Tag: 2024

Wild Agent 2: Peach Assassination

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★★★½
“Another day, another kidnapped husband.”

Despite the name, this is clearly a sequel to Agent Crazy Flower, although it’s showing on the iQIYI channel as Miss Danger 2, because of course it is. The Chinese title seems to get the sequel concept, but the IMDb has it under the name above. The trailer is also on YouTube as Miss Agent 2, and searching for that, the results include Miss Congeniality 2: Armed and Fabulous. So, as ever here, things like cast names are very much on a “best endeavours” basis. What is certain, is the return of Xu as ex-agent Ya Mei, again forced back into action for ATO after her husband Fang Li (Luo) is once more used as leverage against her.

Turns out, he’s an AI expert, and is just the guy the villains in the TNT crime syndicate need to complete their “Fire Phoenix” plan to… Um, I think it’s something to do with draining everyone’s bank account into theirs. But it really doesn’t matter much, trust me. Anyway, Mei has to infiltrate TNT in order to rescue her spouse. Complicating matters significantly, however, is Peach (Nan), a barking mad killer who acts like a cross between The Joker and Anton Chigurh – doing the coin-toss thing to decide who lives and dies. She breaks out of prison, intent on taking vengeance for her brother, whom she believes Ya Mei killed. This comes as a surprise to our heroine, who has no such murderous recollection. 

I think it’s safe to say that extra half-star this gets, over its predecessor, can all be laid at the door of Peach. Whenever she’s on screen, the movie seems to find another extra gear, and goes from a decent way to pass the time, to compelling entertainment. Saul (Lei), the leader of TNT, occasionally tries to compete in the “twisted malevolence” department, such as tricking an underling into poisoning his own wife, for no particular reason. However, he is nothing but cheap, wannabe trash (and also, very much in love with the sound of his own voice) in comparison to Peach, who is likely ranked among the best villains I’ve seen in 2026.

She’s got the style, the charisma, and the complete disregard for human life – her own, as well as anyone else’s. Though it takes a while,  we get the expected face-off between her and Ya Mei, and it does not disappoint. I will say, the ending is a bit abrupt. It’s basically a caption saying, “ATO and the local government jointly launched an attack, arresting all personnel involved in the TNT organization,” which has to be the most flagrant breach of “Show, don’t tell” in recent movie history. But until that point, I certainly didn’t feel like my time had been wasted. I’m also just realizing the title might perhaps better be translated as Agent Wild Flower. That would make more sense. But further adventures? Or a Peach spin-off? Don’t mind if they do. 

Dir: Huang He
Star: Dongdong Xu, Sheng Nan, Liqun Luo, Zhong Lei
a.k.a. Agent Crazy Flower 2: Peach Killer

Second Life

  By

★★★★
“Age is just a number.”

Well, this was a challenge. It showed up on YouTube as Gangster Granny, a reasonable translation of the Chinese title, 黑帮老太. But searching for either returned only a video game, or unrelated movies like Mafia Mamma. I ended up screen-capturing the end credits, pumping them through Google Translate, and plugging names into the IMDb to get info. Leading lady Yuen is an icon. She studied at the Peking Opera under the same master as Jackie Chan, and had a solid kung-fu movie career in the seventies, plus a small role in The Man with the Golden Gun. After a two-decade hiatus from acting, she played the role for which she’s best known in the West: the landlady in Kung Fu Hustle.

She wasn’t young there, and twenty years later, Yuen is in her mid-seventies. It’s clear there is doubling, CGI and other trickery used. But she’s still showing impressive grace, fluidity and skill for her age. I am not (yet!) in my mid-seventies, and consider getting up from my armchair without groaning to be an achievement. This begins with the middle-aged and pregnant Liang Jie in prison, showcasing her fighting talents before giving birth to a son, quickly whisked away for adoption. Thirty years later, she gets out and seeks her long-lost son. But Liang is still on the shit-list of mobster Chang Meng – Liang killed his father, which is why she was in jail. He sends blind assassin Ah Gui (Ng) to pretend to be the son, so he can kill Liang. 

Naturally, this proves not as easy as he thinks, despite a cunning use of walnut shells to overcome his visual impairment. Ah Gui is an orphan himself, so gradually – and probably inevitably! – the kindness of Liang begins to win him over. Chang gets fed up waiting for his minion to do the job, so sends the backup squad, led by Liya (Yiu, recently seen here starring in The Forbidden City). Ah Gui needs to decide on which side he’s going to be. As if that weren’t enough, the script also throws in an undercover cop and a terminal ailment. Yeah, it is fair to criticize writing which seems to adopt an “Everything including the kitchen-sink” approach. 

That said, I still found this enormous fun. When kung-fu films bring humour into the mix, it doesn’t often work – Hustle, and the other work of Stephen Chow, is a rare exception. Often, it goes for childish comedic mugging in indigestible lumps, but this does a much better job than most of striking a balance. There were moments where I genuinely laughed out loud. I found the dramatic elements work well too, staying just this side of melodramatic pathos. But let’s not kid ourselves. We’re here for the action, and this is above-average, climaxing in a pool-side fight involving everyone. And fire, because why not? This feels like an old-school throwback to HK action-comedy, and as such, was a pleasant surprise. 

Dir: Suiqiang Huo
Star: Qiu Yuen, Philip Ng, Jiahe Ji, Laxi Yiu

Nobody Wants to Shoot a Woman

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★★★½
“Better living through crime.”

Mary (Benko) moves in to a new Brooklyn neighbourhood, along with her husband, John (Gorn) and teenage son, Johnny. But neither of them are comfortable, the middle-class morality being an ill fit for John’s career as a bank robber. Unfortunately, John has an addictive fondness for gambling, which leads to him being gunned down on their front porch. This leaves Mary excluded by most of the other residents, and in a precarious financial position, unable to find legitimate employment. Eventually, she convinces John’s sketchy associate Sean (Godere), to bring her on board for his next robbery, and Mary discovers a hidden talent for such activities. This brings with it a new-found inner confidence in her everyday life.

The film reminds me of Monica la mitraille, though that was based on a real bank-robber, while this appears entirely spun from fictional cloth. However, it has the ring of plausibility to it, writer-director Enright creating characters and situations which feel distinctly lived-in. Mary’s character arc is strong and well-defined. She begins as someone stuck in an abusive relationship, though it seems only a matter of time before John’s self-destructive behaviour does, indeed, self-destruct. The question throughout it, how far will her subsequent path mirror that of her late husband? The police are circling, not least because of the media fuss resulting over the unusual gender of this criminal, nicknamed “Machine Gun Mary” by the press. There are also suggestion Mary may be growing a fondness for gambling too.

It’s this tension which pulled me along the narrative. It does occasionally lean too hard into the obvious tropes – I may have rolled my eyes at the “one last job” plot point, with Mary repeatedly stating she’s only doing this so she can provide for her son. In addition, none of the male characters are anywhere near as well-developed as the heroine. However, it manages to avoid relying entirely on them – or, at least, twists them in interesting ways. For example, the relationship between Mary and Johnny’s teacher doesn’t unfold as expected. Nor does that “one last job” turn out the way you think, although with hindsight, I could perhaps have predicted the resolution. 

You should not expect much on the action side of things, since this is, understandably, limited. While she does wield the automatic weapon after which Mary is nicknamed, this is purely for intimidation purposes. A few rounds loosed into the ceiling is more than sufficient, and she doesn’t shoot anybody, because she does not need to do so. Mary is smarter than that and, with the possible exception of the detective on her heels, is clearly the most intelligent person in the movie. She is definitely the least in thrall to the seductive addiction of criminal activity. However, how far will that take her, in a game where the house – by which, I mean the authorities – always win, sooner or later? That’s the key issue here, and I found it more than enough. 

Dir: Kerry Ann Enright
Star: Tina Benko, Michael Godere, Lev Gorn, Dane Zagarino

Detained

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★★
“The Unusual Suspects.”

I gave serious consideration as to not covering this here, since it is kinda fringe. The protagonist, Rebecca Kamen (Cornish), spends much of the movie handcuffed. This is not particularly conducive to action. But there are just about enough moments, as shown, where she gets her hands on a firearm, to crawl over the qualifying threshold. Don’t expect much in the way of girls-with-guns action. In fact, don’t expect much, full stop. For as the tagline above suggests, I preferred this the first time I watched it, when it was called The Usual Suspects. It begins with the police investigating a scene involving arson and murder, where one victim attempted to paint a name in their blood on the wall: “Jovan”. 

We then flash back to Kamen awakening in police custody, with no memory of how she got there. Seems she got off her face on drink and/or drugs, and mowed down a pedestrian. At least, that’s the story told to her by detectives Avery (Alonso) and Moon (Bloodgood). However, as things unfold, it becomes clear this is not a genuine police station. This isn’t much of a spoiler, because that fact is revealed relatively early in the process. It’s unfortunate, however, because this is the main point of originality which it has to offer. Turns out, Rebecca was involved in the disappearance of a large sum of money – Avery says eight million dollars, she rejects the figure, and suggests the legendary Jovan is responsible.

Regardless, Avery and team intend to pry it out of her. What follows is an hour of steadily decreasing returns, beginning with me thinking “They’re not going to go there, are they?” and ending with the sad realization, “They went there, didn’t they.” Cornish, whom you might remember from Sucker Punch, is actually the best thing about this. She starts off by playing the complete innocent, and you believe she genuinely has no idea why she is there. But an ability to read people like a world-class poker player, allows Rebecca to manipulate those who are trying to manipulate her. Consequently, it’s not long before ever-deepening cracks start to show in the facade of the opposing team. 

In particular, Avery – who was best friends with the previous owner of the cash – is prepared to go far further in compelling Kamen to open up her back account. The problem is, having initially shown the extraordinary lengths to which the gang are prepared to go to fake things, the viewer is left thoroughly suspicious of everything which follows. This is up to and including death threats aimed at small children: I was left thinking, “Yeah, sure…” The scepticism is, if you can to begin with, get past the completely unnecessary complexity of the original plan. I’d have bypassed all of it, and gone straight for the fingernail ripping. I guess that preference for the simpler solution is probably why I didn’t grow up to become a Bond villain. 

Dir: Felipe Mucci
Star: Abbie Cornish, Laz Alonso, Moon Bloodgood, John Patrick Amedori

Revolver

  By

★★★½
“Speak softly, but carry a big stick.”

You need to be patient with this. Both in terms of its plot and, more generally, its attitude. This isn’t exactly action-packed. Yet the heroine – and I used the word loosely – is an unstoppable force of nature. Just more like a glacier than a tornado. She never rushes in, always having a plan, and rarely raises her voice. Yet woe beside anyone who tries to get in her way. She is Ha Soo-yeong (Jeon D-y), whom we first meet as she is being released from prison at the end of her sentence. Turns out she was a policewoman, busted for corruption in a scheme also involving her cop boyfriend. 

Ha agreed to take the fall, in exchange for post-prison consideration: a large cash sum and an apartment. But by the time she serves her time, the world has moved on. Her boyfriend killed himself, the apartment was given away, and the gangster who promised to take care of her, Andy (Ji), is no longer part of the organization. Ha just wants what she feels she is owed. When her polite requests for this are rebuffed, she is unwilling to take no for an answer and move on with her life. No longer constrained by the chains of official justice, Ha sets about finding someone who is willing to pay up, with the help of Jeong Yoon-seon (Lim), and others with various interests in the outcome. 

Naturally, there are those who are not keen to have the awkward situation they thought they had covered up, brought back to attention. Whether it’s the detective still on the beat, or Grace (Jeon H-j), the woman now in charge of the criminal operation, Ha represents a potential problem, which must be solved. While the movie is part of the ever-popular Korean revenge genre, it does provide a different twist. The wrong for which Ha seeks payback is largely a result of her misplaced trust – and after all, she is still a corrupt cop. Yet, courtesy of Jeon’s excellent performance, I still found myself rooting for her. Her calm demeanour is certainly a refreshing change from the more emotive heroines we typically get.

The viewer will need to accept the film is going to unfold at its own, relatively leisurely pace. Yet if you can, I’d say the payoff should be more than adequate, not least in one of the more unusual central characters we have covered on the site. That said, rather than the titular weapon, Ha proves capable of wielding a mean extendable baton. She beats seven kinds of manure out of Andy after he tries to fob her off with drugs, instead of promised money. For if violence may not be her first choice, it always remains a viable option. I might have preferred a little more of it, considering how many disreputable characters she comes across. This, incidentally, does not apply to Grace, who might be the smartest person here. She at least knows when to cut her losses.

Dir: Oh Seung-uk
Star: Jeon Do-yeon, Ji Chang-wook, Lim Ji-yeon, Jeon Hye-jin

The Matriarch

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★★★
“Puts the F in mother.”

I’m always amused when I check the reviews on the IMDb for a film, and they are almost all “Totally amazing!” or “Worst film ever!”. The former tend to come from the movie’s friends; the latter, from people miffed by the positive reviews, and seeking to counter them. The reality is usually somewhere in the middle, and that’s the case here. Given this was reportedly made for forty thousand dollars – and those are Australian dollars, which right now is about 67 US cents – it’s quite impressive, and certainly doesn’t look low budget, despite a cast of basically three and a single location. However, it’s a film where, if anyone had behaved sensibly, proceedings would have been all over in about ten minutes. 

This is the unfortunate story of Missy (Greenfield), a 13-year-old girl living with her dysfunctional, drug-addicted single mother Annette (Logan). Things go from bad to worse when her super-sketchy boyfriend, Trent (Sparnon), gets out of jail and moves in with them. He has… history with Missy, so she’s immediately on her guard, taking a carving knife to bed with her. Rightfully so, and Trent duly gets the punishment he deserves. Annette is none too happy about this, and decides that Missy needs to be disposed of as well. From here, things escalate relentlessly, as Missy tries to get out of the house of horrors, and her mother tries to prevent this, by any means necessary. Which includes a significantly escalating body count. 

You definitely will have to suspend your disbelief in a number of ways. Firstly, in accepting that Annette’s maternal instincts are so shallow, that her reaction to the situation, is to try and murder her own child. Then, most obviously, Australian cops are dumber than a eucalyptus tree full of koala bears. Because the ones that show up here, behave in a way which isn’t just in defiance of police protocol, it goes against all notions of common sense. There are times too, where it feels like Missy is actively trying to stay in the house, though given her young age, her idiocy is likely more forgivable. This runs through the heart of the film, to a point where it feels almost like a parody.

Fortunately, I didn’t find it too tricky to put aside such considerations and just enjoy the lurid pleasures this has to offer. It feels like an Antipodean cross between The Shining and Home Alone, combining the disintegrating mindset of the former’s antagonist, with the latter’s impromptu attitude to survival tricks. Greenfield is particularly effective, and I found it almost impossible to believe that this was her on-screen debut. She is highly convincing as she gets put through the emotional, spiritual and physical meat-grinder by her own mother. Creighton, also helming his first feature, shows a firm grasp of the basics, and you won’t find much slack present. However, I would suggest Jayden the director fires Jayden the writer for next time – or, at the very least, has a lengthy chat. 

Dir: Jayden Creighton
Star: Juliette Greenfield, Kate Logan, Andy Sparnon

Saint Clare

  By

★★½
“Burned at the stake.”

Bella Thorne’s struggle to appear in a film which reaches three stars on this site, continues unabated. While probably not helped by my tendency to confuse her with Kristen Stewart, that’s five attempts now. Although, for a minute here, I thought this might be the one where she finally cracked it, with a potentially interesting first half. But it could not sustain itself, and as the final credits rolled, and I saw Guinevere Turner’s name as the co-writer… Yeah, it all made sense. I mean, she wrote Bloodrayne. And I’m one of the few people who didn’t utterly hate that. She has… a certain type of script, shall we say, and leave it at that. 

Here, the heroine is Clare Bleecker (Thorne), a high school student – Thorne was 24 when this was filmed, so about that… – recently transferred in from the East coast after the death of her parents. She’s staying with her grandmother (De Mornay), and moonlights as a vigilante. We first see her allowing herself to get picked up by a sketchy driver, whom she strangles and stabs to death. The resulting police interrogation brings her to the attention of Detective Timmons (Phillippe). But Clare is undaunted, and proceeds to look into the string of girls who have gone missing in the town, crimes going back decades which have never been solved. When her friend Julianna (Rovaris) becomes the latest to vanish, Clare decides the time for passive investigation has gone. 

The early stages are, as noted, interesting enough to be intriguing. There’s a nice touch where her conscience is represented by regular visits from the ghost of one of her victims – albeit an accidental one. However, he all but vanishes after she discovers there’s a bigger problem in town than just random scum-bag men, and the film’s issues tend to multiply thereafter. It’s never adequately explained why Clare has gone all Death Wish in her teenage years, or the Joan of Arc inspiration. Perhaps the book on which the film is based, Clare At 16 (or, I guess, at 24), does a better job of that, but without a particular motivation beyond “Men are bad, m’kay?”, the flaws in plotting became increasingly apparent to me.

And others too, apparently: it took three years to get distribution. I do respect Thorne for trying, even if the results have been underwhelming, and would encourage her to keep trying. As I suspect I’ve said before: she isn’t particularly the problem here, so much as the material. There’s an entire thread about Clare trying to get a part in the school play which is spectacularly out of place. But Thorne’s post-Disney career has never exactly been one known for her making good choices: witness the whole OnlyFans debacle. I was more interest in watching Clare operate as a small-town version of Dexter, punishing the guilty while maintaining a facade of normality. The further this went, the more ludicrous this instead became.

Dir: Mitzi Peirone
Star: Bella Thorne, Ryan Phillippe, Joy Rovaris, Rebecca De Mornay

Sister’s Revenge

  By

★★
“The Harder They Fall”

This gains something for novelty value, coming from Jamaica – a country from which I think I have only ever seen one film before, reggae classic The Harder They Come. It’s also so obscure, there’s no listing for it in the IMDb. Unfortunately, despite being available to watch on Tubi, the presentation leaves a lot to be desired, particularly in the subtitles. The film’s dialogue is in a roughly equal mix of heavily-accented English, and Jamaican patois, often in the same sentence. It feels like the subs were generated purely by an audio to text application, so the English captioning is spotty and there’s no translation at all for the patois. As subtitles go, they’re basically useless.

I was still able to discern the plot easily enough, though details like the lead character’s name remain a mystery, in part because of the lack of other sources of information. I’m going to call her Sister (Francis), in line with the title. She is a soldier, who is also responsible for taking care of her 16-year-old sibling, Blessing (Wallace). Unfortunately, Blessing has just confessed that she is pregnant, and worse, there are two possible fathers. Sister is less than happy about this. After confronting the young men, and getting nowhere, she goes to the police and convinces Officer Dibble (Vassell) to arrest them. This lasts only until the mother of one, Sonia (Russell), bribes Dibble to let them go, having failed to bribe Sister to drop the case. 

It’s therefore up to Sister to make sure justice is served herself. She abducts one of the perpetrators, and makes him confess, an act which allows the case to go up above Dibble’s head. Sonia then pays Dibble more, to take care of Sister permanently, but her military training makes him no match. [To be fair, when he goes to see the men, he’s holding his hand-gun sideways, then tucks it into the front pocket of his jeans. Jamaican police are rather loose with firearms training, it appears]. She then repeats the exercise with Sonia, extracting a confession on video of her bribery, allowing her and Blessing to achieve closure, apparently deciding they will raise the child together. 

It seems very basic, though given the subtitle situation, this is no bad thing. The first half in particularly is very chatty, basically an extended series of conversations: Sister & Blessing; Sister, Blessing & Dibble; Sister & Sonia; Sonia & Dibble. Director Brown doesn’t seem to have a lot of shots in his locker, so these have to sustain on the acting, and that’s a mixed bag. Francis and Russell are the best, and the scenes between the two guardians do crackle, but Wallace is unconvincing, and I was never particularly on Blessing’s side. [The sex seems to have been entirely consensual] I’m reluctant to be too harsh, since the presentation certainly doesn’t help. Outside of being a groundbreaking curiosity, I’m not convinced there’s much of note here. 

Dir: Richard Brown
Star: Jessica Francis, Jayvia Wallace, Candice Russell, Andrew Vassell

Ghost Killer

  By

★★½
“Spectrally short of satisfying.”

By coincidence, I watched this after Baby Assassins 3, without realizing the star here plays Chisato in that franchise; the director here was also its action director. Discovering the overlap is a minor demerit against Ghost Killer, because it counts as something of a waste of her talents. It’s a lovely idea – if you’re just an action fan in general, then it likely scores half a star higher. However, specifically as an action heroine film, there is room for improvement. It begins with the assassination of an assassin. Hideo Kudo (Mimoto) works for a criminal organization, and his death occurs in somewhat murky circumstances. The spent cartridge used to kill him, takes on his vengeful spirit, and the casing is picked up by an innocent college student Fumika Matsuoka (Takaishi). 

After a period of mutual adjustment to being haunted and doing the haunting, Fumika agrees to help Kudo find out who was responsible for his murder, and take revenge. She is the only person who can see and talk to Kudo, and when she grasps his hand, that allows him to take over her body, with all the associated hitman abilities. Along the road to his vengeance, they will have to deal with a date-rapey triple tag-team, as well as another assassin in the same organization, a former student of Kudo, Toshihisa Kagehara (Kuroba). That pair’s relationship is a little fraught, even after Kagehara is convinced about the reality of what is happening. 

The first half of this is very solid, highlighted by the performance of Takaishi as both a college student and a vengeful killer – simultaneously, which makes it all the more remarkable. It means she has to be an expert fighter, and somebody who wouldn’t say “Boo!” to a goose, as her and Kudo tussle for control. I feel as if that enough would have been sufficient to propel the narrative of the entire film. However, it ends up diverting into less interesting Yakuza-based activities in the middle, and it almost becomes easy to forget that Kudo is dead. There aren’t really any surprises once the framework of the situation has been established, heading towards the eventual and predictable confrontation between Kudo and his killer. 

And that’s the problem. It’s between Kudo and his killer, not Fumika. It’s still “in her body,” and I enjoyed the scenes where Kudo is guiding her to hide – telling her when to go around a pillar, for example. But when battle is joined, the film shows Mimoto doing the fighting, not Takaishi. Don’t get me wrong: it’s a very good fight, and that’s why I’d say a general viewer is still likely to be satisfied by it. But I was looking forward to seeing the actress really getting to let loose. After all, having experienced the Baby Assassins trilogy, there’s no issue about her martial arts abilities. Seeing her largely sidelined at the end was a disappointing way to finish things off. 

Dir: Kensuke Sonomura
Star: Akari Takaishi, Masanori Mimoto, Mario Kuroba

The Partisan

  By

★★★
“Part-ially effective.”

We have written about some of the women who worked behind enemy lines for British intelligence during World War II. Names like Noor Inayat Khan, Virginia Hall and Vera Atkins deserve to be better known that they are. The attempts to tell their stories so far have been laudable attempts, but have left me feeling underwhelmed, with a sense they haven’t done their subjects full justice. This is another which I feel should be filed in the same box. The subject here is Christine Granville (Polanski), born Krystyna Skarbek, a Polish national who originally worked in her native country, organizing a network of spies and couriers, running information to then neutral Budapest. This included early reports foreshadowing Germany’s attack on Russia.

As with so much in the film here, however, the details are left frustratingly vague. The above paragraph tells you more of her time in Poland than the movie, which mentions a microfilm, but seems more concerned with Granville’s efforts to extract her mother out of Warsaw. It does, however, include an incident where she was being questioned by the Nazis, bit her tongue, allowing her to feign coughing up blood and convince the doctor she had TB, leading to her release. Most of the movie, however, is set during her time in southern France, later in the war. There, she worked with the maquis, the local resistance, in preparation for the looming Allied invasion. 

The best thing this has going for it is Polanski – yes, she is the daughter of director Roman Polanski, though has more of the luminous looks of her mother, actress Emmanuelle Seigner. Granville had a reputation as a hothead: Atkins called her “very brave, very attractive, but a loner and a law unto herself,” and Polanski’s performance puts all those aspects across very well. There are occasionally scenes which do capture the relentless tension of operating in a scenario like this too, where a single slip could mean death. For example, she tells a Gestapo officer she’s a teacher seeking employment – only for him to show up at the local school, forcing her to improvise during a conversation with the headmistress. More of this would have been welcome.

Instead, for whatever reason, the makers have opted to make their film at least somewhat non-linear, to no readily apparent purpose. There are points where it becomes impossible to tell when or where you are. A straightforward adaptation of her life would have been perfectly fine, including the several occasions on which she was treated badly by her employers. According to Xan Fielding, an operative she had saved from execution, “a few weeks after the armistice she was dismissed with a month’s salary and left in Cairo to fend for herself.” Even more tragically, she was murdered in 1952 by a lover she had rejected. Again, little of this is mentioned here, beyond being whizzed past in a final caption. Once more, this is a heroine who deserves a great biopic, rather than one merely good enough. 

Dir: James Marquand
Star: Morgane Polanski, Ingvar Sigurdsson, Frederick Schmidt, Piotr Adamczyk