a terse fighting style that’s effective.

I admit to largely hating Harper, who is almost a cliche of the bratty, narcissistic and somewhat precocious little girl – admittedly, that may be the point. There are hints she has violent tendencies of her own, albeit this angle is never developed in the first series. The show escalates nicely, until a final episode where Erin and an unexpected ally end up going on the offensive, and things are wrapped up in a reasonable manner. The show did well, topping Netflix’s English-language chart in its week of release, and is still #3 at the time of writing. I’d certainly like to see another series, with this unexpectedly having become my favourite new show of 2023 to date. Though I’m still not sure of the answer to the title’s question.

Creator: Jack Lothian
Star: Evin Ahmad, Sean Teale, Douglas Henshall, Indica Watson

The Wrath of Becky

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★★½
“Did we learn nothing from John Wick?”

Don’t mess with someone else’s dog. This is a good rule of thumb in most cases, but especially so when the owner is an unhinged teenage psychopath, with the both the talent and desire to inflict carnage in retribution. The last time we saw Becky (Wilson), she had disposed of a gang of neo-Nazis who had invaded her house in search of a key, and killed her father in the process. Now, a couple of years later, she is a waitress in a diner, and renting a room from Elena (Burse). Three more individuals with, um, alternative political opinions enter the diner. This is not going to end well.

In response to their rude behaviour, she pours coffee on the crotch of their leader. The response leaves Elena dead and, worse, they kidnap Becky’s dog. She tracks them to the home of their group’s leader, Darryl (Scott). You know that messy mayhem is going to follow, and will not be disappointed. The film does address the gloomy murkiness which plagued the first one, allowing its gory murders to unfold in the full light of the sun. However, in most ways it falls short of its predecessor: the sequel has seen a new writer-director pair come on board, and the results very much have an air of “second verse, same as the first – just not as good” air to them.

The differences are on both sides. Becky is harder to empathize with, being little more than a teenage psychopath now. Sure, she had issues in the original movie. Yet the trauma she went through meant her reactions were understandable. Here, from the outset she seems a bit of a dick, callously treating foster parents for her own benefit. On the villainous side, it’s a mixed bag. The film repeats the trick from the first film of putting an unexpected actor in the role of the lead villain (there Kevin James) and Scott does well. But the frequent idiocy of his underlings is too convenient. They’re not a credible threat, and Darryl’s failure to secure Becky at a key moment undoes much of the good work that has gone before.

However, don’t take the above criticism as an indication there’s no fun to be had here. You just need to be aware this is a considerably more mean-spirited affair, and it’s probably only the kills that will stick around in your mind. I did laugh out loud more than once, for example when one of the gang reveals his son’s name to Becky, sealing his own fate [though again: why not just lie, dude? It isn’t hard…] The ending sees the CIA recruit Becky, because they are now apparently responsible for domestic counter-terrorism. Wait, what? Oh, well. If they’re going the Nikita route for further sequels, I suspect the authorities have bitten off more than they can chew. Maybe next time Becky can go after Antifa.

Dir: Matt Angel, Suzanne Coote
Star: Lulu Wilson, Seann William Scott, Denise Burse, Jill Larson

Lioness, season one

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★★★
“Crossing the Lion…”

If 2023 has been underwhelming on the theatrical front (to put it mildly), the various streaming services have certainly had no shortage of entries to keep us occupied here. This one comes to us from Paramount+, and stars Saldaña – already known around these parts, most likely for Colombiana – as CIA operative Joe McNamara, who uses undercover operatives against terrorist groups around the world. Her most recent mission does not end well, and she needs a new operative. She finds one in Cruz Manuelos (De Oliveira), a young woman who finds herself literally falling into the Marines, as a means of escape from a tough life and an abusive relationship. After acing boot camp, she becomes part of McNamara’s team.

The mission involves adopting the identity of a young Muslim woman and befriending Aaliyah Amrohi (Nur), daughter of a very rich Arab. The CIA believe her father is a major source of terrorist funding, but he is very hard to find. Aaliyah is engaged to be married, and her father seems certain to turn up at the wedding. So it’s up to Cruz, in her new identity, to insert herself into Aaliyah’s circle and get invited to the nuptials, so that the target can be neutralized as appropriate. Of course, it’s not quite as simple as that. In addition, Joe has familial issues of her own, as well as having to handle political manoeuvres among the alphabet soup of federal organizations, all with a finger in the pie.

I feel the characters work better than the scenario, which leans too heavily on cliched elements, such as Cruz and Alliyah falling for each other. I rolled my eyes quite hard at that, though it does lean into the “men are bastards” narrative occasionally present here. Hey, it applies both to American and Arab males, so that’s balanced, right? The scene where Cruz got drink-drugged also provoked ocular rotation. Though I was amused when the would-be date-rapist realized he’d bitten off rather more than expected, when a bunch of pissed-off Special Ops people showed up to rescue their comrade. I also enjoyed Wagner, former ditzy co-host of game show Wipeout, playing someone who looks like she’d give Vasquez a tough fight.

The action stuff is certainly well-staged, with De Oliveira giving a good account of herself through the selection process. And, when necessary, as part of her mission – leaving her with some injuries that required a bit of explanation to her new friend. The finale severely ramped up the stakes, especially when the groom-to-be ran Cruz’s face through facial recognition software. It all got… a bit messy thereafter, shall we say. Though it escapes me quite why he never alerted the large security contingent present about the Marine in their midst. If a lot of this doesn’t stand up to close scrutiny, the cast – also including Nicole Kidman and Morgan Freeman – give it their all, and if there turns out to be a second season, we’ll be down for it.

Creator: Taylor Sheridan
Star: Laysla De Oliveira, Zoe Saldaña, Stephanie Nur, Jill Wagner
a.k.a. Special Ops: Lioness

The Vigilante

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★★★
“The Noise of Freedom”

Not to be confused with A Vigilante, this is rather more downmarket and straightforward. It’s likely less thought-provoking, yet probably works a bit better as entertainment, albeit being so basic as to border on the simplistic. Marine Jessica (Jandreau) comes back from a tour of duty in the Middle East with PTSD, following an encounter with a kid wearing a suicide vest. Almost immediately on her arrival, however, her 13-year-old sister, Aimee (Timmons) is kidnapped by sex-trafficker Frank (Cesario), who plans to sell her off in the vilest of ways. It’s a race against time for Jessica and her army buddy and tech wizard Dan (Pierce) to track down those responsible before… [/gestures vaguely] y’know…

If this feels like it has a certain similarity to an unexpected hit in cinemas this summer, you’re probably right. In the movie’s defense, this has been in the pipeline for five years or more, so it can’t be called a quick cash-in – though The Sound of Freedom goes back even longer. Interestingly, director Whittaker worked on Freedom as a stunt co-ordinator, part of a career in that field which goes back to the early nineties. He brings that experience to The Vigilante and it shows, with the action probably the film’s best element. There are a couple of undeniably impressive fights for Jandreau, in particular the final one after she has located the house in which Aimee is being held by her kidnappers.

The other elements are a bit more variable. It begins with an earnest recitation of facts about sex trafficking, with voice-over from (real?) victims detailing where and at what age they were ensnared. But the concept of Frank literally ploughing into the car in which Aimee is a passenger, in order to kidnap her to order out of the wreckage, is hugely, almost ludicrously, implausible. The reality of sex-trafficking is considerably less dramatic: like murder, it’s far more likely the perpetrator is someone known to the victim, rather than a complete stranger. Some of the other elements also don’t feel like they ring true, and the sheer number of shots of underage girls in white underwear had me expecting Chris Hansen to pop out of my closet.

Another weak spot if quite what Dan is doing to locate the trafficking houses which Jessica and he then hit. It’s only vaguely explained, in tech-speak of the least convincing kind. However, there are times where the film does still hit the mark, such as the line said by one of the girls with almost chilling off-handedness: “The first time is the worst. Then you simply go numb.” You sense any creepiness is entirely deliberate, although it is undeniably playing up the more sensational aspects for the viewer. Nothing new there, of course. In many ways, The Vigilante is simply a spiritual successor to the white slavery movies which date back well over a century to the silent era, and titles like Traffic in Souls. As such, this is no better or worse; it succeeds well enough, despite low ambitions.

Dir: Lee Whittaker
Star: Jet Jandreau, Eric Pierce, Jamie M. Timmons, Julien Cesario
a.k.a. Aimee

Phoenix

  By

★½
“Tubi or not Tubi? NOT Tubi…”

Much though I love the streaming service, even I have to admit that “Tubi Originals” are a bit of a mixed bag, to put it mildly. For every Mercy Falls, an entertaining enough B-movie that punches above its weight, there is also… Well, things like this, which is filled wall-to-wall with non-actors trying to act, among a plethora of other, poor choices. Both heroine and villain are former WWE employees, being known there respectively at Eva Marie and Vladimir Kozlov. The latter comes off better, largely because he doesn’t have to do much more than be a menacing thug in his role as Maxim Vasiliiv, head of a Russian crime syndicate in Miami.

He’s involved in the death of Everett Grant (Couture), which is a bad move, since the corpse’s daughter, Fiona “Phoenix” Grant (Marie), is a combat trainer in the US Army, and does not believe her father killed himself. You can probably figure out the rest of the story without me needing to explain it. To be honest, my notes on the topic would not trouble a cigarette paper, such is the shallowness of the plot. The acting is no great shakes either. A lot of the supporting cast is filled out by people who are clearly more familiar with the inside of a gym, rather than the Actor’s Studio. Consequently, they look the part (even if it’s “Menacing Thug #4”), only for the illusion to be shattered when they deliver lines.

There are a couple of minor exceptions, though the real actors only show up the deficiencies elsewhere. Neal McDonough plays Fiona’s commanding officer, and the always welcome Bai Ling appears as a rather weird role, missing from her IMDb entry, most notable for lipstick and make-up which leaves her looking as if she came right from a booking as a kid’s party clown. All of which would be acceptable, if the film delivered copious amounts of over-the-top mayhem – as you’d expect given the two leads’ histories. The reality is, it’s almost forty minutes before you get Phoenix doing anything of significance. We do first get a shopping montage with her Aunt Grace (Camacho – a former cop who appeared on Survivor, apparently). So there’s that.

Things perk up somewhat thereafter, at least when those involved are kicking and punching each others. These sequences may not make a lot of – read, any – sense, yet they’re preferable to the makers’ feeble efforts in other departments. The scene where Fiona and Maxim have dinner and trade lscklustre barbs, may be the low-water point in this department, though any flashback involving Everett (“It’s Christmas Eve and Dad still hasn’t shown up – or called!”) is probably going to be ranked. When I saw the trailer for this, I was surprised by how little action it seemed to have. Turns out, the answer is definitely “not enough,” and the final ten minutes are not enough to rescue the situation.

Dir: Daniel Zirilli
Star: Natalie Eva Marie, Oleg Prudius, Jessie Camacho, Randy Couture

Heart of Stone

  By

★★
“Entertainment: Impossible”

The Great 2023 Void of Action Heroines continues on. The closest thing we’ve seen to one as a mainstream hit in the cinemas is… um, Barbie. Yeah. Not going there. I was looking at the box-office chart for the year, and excluding movies which were actually released in 2022 e.g. Everything Everywhere All at Once, there is only one single film in the top two hundred we have covered here. Polite Society sits outside the top hundred, at $1,.5m [We will get round to The Wrath of Becky in a bit. It’s #181, with a gross of $168,109.] Last year, we had Everything and The Woman King in the top thirty. 2021 gave us Black Widow; 2020, Birds of Prey and Wonder Woman 1984. The complete lack of tentpole heroines this year is disconcerting.

There has been no shortage of female supporting characters who have kicked butt. We already wrote about the The Women of Mission: Impossible, while John Wick 4 also delivered in this category, among quite a few other successful movies. But if you want to see a GWG take centre-stage, you will not find it in the movies. In some ways, it’s more convenient, to be able to sit at home, in your own comfy chair, with a choice of reasonably-priced snacks, and simply push a button on your remote control. But, it has to be said: quality wise, there’s often a good reason most of these films have gone straight to a streaming service. We’ve already covered a number here. The Mother. Furies. Mercy Falls. True Spirit. Some were decent. Yet none have achieved a seal of approval.

This one certainly won’t, barely reaching the level of acceptable entertainment, and sadly, continuing Gal Gadot’s streak of swings and misses. She blazed onto the scene in Wonder Woman back in 2017, and seemed set to take over the mantle as one of the top action actresses in Hollywood. But she has singularly failed to build on that foundation. She lost a lot of public goodwill for her tone-deaf Imagine video in the pandemic. WW84 was a flop, Red Notice was a quickly-forgotten Netflix Original, and her turn in Death on the Nile was widely-panned, becoming a meme. This, however, was a chance to correct course, putting her front and centre in a movie which, it was clearly hoped, would kick-start a franchise and become the female version of Mission: Impossible.

Ain’t gonna happen.

Two minutes in, Chris turned to me and said, “Is this a movie or a TV series?” and I can see her point. Having watched this just a couple of weeks after the undeniably cinematic Mission: Impossible – Dead Reckoning Part One, the difference is obvious. Harper directed The Aeronauts, which was decent enough, but it seems he is incapable of scaling things up from a balloon basket, to the much larger scope needed here. Part of the problem with the action sequences in particular, is the VR enhancement gimmick the heroine wears, allowing her to get real-time updates from her handler. This too often leaves everything looking like it’s a video-game, and it rubs off on other sequences, such as her parachute jump, which feels thoroughly unconvincing.

The plot is perhaps an even greater weakness, a confusing and unengaging mess. Rachel Stone (Gadot) works for a group called Charter, who use hi-tech surveillance for good (yeah… about that…). She’s embedded as an agent in MI-5, for reasons that are never made clear. Wouldn’t you know it, one of the people on her team, Parker (Dornan), turns out to be plotting to steal The Heart, the super-computer on which Charter relies for their surveillance – and use it, presumably, not for good. He has teamed up with talented young hacker Keya Dhawan (Bhatt) to this end, and only Stone can stop them, recover The Heart, and save her colleagues at Charter, including Stone’s boss Nomad (Okenedo).

Dear god, I almost lost consciousness merely typing the previous paragraph. Reviewing the previous work of writers Greg Rucka and Allison Schroeder, what stands out is an almost complete lack of action movies. Rucka has worked mostly in comics (including the one which became The Old Guard), while Schroeder did, um, Christopher Robin and Hidden Figures. The lack of experience shows. Never mind not having written an action movie, it feels as if neither of them had seen an action movie. If so, they might have realized Stone’s handler flicking VR screen around by gesture, was done twenty years ago in Minority Report. The good ideas here are all like that, things you’ve seen elsewhere, and done better, while the ones the movie can call its own are uninspired in concept and/or execution.

It doesn’t help that the supporting cast are mostly bland. If Gadot does still have reasonable charisma, Dornan is completely forgettable. Bhatt is a thoroughly unconvincing hacker – I might trust her to reset my account password, and apologize for the inconvenience. That’s about it. The most irritating character though, is probably her handler. I get what they were going for, but almost every time he’s involved, it leaves the heroine feeling not much more than a meat-puppet, removing a significant degree of agency from her. I will say, some of the action set-pieces aren’t too bad. There’s a good car-chase through Lisbon, for example. But any secret organization which fills its airship with hydrogen, is certainly not going to remain secret for very long. That’s the level of idiocy we are dealing with in the writing here.

Long before the end, I had mentally checked out, as the film globe-trotted manically from [checks notes] the Alps to London to Portugal to Senegal to Iceland. There’s no denying there was a significant amount of resources expended on this production, though Netflix is notoriously tight-lipped on specific budgets. However, the film doesn’t so much jump the shark, as use it for a 3000-metre steeplechase, when the MI-5 spies have a dance break. Read the sentence again. Roll it around your brain. That it’s to a Lizzo song – unfortunate timing, that – makes it considerably worse. Everything thereafter feels like a waste of those resources, as well as the variable talents of those involved.

Dir: Tom Harper
Star: Gal Gadot, Jamie Dornan, Alia Bhatt, Sophie Okonedo

Sheroes

  By

★★★
“Zeroes to sheroes.”

Twenty minutes into this, I was certain I had made a terrible mistake. These four young women were among the most grating and unpleasant characters I’d seen in a movie. I’m talking actively awful: crass, shallow and entitled. They head off to Thailand for a girls’ getaway on a private jet owned by the father of Diamond (Luss), a film producer. By the time they land, check out their mansion and enjoy the local sights, I was ready to set up the guillotines. Then there’s a luggage mix-up, leaving them with a large quantity of Thai cartel coke, and one of their number is kidnapped, in order to coerce them into returning the goods.

Which is where something unexpected happened. The film became… Well, “good” might be a stretch – plausibility is not the script’s strong suit. But it became considerably more entertaining, that’s for certain. Diamond turns out to have hidden depths, and coaches skater girl Ryder (Day) and actress Ezra (Fuhrman) on what they’re going to do to get their friend Daisy (Skai Jackson) back. They have some help from the mysterious Jasper (Kesy), but they’re mostly reliant on their own skills, at least until the very end. It also nods to other films in an occasionally meta way. For instance, Diamond coaches Ezra to deliver Liam Neeson’s classic Taken speech to the kidnappers. It’s particularly funny, because that was written by Luc Besson, and Luss is best known as the star of Anna… directed by Besson.

She is really the glue that holds the film together for the bulk of the running-time, coming over as both smart and capable, and I’d watch her in a franchise. You do have to suspend disbelief in quite a few places, e.g. the trio are capable of using a 3D printer to create a mask which Ezra uses to impersonate someone. [It was a stretch in Mission: Impossible, with all the resources of the IMF] Or Ryder being capable of taking down a trained mixed martial-arts fighter, who’s probably a hundred pounds heavier. Then there’s the final battle, where they take out an entire camp of Thai drug-runners. Yeah: this whole film might as well be titled “I’m so sure…”

Yet, I was able to put that aside, and found myself, surprisingly, being adequately entertained. There’s a lot of value wrung out from the exotic locations, while the cinematography is crisp and well-executed. And let’s be honest, the heroines are easy on the eye and spent more time than is strictly necessary in bikinis. The R-rating seems largely a result of bad language and drug use. I’d like to have seen it embraced in the action elements as well, which could have been more hard-hitting. But as a frothy concoction, this feels as if it is going down a similar line as something like DOA: Dead or Alive. Not quite as good – yet considering how very low my opinion was at the beginning, recovering to a three-star rating is impressive. 

Dir: Jordan Gertner
Star: Sasha Luss, Isabelle Fuhrman, Wallis Day, Jack Kesy

Kill Boksoon

  By

★★★½
“Joan Wick”

There’s a lot to admire about this South Korean film, though a couple of fumbles stop it from achieving the heights it threatens to do. You’d be forgiven for thinking it’s a knock-off of Kill Bill going by the title. But it’s as much a pun on the name of the heroine, Gil Bok-soon (Jeon). She has been an assassin since she was 17, and has worked her way up to be the top employee of the MK. ENT corporation, run by Cha Min-kyu (Sol). They are one of a number of competing companies offering killers for hire, but to ensure standards, certain common rules have been agreed, e.g. no kids, and are adhered to by all. Well… Kinda…

Bok-soon has a teenage daughter, Jae-yeong (Kim), from whom she has kept her career secret. But Bok-soon is still concerned Jae-yeong might follow in her footsteps, especially after she stabs a schoolmate in the neck. Bok-soon also breaks one of those corporate rules when she refuses to kill a politician’s son. This kicks off an escalating series of problems, largely driven by Min-kyu’s sister, Min-hee (Esom), a director of MK ENT, who had long resented Bok-soon’s special relationship with her brother. Bok-soon eventually finds herself on the receiving end of a contract, despite Min-kyu’s best efforts to avoid such a scenario, while also having to handle the teenage drama of Jae-yeong, and keep her personal and work lives separate. 

I enjoyed the world building here. It feels a little like John Wick in its creation of a shadow society of assassins, operating by its own rules just beneath the surface. There is a peculiarly corporate feel to this one, perhaps a reflection of South Korean culture. For example, Bok-soon hangs out at a restaurant with some employees of “rival” companies, shooting the business breeze. The place is run by a former assassin, and it’s all very convivial – at least until the contract on her comes out. What follows is likely the action highlight of the film (not least the fate of the poor, unfortunate owner). I also loved Bok-soon’s way of foreseeing how fights will go, like a chess master thinking moves ahead. A similar skill was seen in Zhang Yimou’s Hero; this ramps it up.

Less successful is the family drama. I’ve a low tolerance for whiny teenagers (I’ve lived through it!), and this all felt too soap-opera for my tastes. I get that the daughter’s secret is intended as a parallel for her mother’s, but it’s too obvious and generated more eye-rolling than emotional connection. With an extended running-time of 137 minutes, it certainly feels like unnecessary padding. I’d rather have learned more about the world of the assassins, rather than Jae-yeong’s (largely self-inflicted) schoolyard angst. But even discarding that, there’s still plenty to appreciate here, with Jeon’s strong performance at its core. If this were to follow John Wick in becoming a franchise, I certainly would not complain. 

Dir: Byun Sung-hyun
Star: Jeon Do-yeon, Sol Kyung-gu, Kim Si-a, Esom

Polite Society

  By

★★★½
“Almost everything, everywhere…”

Sitting somewhere between Everything Everywhere All at Once  and Scott Pilgrim vs. The World, you will find this British comedy. It shares the same immigrant culture clash origin of the former, and the teenage angst of the latter – though, fortunately, without Pilgrim‘s smug self-awareness. It’s the story of Ria Khan (Kansara), a teenage daughter in an Pakistani family in Britain who wants nothing to do with her family’s expectations, and instead, dreams of becoming a stuntwoman. Her older sister, Lena (Arya), recently dropped out of art school and, to Ria’s horror, is now heading towards marriage to hunky scientist Salim (Khanna). He basically represents everything about traditional culture Ria detests.

She decides her sister must be saved from this fate, with the help of her plucky school-chums, and in increasing defiance, both of her family and the evidence that Salim is a nice guy, who genuinely loves Lena. That is, until Ria stumbles across the secret laboratory under his house, and it turns out she might have been right all along. Except, it might be his mother, Raheela (Bucha), who is the evil mastermind, with a plan to… No, I can’t say. Not so much for reasons of spoilerness, more because it’s such a dumb idea for a villainous plot, James Bond wouldn’t give it house-room. Even in the Roger Moore era. Regardless, Ria’s only hope is now to kidnap her own sister from her own wedding, under the nose of both Rahella and the bride’s parents.

This manages to tread the fine line between self-awareness and blatantly being “meta”. Ria is excellent, delivering fiercely as the committed teenager, who is 125% sure she is utterly correct, regardless of what any so-called “facts” might indicate. However, the real star is likely Khanna, who in just a few scenes manages to steal the entire movie, as the epitome of an evil overlord. I did sense some of the cultural beats might be lost on those outside Indian society. Most of the time, there’s enough context you can work out the details (and it was refreshing that the script avoided the obvious “arranged marriage” trope). But what is an “Eid” and why would you have an “Eid soiree“?

The action is surprisingly robust, setting up each fight with an introductory title. It generally delivers with emphatic oomph that provoked comment from me more than once: the fight between the two sisters was particularly savage. It was also appreciated that Ria’s idol is Eunice Huthart, who genuinely is one of the top British stuntwomen, having doubled for Angelina Jolie in Salt. I would have welcomed a bit more action, especially towards the end. It seems to be setting up a big fight between Ria and Raheela: this doesn’t arrive, instead being simply Ria landing the signature move she has been failing to complete all movie. But as an entertaining mix of dry British humour and flying fantasy, this works better than I expected.

Dir: Nida Manzoor
Star: Priya Kansara, Ritu Arya, Nimra Bucha, Akshay Khanna

Mercy Falls

  By

★★★
“Come to beautiful Scotland! And die!”

Even though I haven’t lived there since the eighties, I remain a sucker for a Scottish film. This delivers, with no shortage of rugged mountain landscapes, beautiful lochs, a ceilidh band and trees. So. Many. Trees. The foliage is understandable, because most of it takes places in the woods, where Rhona (Lyle) and her friends are looking for a cabin, deep in the wilds, which belonged to her late father. To help find it, they enlist the help of local Carla (McKeown), whom they meet down the pub when they have a pre-trip planning get-together. She initially seems fun to be with. But once they’re away from civilization, a shocking incident proves she… has issues, shall we say. And might not be the only one in the party.

The “trip into the woods goes wrong” subgenre of horror has been a staple of the industry for decades – not least because, it’s cheap to do. Why bother with expensive sets, when you can just run around a forest for the bulk of your running time? [Though from previous conversations with Scottish film-makers, the dreaded blood-sucking local insects know as midges, might make that choice of location a decision to regret!] There’s not a lot new in this incarnation of it. Having the threat come from inside the party is a moderate twist, as is having both leads being women. But horror, generally, isn’t something which requires innovation. It’s considerably more about the execution. Or, perhaps, the executionS.

There, this film is a bit of a mixed bag. If the supporting characters aren’t much more than stock characters: the slut, the jackass, the nerd (that would be the guy reading Homer in the woods!), they serve their purpose, which is mostly to die at the hands of Carla. The effects are limited, but I’d say, respectable enough. One extended impalement is likely the highlight, helped by the victim’s enthusiastic selling of their injury. The script is perhaps the weakest element, with a few moments which had us rolling our eyes, in particular the “we might be going to die, so let’s go ahead and have sex” scene. At 103 minutes, trimming might be warranted, as this stretches the material a bit thin. On the other hand: did I mention the lovely scenery?

It all builds as you’d expect, to a somewhat decent face-off between the heroine and villainess. It is somewhat problematic, in that the latter’s background should give her such an edge, as to be able to wipe the floor with Rhona inside ten seconds. Something like handicapping Carla with an injury could have helped make the playing field feel less one-sided. However, we were still reasonably invested in things by this point, and McKeown definitely makes for a convincing nemesis, capable from flicking an internal switch and going from friendly into “you are all going to die” mode in a moment. Nobody could accuse this of ambition, yet it does what it does well enough to entertain us.

Dir: Ryan Hendrick
Star: Lauren Lyle, Nicolette McKeown, James Watterson, Layla Kirk
Mercy Falls is available now on Tubi.