Tag: a

Amazons (1984)

  By

★★½
“Almost 30 years later – despite binders full of women – this is still politically advanced for its day.

This made for TV movie first aired in January 1984, and was likely fairly topical at the time, with Geraldine Ferraro then on her way to becoming the VP behind Walter Mondale. It’s still just her and Sarah Palin as far as major party tickets in American history go. Her candidacy is foreshadowed by this piece of masculine paranoia. Stowe plays Dr. Sharon Fields, a doctor who is sued for malpractice after her hospital patient, a leading Congressman, had an unexpected psychotic episode, which leads to him playing in traffic. She finds a series of similar deaths linked by trace elements found in autopsies, all of men, whose deaths benefit women, in general or specifically. Turns out they are assassinations, carried out to the orders of an ancient, matriarchal cult: they now have their eye set on the leading presidential candidate – who just happens to have picked a woman as his running mate.

It’s an impressive cast. As well as Stowe (now lording it over the rich and famous as the matriarch in guilty pleasure Revenge), there’s Stevens as cult member Kathryn Lundquist, and Dobson as Rosalund Joseph, another hospital worker – the two faced off previously, in Cleopatra Jones and the Casino of Gold – while Scalia plays the cop whom Fields has to try to convince. Behind the cameras, the cinematography is by Dean Cundey, who did the Back to the Future trilogy, The Thing and, er, Ilsa, Harem-Keeper of the Oil Sheiks; the music is from Basil Poledouris (Robocop); and it’s the directorial debut, outside the series, of Starsky [as in “…and Hutch”], three years before he did The Running Man. Solid stuff, and from a technical level, this makes for a pretty decent TVM, both in performances and production values.

However, the concept and the script appear nothing more than a Robin Cook medi-thriller laced with a large helping of delusional male chauvinist nonsense, portraying women – and, in particular, those who want to achieve political, social or economic power – as literal man-haters, who have absolutely no qualms about poisoning or killing by other means, any man unfortunate enough to get in their way. Admittedly, it’s not carried out with the level of hysteria one might think; in some ways, it’s fairly sympathetic to the Amazons. But it makes little or no sense (I mean, this cult has been around for thousands of years and has achieved exactly what?), and there’s no detectable irony, despite the absolute daftness of the central concept. Surely the eighties weren’t as naive as all that? Actually, looking at the hairstyles and fashions on view here, I think they were.

Dir: Paul Michael Glaser
Star: Madeleine Stowe, Jack Scalia, Stella Stevens, Tamara Dobson

Angels’ Brigade

  By

★★½
“Charlie’s Magnificent 7 Angels.”

After her brother is severely beaten by a drug dealer, Las Vegas lounge singer (!) Michelle Wilson (Kiger, Miss January 1977) is visited by his teacher (Cole), who knows the location of the cartel’s drug warehouse. Wilson puts together a team of women who have reason to want to take the dealers down, including a stuntwoman (Anderson) and an undercover cop (Grant). There’s also a martial-arts instructress, a model and, tagging along, one of the teacher’s pupils. They build a heavily-armed van, train in the ways of war, and rip off a bunch of militia types for weaponry, before staging a successful raid that destroys the warehouse. However, the mob (led by veteran actors Peter Lawford and Jack Palance) are not prepared to let them get away with it.

This is best known through its use – in a severely truncated form – on MST3K, and I suspect that’s where most of the 1,200+ votes on the IMDB come from [it’s more than, say, the rather better-renowned Black Mama, White Mama]. The unedited version is less worthy of derision. I wouldn’t call it great cinema, but it heads from Point A to Point B in a brisk fashion, and the practical effect – stunts, explosions, etc. – are decent enough. Of course, there’s little or no characterization to speak of, on either side, it’s clearly ripped off from Charlie’s Angels, and there’s a weird unevenness of tone that is hard to handle. For instance, the militia types are incredibly incompetent, bumping into each other at the drop of a swastika, but then the girls seriously consider dropping a truck on the head of an informant.

However, I couldn’t bring myself to hate this to the level its former position in the IMDB Bottom 100 would project. There’s something almost charmingly naive about such a simplistic approach, and it’s also refreshingly free of any romantic angles to slow things down. At a few points, I even found myself contemplating the remake potential. If the discussed all-female version of The Expendables ever comes to pass, it might not be too dissimilar to this, though hopefully with more originality.

Dir: Greydon Clark
Star: Susan Kiger, Sylvia Anderson. Jacqulin Cole. Robin Greer

Alien Resurrection

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★★★½
“Alien vs. Firefly”

It’s not often that a film series manages to recover from – or even, survive – such a disastrous mis-step. But the Alien franchise managed it, though it took five years to come to fruition, and a Really Big Cheque to Sigourney Weaver [reportedly, $11 million, as well as a producer’s credit. The results, while short of the original two movies, are an awful lot better than its predecessor, managing to progress the story, re-invent Ripley and be generally entertaining. However, from a 2012 perspective, it’s painfully obvious that writer Joss Whedon recycled large chunks of the supporting characters, and turned them into Firefly. We’ll get to that a bit later.

It is set 200 years into the future, and begins with scientists on a space-station creating a clone of Ripley, using DNA from blood samples. They also remove the alien queen embryo which she was carrying, growing that, but keep her around for further study, intrigued by her apparent mix of human and alien DNA that’s giving her unusual powers [not unlike the way Alice fuses with the T-virus in the middle Resident Evil movies]. Docking with them is the Betty, a ahip operating on the fringes, which is bringing the scientists some meat popsicles in which they can incubate more aliens. Annalee Call (Ryder) appears to recognize the threat Ripley poses, and tries to kill her – but it’s too late, as the aliens have escaped their containment facility. Ripley and the crew have to team up, to try and fight their way back through the station to the Betty, which is the only means of escape left.

That’s an improvement in terms of a storyline over 3, simply because it is one, and provides a skeleton upon which a good amount of interesting ideas and fun sequences can be built. Jeunet came to the movie from some visually-striking French films, such as The City of Lost Children, and there’s a much better sense of cinematography apparent here – it’s a striking contrast to Fincher’s approach, where it appears his main direction to the DP was “Darker. Make it darker.” Here, you can see what’s happening: particular standouts include the first confrontation between Ripley and the Betty crew, in the basketball court, where Ripley sinks a long-range shot behind her back [legitimately done by Weaver], and a lengthy underwater sequence, where you’ll probably find yourself trying – and likely, failing – to hold your breath.

But the central idea is the one of Ripley now being something more than human, and Weaver has a great deal of fun with that, playing as if she’s half a beat ahead of everyone else, and completes her transition by no longer being scared of the aliens. It’s them who need to be scared of her, and again, I’m reminded of Milla Jovovich in the RE series: more than human, and yet, less than human at the same time. There’s even a creature with the proportions the other way round – monster with a touch of human – like Nemesis from RE: Apocalypse, and it was no surprise to read that Paul W.S. Anderson was one of the many directors considered for this (Danny Boyle, Peter Jackson, Bryan Singer and David Croneberg beinh among the others). I briefly drifted off to speculate on the possibility of an Alien vs. Resident Evil cross-over; would probably have been a lot more fun than anything involving Predators.

As noted, what’s startling are the parallels between the Betty and the Serenity, from Whedon’s show Firefly, which came out in 2002. Both operate on the edge of legality, with a small crew of oddballs: Capt. Frank Elgyn (Michael Wincott) is somwhat less sympathetic than Mal Reynolds, but in both you have a captain/first-mate/pilot trio of two men and a woman, two of whom are in a relationship, plus a mechanic from an unexpected minority (there, a woman; here, disabled). If Perlman’s lumbering mercenary Johner isn’t a blatant dry run for Jayne Cobb, I don’t know what is, and there’s more than a touch of mechanic Kaylee Frye to be seen in Annalee. Writing as someone who found Firefly no more than a passable timewaster, it’s amusing to see Whedon was stealing from himself. Still, if you’re going to plagiarize, best use your own work, I suppose.

Oddly, Whedon hated this finished product almost as much as Fincher did the third, saying, “It was mostly a matter of doing everything wrong. They said the lines…mostly…but they said them all wrong. And they cast it wrong. And they designed it wrong. And they scored it wrong. They did everything wrong that they could possibly do. There’s actually a fascinating lesson in filmmaking, because everything that they did reflects back to the script or looks like something from the script, and people assume that, if I hated it, then they’d changed the script…but it wasn’t so much that they’d changed the script; it’s that they just executed it in such a ghastly fashion as to render it almost unwatchable.” It seems likely that’s why he recycled so many of his characters for Firefly.

It’s far from perfect, however. The biggest flaw is Ryder, who is completely unconvincing, and not a patch on her predecessors [if you’re thinking, “What predecessors?”, there’s a clue in the initial letter of her character’s surname…]. I wasn’t too fond of the way the film went in the final act, and the human-alien hybrid is neither convincing nor scary. It’s damn hard to believe that Whedon came up with five endings, and this was the one Jeunet picked as the best. But, really: after the dismal failure which was part three, it was a major relief to see something even semi-competent, which managed to sustain my interest (okay: consciousness) much better, and be generally entertaining.

Dir: Jean-Pierre Jeunet
Star: Sigourney Weaver, Winona Ryder, Ron Perlman, Dominique Pinon

Alien 3

  By

★½
“Lost in space.”

“No one hated it more than me. To this day, no one hates it more than me.”
— David Fincher

Few films have had such a troubled path to the screen. The story of those struggles, and the various versions of the story generated by William Gibson, Eric Red, David Twohy, Vincent Ward and others, is probably worthy of an entire separate article. For now, we concentrate on what finally came out, but let’s quote writer Rex Pickett:

“I was hired by 20th Century Fox four weeks prior to the start of principal photography… First on my agenda was a complete rewrite of the second half of the Walter Hill/David Giler screenplay due to certain major character and narrative changes mandated by Walter Hill. Once that was accomplished I was to attend to the first half and write an amalgamated version which was to include scenes from their draft and new scenes that I wrote. Thus, the resultant screenplay – particularly the first half – contains scenes that I was instructed to include whether I wanted to or not.”

The end result is every bit as awful and borderline incoherent as you’d expect, given the circumstances. At the time, Fincher had no feature-film experience. He was known almost entirely for music videos, particularly for Madonna – when it was announced he would be helming the third part, I recall idly wondering if we were going to see the aliens in pointy bras. That isn’t quite the case, and it does make more sense in the light of Fincher’s subsequent work, from Seven through to the The Girl With The Dragon Tattoo remake. But it’s worth considering that neither Ridley Scott nor James Cameron had worked on a large-budget sci-fi flick before their entries – Cameron had made The Terminator, but it was low-budget, at barely one-third the cost of Aliens. Both seemed to deliver a more consistent vision, though I suspect neither suffered from the copious degree of studio interference apparently seen here.

Right from the get-go, the script basically junks its predecessor. An emergency on the spacecraft bringing Ripley, Newt, Hicks and Bishop home causes it crash-land, with Ripley apparently the only survivor. It’s a near-derelict former prison planet, which was about to be decommissioned, but the inhabitants, under spiritual leader Dillon (Dutton), opted to stick around, under minimal supervision. They’re none too happy to have a woman dropped into the middle of their society, and a message is sent to request Ripley be removed as soon as possible. Needless to say the Weyland-Yutari Corporation are more than happy to oblige. However, it soon becomes clear that Ripley was not the only living thing to escape the crash, as local residents start turning up “diced.” When it’s confirmed, through Ripley re-activating Bishop, that there was indeed an alien present: destroying it is necessary, not only to survive, but also to stop it from falling into the hands of Weyland-Yutari.

You can almost take Aliens and this, using them as point-counterpoint examples, of how you should and should not handle almost every aspect of genre film-making. Aliens built logically upon what had gone before, but this throws it all out the window, apparently making the rules of engagement up as it goes along. Aliens was a near-textbook example of how to create supporting characters with a few simply brush-strokes, giving them character and motivation: this has very little beyond a bunch of unlikeable bald-headed monk/prisoner types, with absolutely no reason provided for the audience to care about anyone beyond Ripley, as they get picked off. The pacing is terrible too, with little or no sense of progression or any significant twists, beyond the one that Ripley finds out about herself. And that makes no logical sense, given what we learned about the alien’s life-cycle in the first two movie. Everyone – Ripley, the prisoners and even the marauding alien – seems to be in a holding pattern, waiting for the corporate ship to show up so something (pleasegodanythingatall) can happen.

Without wishing to give away too much about the finale, it bears more than a slight resemblance to the one used by Aliens director Cameron in Terminator 2, which came out the previous year. He later told the BBC, “I couldn’t stand Alien 3 – how they could just go in there and kill off all these great characters we introduced in Aliens, and the correlation between mother and daughter. It stunk.” So was the similarity coincidence? Or did Cameron see a script during the long, pre-production process and opt to swipe it, to thumb his nose at the makers for basically jettisoning his entire contribution to the series? I’d like to think it was the latter, but suspect it was indeed one of those Hollywood flukes.

However, it’d be no better than this massively disappointing movie deserved, with Fincher and co. literally making it up as they went along. The first time I saw it, was on Hollywood Boulevard in Los Angeles, its original theatrical release coinciding with a trip to California. I fell asleep. 20 years later, I saw it for the second time, in the comfort of my own home… I fell asleep again. As Oscar Wilde might have said, “To lose consciousness once, Mr Worthing, may be regarded as a misfortune; to lose it twice looks like carelessness.”

Dir: David Fincher
Star: Sigourney Weaver, Charles S. Dutton, Charles Dance, Brian Glover

The Assassin Next Door

  By

★★★½
“The Professionaless.”

Galia is a sex-slave, kept in captivity in an Israeli brothel. After a failed escape-bid, she is told she has one chance to get back to Russia and be reunited with her daughter: kill an enemy of the man holding her hostage. This she does, but one murder becomes another, with the lure of getting her passport returned and freedom being used to keep her working, just as when she was a prostitute. But at least she has some freedom, and moves into an apartment opposite Elinor (Tayeb), who has problems of her own, in the shape of an abusive husband. The two women bond, both sharing dreams of escaping their violence-plagued lives. However, acting on those dreams is unlikely to be easy, with the men in their lives unlikely just to let them walk.

Kurylenko is likely familiar from her role as a Bond girl in Quantum of Solace, but this is a good deal darker. Indeed, if you’re expecting an action-packed treat, this will probably disappoint: except for the final 20 minutes or so, it’s far more of a character piece, depicting a pair of damaged souls and the comfort they find in each other’s company (which teeters on the edge of Sapphic at one point before, probably wisely, stepping back – not soon enough to avoid Chris’s sarcasm entirely, however!). Not all of this works, including a lengthy trip to some kind of religious bath-house which, frankly, seems purely an excuse to see Kurylenko undress. The good news is that the performances are solid enough to make this kitchen-sink drama hold up, and when there is action, Lerner delivers it well, in particular an assassination attempt in a night-club which features some impressively Palma-esque camerawork (and is our video of the month for this update).

The film does leave some troubling questions: how, exactly, did Galia go from being a mother in the Ukraine, albeit one with issues but who does love her daughter, to being locked up in Israel? I know this isn’t the focus of the film, yet it would seem to be a crucial issue that needs addressing. However, the flaws are largely overcome by the strength of the acting, and when things kick into high-gear for the final confrontations, it delivers, with a shoot-out on a bus that is an impressive bit of close quarters film-making. Manage your genre expectations with this one, and you won’t be disappointed.

Dir: Danny Lerner
Star: Olga Kurylenko, Ninet Tayeb, Zohar Shtrauss, Liron Levo
a.k.a. Kirot

Angel

  By

★★★★
“Is for girls with guns, what Night of the Living Dead is for zombies.”

This and Yes, Madam were basically the Genesis and Exodus of the genre as we know it. Sure, there had been action heroines before, but never with quite the heft of their male counterparts. Madam showed they could kick ass with the best of them; Angel took this, and added about a billion bullets to the mix. Sure, it’s rough around the edges, with scenes that appear randomly inserted and characters so shallow they resemble a puddle. But its influence was massive, and if you can watch the final battle without wincing, as Lee and Oshima kick the utter crap out of each other, you’re made of tougher stuff than I [It’s the December 2011 video of the month].

The plot sees the ‘Angels’ – a mercenary, extra-governmental group – called in to take on a drug-smuggling cartel which is killing off cops following success against their heroin operation. It’s led by the amazingly evil Madame Yeoung (Oshima, turned up to 11), who is planning something to recoup the lost income; what that is, is up to the Angels to find out. Of particular interest, the Angels include Moon and Elaine (Lee and Lui), the former sober, the latter flighty and apparently incompetent; they and their much less-interesting male counterparts have to uncover Yeoung’s plan, rescue captured colleagues from her HQ, in a blaze of gunfire, and then go to the factory that’s at the heart of the villainess’s operations, for the final battle.

Like Living Dead, it’s certainly something which has been done a good deal better since, with the non-action elements clunky to the point of occasionally cringe-inducing, especially during a first half that does take some time to get going – though spontaneously combusts whenever Oshima is on-screen. However, once it does, this is packed with meaty goodness, and a take no prisoners approach from both sides that makes for an all-out war. There’s some confusion over the directors: the DVD box gives it as Teresa Woo, the IMDB lists Woo and Leung, but I’ve gone with the names listed on the actual movie credits. Whoever it was, certainly had a great handle on the action, and time has not dulled that aspect of the film whatsoever.

Dir: Raymond Leung, Leung Siu Hung, Ivan Lai
Star: Moon Lee, Hideki Saijo, Elaine Lui, Yukari Oshima
a.k.a. Iron Angels

Assault Girls

  By

★★
“20 minutes of acceptable entertainment gets stretched very thinly.”

A loosely-related sequel to Oshii’s last live-action film, Avalon, this is similarly set in a VR world, and muses on the relationship between real life and game life. This one is a lot less populated; there are only four people in it, roaming a desert landscape, with the targets being giant sandworms (think Dune) and the “boss” Madara, the mother of all sandworms, whom the game helpfully informs contestants, cannot be killed single-handed. The four get together to launch an attack on it, having agreed to split the game reward equally. Is that quite how things are going to turn out?

That’s it, plotwise: describing the story as “slight” would be an insult to slight things. Opening with a burst of the most pretentiously incomprehensible voice-over in cinema history, this is only 70 minutes long, but still manages to outstay its welcome. This is mostly due to horrendous pacing; we watch one character do nothing but sit and fry breakfast for several minutes, while there’s an interminable sequence in the middle, where the characters trudge around the game landscape and stare at a snail. I get the point: these are archetypes depicting different styles of game player. No, really: I get the point. Move on. Please. I was ready to gnaw off a limb to escape, by the time that ended. Matters are not helped by the characters largely speaking English, apparently phonetically, and without much grasp of meaning. I’m pretty sure I’d not win any Oscars performing in Japanese, and while one admires the effort, couldn’t Oshii have found actors with some ability in English as a second language?

Things do perk up in the final act, when Jager (Fujiki, the only male) and Gray (Kuroki), have a battle over how the spoils will be divided. She kicks his ass, to his increasing annoyance. And I certainly appreciated the visual style here, which is easily the best component on view. This, along with the potential in the idea, saves it from being a total waste of your time, and I would not be completely averse to a further installment. Just as long as someone else writes the script.

Dir: Mamoru Oshii
Star: Meisa Kuroki, Yoshikatsu Fujiki, Rinko Kikuchi, Hinako Saeki

Les Aventures Extraordinaires d’Adele Blanc-Sec

  By

★★★½
“Indianette Jones and the mummy’s tomb.”

Good to see Besson back in the director’s chair. Outside of the kids’ Arthur series, the only movie he personally helmed in the 2000’s was Angel-A, but Besson has been delivering action heroines for 20 years. Most obviously with the hugely-influential Nikita, but also in The Messenger and, to some extent The Fifth Element and Leon. Here, he goes back to just before the first World War, where journalist Adèle Blanc-Sec (Bourgoin) is kinda like a proto-Lara, whizzing around the globe in search of adventure. She heads to Egypt to grab the mummy belonging to Ramses’s physician: she’s been working with Prof. Ménard (Nahon), who has discovered how to bring the dead back to life, and wants to use the arcane knowledge the mummy possesses to help her sister, who has been in a coma for five years. But Ménard, unwilling to wait, tests his powers on a prehistoric egg: the resulting pterodactyl escapes from the museum where it is housed, and terrorizes Paris. Detective Caponi (Lellouche) is on that case…

This is a light, frothy confection of a film, that cheerfully whizzes around, and is clearly not to be taken seriously. Witness the scene where Adèle attempts to ride the pterodactyl off to death row, where Ménard has been sent, after being deemed responsible for the beast’s carnage. “It can’t be more complicated than a camel,” mutters our heroine, and one senses some of the Gallic humour may have been lost in translation. What’s left to enjoy are the broader strokes: caricatures like a moustachioed detectives or a big-game hunter, a beautifully-constructed recreation of the period and a heroine who is decades ahead of her time. Adèle is supremely self-confident, feisty and unstoppable, and former weather-girl Bourgoin makes you really root for her. Oddly, the highlight is perhaps a tennis match with her sister, that is simultaneously funny (it starts as a traditional 1910 women’s tennis match and ends up…not), tells us about Adèle, and terribly tragic.

More of that would have been welcome, as the film is too breezy for its own good, with none of the other scenes packing any emotional wallop heavier than a feather pillow. That’s a shame, as Besson has shown himself more than capable of that – maybe all those kids’ films have softened him? As a result, what you have here is something that’s a cinematic crêpe: sweet and tasty, undeniably pleasant to eat, yet not the slightest bit filling.

Dir: Luc Besson
Star: Louise Bourgoin, Gilles Lellouche, Philippe Nahon, Nicholas Giraud

The Apocalypse Code

  By

★★★½
“Proof that cheerily mindless action pics are not the exclusive domain of Hollywood.”

About ten minutes into this, as another large explosion filled the screen, Chris turned to me and said, “Is this a Michael Bay movie?” While it isn’t, confusion is understandable: this is just the kind of dumb action film for which he is renowned, featuring basic plotting and large-scale mayhem. Terrorist Jaffad is just about to sell four nuclear warheads he has hidden in major cities worldwide back to the Americans, when his entire compound is taken out, at the command of a mysterious figure known as “The Butcher.” FSB Agent Marie (Zavorotnyuk), who had previously been working undercover to get to Jaffad, just manages to escape the slaughter, and is now assigned to track down the Butcher, by getting close to his financial advisor, Louis (Perez). Jaffad gave parts of the eleven-digit code that can be used to detonate the devices, to trusted colleagues in Italy, Norway and Malaysia, and Marie needs to find the code before the Butcher.

Expensive by Russian standards, yet relatively cheap ($13.5m budget) by American ones, this certainly provides bang for its buck, whizzing around the globe like the Bond movie it mostly wants to be, while putting its heroine in a selection of glamorous costumes and wigs (prefer blondes? Marie can provide for you too, as shown in the pic at lower-right). Shmelev has a good visual eye for proceedings, shooting and framing the action with some beautiful work, and makes the most of his locations. Zavorotnyuk has good screen presence, and I liked that no-one made much mention of her sex; she’s just another agent. It gets bonus points simply through its origins, which confer a different approach – when the Americans show up (though it’s difficult to tell, since everyone speaks Russian), they aren’t particularly good or bad, just there.

However, the plot is not novel at all, the efforts to give Marie backstory are near-laughable, and once the novelty of the Russian heroes wears off, the script has little to offer: significant fragments don’t make much sense, and other scenes seem to be there, just to prove the makers actually went to the locations. Action-wise, it’s somewhat of a mixed bag; it seems pretty clear the lead actress isn’t doing much of the action herself, but there’s a nice fight at the end between Marie and the villain, in front of the console which can be used to detonate the bombs, as a self-destruct timer counts down. You can also enjoy a gun-battle on a boat, and Marie stocking the corridors of a hotel [you’ll understand why I spelled it like that, hohoho].

It originally came out in Russia more than three years ago, and I’m a little surprised the film apparently hasn’t had any kind of official release in the UK or US. It’s glossy, well-produced nonsense, that completely fails to engage the brain or heart, yet kept me adequately interested for 105 minutes, with plenty of eye-candy [note to Chris: I mean the exotic locations, darling…] and giant fireballs. While I’ve already forgotten much of what happened in this, it is as good a stab at creating a female Jason Bourne as anything Hollywood has yet managed.

Dir: Vadim Shmelev
Star: Anastasiya Zavorotnyuk, Vincent Perez, Vladimir Menshov, Oskar Kuchera

A.F.R.I.K.A.

  By

★★
“Thelma & Louise go to Korea, and leave their intelligence at home.”

Ji-Won (Lee Yo-Won) and her friend So-Hyun (Kim) make a trip to the seaside, borrowing a car from a friend. However, the auto turns out to have a couple of guns in it, lost by a gangster and cop in a poker game. The weapons come in handy when the girls need to escape from some assailants, but when they are joined by a manic waitress with no sense of gun-control, the now-trio find themselves on the run from police. A clothing-store owner with a grudge, completes the quartet, as they try to make their way back to Seoul – and they are pursued not only by the cops, also by the previous owners of the guns, who need to get them back to prevent issues of their own. Conversely, their exploits and subsequent media attention are getting them fans of their own, with the titular website (it stands for Adoring Four Revolutionary Idols Korea Association) extolling their virtues and provoking copycat crimes.

The main problem here is a film that can’t work out what it wants to be. Comedy? Thriller? Social satire? Drama? Action? There are elements of all those genres here, and most of them show occasional flashes of potential; yet none of them are done well enough to prove particularly memorable. The women largely come across as flimsy characters, with little in the way of background or even distinguishing traits, and there’s hardly any kind of a character arc for them, though I enjoyed the subversive message of “personal empowerment through fire-arm possession” – it’s especially surprising from a country like South Korea, where guns appear to be very strictly controlled [“You are only allowed to own a gun for hunting purposes, and the few who do, have to keep these guns at the local police station. When you want to hunt, you go to the police station, check your gun out, hunt, and return it to the station when you’re finished.”]

Even exploring this angle, of gun culture in a land without guns, would have been a potentially intriguing approach. Instead, there’s hardly any dramatic impetus, even when the tensions mount between the four girls over where their crime spree should take them next. Instead of building, the film peters out at the end, and is nothing more than forgettable commercial entertainment, slickly-made and unsatisfying.

Dir: Shin Seung-Soo
Star: Lee Yo-Won, Kim Min-Seon, Cho Eun-Ji, Lee Young-Jin