Tag: b

Body of Sin

  By

★★
“Diamonds are clearly not forever.”

Erica (Kriis) is an attractive con-artist, who seduces married men in hotels, then drugs and robs them, knowing they’ll never be able to report the crime. She has just brought on an apprentice, Lauren (Patrikios), to learn the dubious trade, watch her back, etc. Their next score turns out to be the jackpot. as they discover the target was carrying a stash of diamonds with a seven-figure value. Absconding with their ill-gotten gains, the pair decide to lay low for a while, and head to Erica’s hideout on the holiday destination of Isabelle Island. They’re disturbed to read news reports that the target turned up dead in the room, and it quickly appears that the owner of the diamonds is closing in on them. But who is the threat? Local policeman, Mike (McCullough), for whom Lauren has a thing? Visiting boat-owner and part-time magician Tom (Berdini), with whom Erica has a fling? Or the creepy bald guy who arrives on the island and appears to be stalking Erica?

The performer who makes the best impression here is Tybee Island in Georgia, playing the role of Isabelle Island. It seems like a very nice place to take a holiday, picturesque and relaxing. Everyone else? Not so much. In particular, you could have Meryl Streep and Helen Mirren, and they’d still struggle to do anything with a script which resembles French lace, in that it’s a lightly-connected series of holes. For instance, when robbing the target, Erica first comes across an empty briefcase, before locating the diamonds in a tube, hidden in the toilet cistern. Inexplicably. she still takes the briefcase – which, of course, turns out to contain a tracking device. For the film’s entire duration, people both good and bad don’t behave in ways that make logical sense, and Creepy Bald Guy is probably the Worst Stalker Ever, though in his defense, there does turn out to be something of an explanation.

The leads are decent enough. There’s a nice contrast between the utterly cynical and untrusting Erica, who believes she’s on some kind of crusade to punish deceitful men, and the more naive and open Lauren, who gradually becomes more appalled, the more she discovers about her partner. I’d far rather have seen this angle exploited, with the two women turning from Thelma and Louise buddies, into vicious competitors, battling each other for the diamonds. Instead, they literally stand around while the (eventually revealed) good guy and villain tussle it out, mano a mano, on the edge of a convenient cliff. No prizes for guessing how that ends. The other thing is, for a film basically predicated on sexual attraction… it’s  tame stuff. Given Kriis bears some resemblance to Penelope Cruz – though she’s Indian rather than Hispanic – this was disappointing. If ever you want proof that technical competence alone is not sufficient to justify a movie’s existence, this should be Exhibit A.

Dir: The Olson Brothers
Star: Elisha Kriis, Ellie Patrikios, William Mark McCullough, Riccardo Berdini

Blades of Magic by Terah Edun

  By

Literary rating: ★★½
Kick-butt quotient: ☆☆☆½

Seventeen-year-old Sarah Fairchild and her family have become persona non grata after her father’s execution by the Algardis Empire. He was a renowned fighter and commander, so his alleged desertion makes no sense to Sarah. Regardless, his wife and daughter are now pariahs to the local community. Even with Sarah’s unparalleled fighting skills, both natural and magical, her employment opportunities are limited, to say the least.

Which is how she ends up acting as the guard at a warehouse full of shady artifacts, owned by the even shadier Cormar. There, she meets the scholarly Ezekiel Crane, who helps Sarah as she begins to search for the truth about her father’s fate – facts which someone is keen to cover-up, at savage cost to our heroine. Finding out what happened requires her to join the Mercenaries’ Guild, and head with them into the teeth of a ferocious battle being waged by Algardis against a rebel group, led by eight high-powered mages.

I suspect the problems here are mostly related to reading this as a one-off. For example, the entire first half of the book, with Sarah working for Cormar, serves absolutely no purpose except to introduce her to Ezekiel. Now, I’m thinking it’s quite likely there is a payoff further into the series, with the artifacts he collects eventually proving to be useful in the battle against the mages. But for the purpose of this book, it’s a complete dead-end. If a story is going to be crippled in this way by dividing it into four parts, maybe it shouldn’t be divided into four parts? It certainly does nothing to encourage me to pick up the three subsequent volumes.

When Sarah enlists, in order to find the man she believes holds the key to her father’s death, it does improve. There’s a nice dynamic at play between her abilities, which are almost at the superhero level, and her need to remain below the radar. I was impressed by the final battle, though it’s less a battle, than a rout, with the enemy wizards using the magical equivalent of drone strikes against the mercenaries. And I also liked the “sun mage” Sarah encounters: she is basically the occult equivalent of a nuclear weapon, and may be even more bad-ass.

At the end though, I was left unsatisfied. I appreciate it’s a difficult balancing act, when you offer a cheap introduction to a series, because you need to lure people in to buy the next part. Although not alone in this, Edun doesn’t apparently realize that the best way to accomplish this is simply to give the reader the best book you can. Baiting them with set-ups left unrealized and a story that just ends, rather than coming to a natural finish, is more likely to lead to a sense of unfulfilled dissatisfaction. And that’s no way to get anyone to fork over more money.

Author: Terah Edun
Publisher: Amazon Digital Services, available through Amazon, both as a paperback and an e-book
Book 1 of 4 in the Crown Service series.

Blind Alley

  By

★★★
“Doing laundry can be murder.”

Wannabe actress Rosa (de Armas) is on the way home from her job as a hotel maid when she gets a message telling her she has a call-back the next day for a final audition. With her washing machine broken, she pops into the local 24-hour laundromat to get her costume all spick and span. It and the surrounding streets are completely deserted, and it’s not long before she’s being menaced by the kind of hulking, silent figure only found in horror movies like this. She’s delighted when hunky co-launderer Gabriel (Cadavid) shows up to rescue her, despite his strange tastes in music. But is he really as nice as he seems?

C’mon, folks. As mentioned, it’s a horror movie. Of course he isn’t. Where would the fun be in that? So it’s no surprise when she spots that his washing appears as much an attempt to get rid of blood-stained evidence as anything. With a dodgy mobile phone, a sister (Diakhate) in peril and a psycho banging on the door, how is Roda going to get through the night? And will she ever get her laundry finished? It’s all entirely contrived, naturally: not just the launderette, but the entire block of this residential neighborhood completely and conveniently deserted, with no-one at all passing by, or even glancing out their window to the unfolding carnage. Maybe triple-pane windows are a thing in Colombia, I don’t know.

Still, it’s an effective portrayal of the loneliness of the big city, and with that as a given, it’s a briskly energetic piece that pits Rosa against Gabriel for most of its duration. She knows she can’t possibly out-muscle him, so has to try and use her wits to survive – and also try to keep her sister, who is back in the nearby apartment, out of harm’s way. Just when that seems to have run its course, the film unleashes a triple-whammy of twists. One character returns; a new one is introduced; and we get to discover the truth about Gabriel (which explains things like his odd taste in music). These are of varying effectiveness – I liked the new character the best, and wished they had shown up earlier. Though your overall reaction may well depend on how you feel about movies which suddenly shift genres.

In this case, it does render what had gone before a bit problematic: given what we eventually discover about Gabriel, I have to wonder why he didn’t kick things off in that direction, a great deal sooner. [You can probably tell, I’m tiptoeing around spoilers] It would certainly have helped avoid a sense that the ending feels rushed: you’ve barely got your brain around what’s started to happen, when the credits roll – just as things were getting interesting. It’s perhaps this which leaves it feeling more like an unoptioned pilot of a TV show, setting the table for a series to come. Though at least it’s one I would be interested in watching.

Dir: Antonio Trashorras
Star: Ana de Armas, Diego Cadavid, Judith Diakhate, Leonor Varela
a.k.a. El Callejón

Betrayed Women

  By

★★★
“You’re a nice guy, Mr. Darrell. But here’s the hitch. I ain’t a nice girl.”

First, let me just say: that poster is a true work of art. Seriously, how can anyone look at that and not want to see it? Even knowing there’s no possible way it could deliver on what is promised, it’s among my all-time favourite posters. With that out of the way, we’d better move on, since for a 70-minute film, there’s a great deal going on. Honey Blake (Michaels) becomes the latest inmate at the infamous State Prison, after her gangster boyfriend, “Baby Face”, is gunned down by the law. She’s there barely five minutes, before she’s getting put in solitary for back-talk, etc.

Also in the slammer is Nora Collins (Knudsen), who is due to be released in a couple of months, and is in a surreptitious relationship with prison inspector Jeff Darrell (Drake). He’s trying to improve the lot of the inmates, but is getting push-back from hard-bitten Head Matron Ballard. Finally among the prisoners, is Kate Morrison (Mathews), who holds the secret of where $50,000 in robbery loot is stashed. She’s none too pleased with Honey’s taunts about Kate’s boyfriend having just got married, but after bonding through the traditional cat-fight, the pair plan and execute a daring escape. Taken along as hostages are Nora and Jeff, along with Ballard – who proves to be singularly unsuited for a trek through the swamps, pursued by the authorities and their blood-hounds. Kate’s boyfriend is making a beeline for the same spot, so felons, escapees and the law are all on an inevitable collision course.

The critical and commercial success of Caged in 1950 (including three Oscar nominations), led to a slew of imitators in the years that followed. Most – including this one – were considerably cheaper and more down-market, but this one benefits from the fast pace mentioned above, and also a great central performance from Michaels. It’s obviously a product of its era, and so is considerably tamer than most of its ilk: there’s nothing here which would raise eyebrows even on the Lifetime network. [A WiP film the whole family can enjoy!] However, many of the genre tropes are still there: not just the cat-fight, also the lecherous guard and even a fire-hose, turned on Kate after a failed escape attempt.

Michaels is a joy to watch, and I’ll have to track down some of her other work. How can you resist titles like Wicked Women or Blonde Bait? Her impact here creeps up on you. It was only in the final showdown, as she hunkers down inside a farm-shed with her hostages, surrounded by the police that I realized two things. Firstly, I genuinely didn’t know if she was going to live, or go down in a blaze of glory like her lost love, Baby Face. Secondly, I actually cared about the outcome. And no, I’m not going to spoil it. The star retired from public life the following year, declining all interviews about her career in crime flicks, and eventually died, here in Phoenix, in 2007. Even then, she shunned the limelight, requesting no obituary or funeral service.

Dir: Edward L. Cahn
Star: Beverly Michaels, Carole Mathews, Peggy Knudsen, Tom Drake

Bad Grandmas

  By

★★
“Near-dead.”

There is entertainment value to be found even in bad movies. Bad action, horror and SF are sometimes just as amusing as the good stuff. But bad comedy is almost irredeemable: that’s why Mystery Science Theater 3000 rarely go there. Bad comedy just… sits there, dull and unamusing, almost worthless. And that’s what we have here. It’s a somewhat interesting idea, with some potential. Unfortunately, the execution – mostly in the script and direction – are so woefully inept that even the brave efforts of Florence Henderson, in her final film, aren’t enough to salvage it. And wasting the talents of Pam Grier needs to be some kind of cinematic capital offense.

Mimi (Henderson) is trying to help out her friend Bobbi (Wall), who is being thrown out of her house by an evil son-in-law. She goes to confront the perp, only for him to end up dead. She and her senior citizenette pals dispose of the body, hiding it in a freezer. But this just brings them to the attention of Harry (Reinhold), the local loan-shark to who the son-in-law owed two hundred grand. He kidnaps Bobbi, demanding the house or the money; Mimi is having none of that, and when Harry sends over an associate to collect, the henchmen ends up similarly dismembered and in the deep-freeze. Meanwhile, the local sheriff (Batinkoff) is also sniffing around, initially having been investigating Harry’s financial dealings.

Henderson does her best with material which seems designed to destroy any audience sympathy. For example, her first victim isn’t killed initially, and Mimi immediately stabs him in the heart to finish the job. I remind you: this film is supposedly a comedy. If it wanted to go this “dark passenger” route [and it includes an explicit reference to Dexter], that might have worked better, and I’d have been fine with it. Make Mimi a retired serial killer, former CIA operative or something to explain her apparent psychopathic tendencies. For the ease with which she slides from genteel retirement into cold-blooded dispatch is jarring and at odds with the light-hearted tone for which the film is aiming (and, largely, falling short).

A far more egregious complaint would be putting one of the godmothers of action heroineism, Grier, in a timid, mouse-like role, beneath a poorly-considered blonde wig, and giving her next to nothing to do. I know she’s in her late sixties, but that never stopped the similarly-aged Helen Mirren from letting rip in Red. I just breathed a sigh of relief on checking Pam’s filmography to discover she had appeared in other films since. Bad enough this was Henderson’s swan-song, we didn’t need it also to be that of an unquestioned icon like Grier. I sense where this is trying to go – something similar to the Bad Ass franchise, with its similarly mature cast of Dannys Glover and Trejo. However, that knew what to do with its characters, and made much better use of them than this, a well-intentioned failure.

Dir: Srikant Chellappa
Star: Florence Henderson, Randall Batinkoff, Judge Reinhold, Susie Wall

Blind Woman’s Curse

  By

★★★
“The girls with the dragon tattoo”

Akemi Tachibana (Kaji) is second in command of her yakuza gang. During a battle with another group, she accidentally blinds Aiko Gouda (Tokuda), the sister of an enemy – an incident Akemi believes leaves her cursed, after a black cat laps up the blood spilled as a result. Following three years in jail, she returns to find the clan on the verge of war against their rivals, the Dobashi group. Various members of the Tachibanas are turning up dead, and with their tattoos flayed off. Turns out that Gouda has joined the Dobashi gang, with the aim of extracting vengeance on the woman who took her sight, even though Akemi has borne the guilt of that event ever since. 

When it concentrates on their relationship, the film is really good, with both actresses commanding the screen with an impressive presence. This leads to a final confrontation which certainly feels like it may have been an influence on the one at the end of Kill Bill, Volume One, between the Bride and O-Ren. What’s particularly outstanding is the surprising way in which it is resolved: based on everything you’ve seen to that point, you’d be forgiven for betting, odds-on, that there will be an oce-lot of arterial spray. There isn’t – though I’ll say not much more than that. It’s a strangely effective moment, like a Western where the two gunslingers eventually face off at high noon… and decide to go for a pint instead.

What’s considerably less effective is the stuff around the edges, much of which is silly – or, perhaps, played a great deal better on the page than the screen. For example, Akemi’s female minions each have part of a dragon tattooed on their back, so when they expose their shoulders and line up, it forms the entire thing. Which sounds really cool, but ends up looking more like a samurai version of the Human Centipede. There’s also the member of the enemy clan who goes around wearing a scarlet loin-cloth. It’s difficult to take someone as a threat, when they’ve apparently forgotten to put their pants on. In its defense, this is apparently played for comedy purposes, because he smells. Yeah. About that…

This illustrates the film’s main weakness, an apparent desire to be all things to all viewers. I’m not if the audience in 1970’s Japan was crying out for comedy-horror-yakuza-swordplay films, because that’s what they get here, and the various elements vary too much in quality and fail to mesh together at all. When it concentrates on what it does well – and that’s the relationship between the two female leads – it’s very good. You can easily see why Kaji, making her debut under that name here, would go on to stardom. Given how effectively they play off each other, it’s something of a surprise Tokuda didn’t follow suit, though she did go on to become (briefly) the last of writer Henry Miller’s five wives.

Dir: Teruo Ishii
Star: Meiko Kaji, Hoki Tokuda, Makoto Sako, Hideo Sunazuka

Bubblegum and Broken Fingers

  By

★★½
“Pap fiction.”

Outside of Kill Bill, I’ve never been a fan of Quentin Tarantino. But this film did give me some appreciation for him. Because it’s only when you see Tarantino done badly, that you realize the aspects he does well. It undeniably takes some skills to keep a story-line involving multiple sets of characters in the air, especially when centered on a Macguffin like a suitcase whose contents are never revealed. Jackson tries to do exactly the same thing here, and the result is, frankly, a mess, where you’re left caring little or nothing about any of the participants.

It starts with two low-level henchmen on their way to make a deal outside Las Vegas, swapping a large quantity of cash for the suitcase in question. This ends with the opposite side dead, and the pair on the run. They come across two German pedophile tourists, who have kidnapped Heidi (Daly) along with a mute girl, Tiny (Tyla). However, turns out Tiny isn’t the innocent she appears, and she takes the suitcase, being part of a all-female criminal cabal herself. They’re being pursued by a variety of law enforcement agencies, who have their own agendas. It’s as if the writer (also the director) had only one solution to any story issues: introduce more characters, rather than developing the ones already present.

It’s the script which is the glaring weakness. The performances are fine, Jackson makes good use of locations in and around Las Vegas, and there’s a particularly impressive sequence told without dialogue. Indeed, having a major participant who can’t speak – except through an electronic text-to-voice synthesizer – is navigated well, when it could easily have been a disaster, bringing things to a grinding halt any time she appeared. But the pattern soon becomes obvious. Introduce some characters. Start to develop those characters. Abandon them, leaving them (in some cases, literally) dead at the side of the road. Rinse & repeat for an hour or so, until your audience can no longer be bothered to care about anyone.

You’re presumably intended to keep your eye on the suitcase. Yet we never learn what is in the case, capable of triggering all the carnage and corpses. How annoying. It could be argued that it doesn’t make any difference. Unlike Pulp Fiction though, it feels as if it matters, because this is clearly the focus of everyone’s efforts, rather than a supporting act to the sideshow, as in the Tarantino film. As we seem to have said quite a lot lately, I suspect this is a result of having the director film his own script, leaving him too close to the project to spot its flaws. Jackson has good technical abilities, and it’s certainly possible to imagine a version of the same story, with the pieces re-arranged, some expanded and others excised, where this became a Bitch Slap-esque gem. Instead, it’s a struggle to pay attention, through an ending that has little to offer except more dead bodies.

Dir: Sean Jackson
Star: Camme Tyla, Mandy Williams, Brenna Daly, Jason Nious

Bad Apples

  By

★½
“Rotten to the core,” indeed…

Ineptly constructed on just about every level, this proves that stealing from better movies – most obviously, Halloween and The Strangers – is not a guaranteed recipe for success. Teacher Ella (Grant) is has just moved into a new home with her husband, Robert (Skipper), who works at the local hospital. Left alone in the house on Halloween night – that whirring sounds are my eyes rolling – Ella becomes the target for two young girls (Prichard + Collins) in masks, whose unfortunate pre-natal experience has apparently left them with severely psychotic tendencies. Or so we are left to presume, for the bulk of what follows.

It’s not a terrible set-up. Unfortunately, the execution is almost irredeemable. Let’s begin with the technical aspects. The audio levels are in dire need of balance: I lost track of how many times I had to lunge for the remote control, either to turn the volume up, or then back down. And the cinematographer appears to have been a cat, going by how much of the film takes place in near-impenetrable darkness. This all becomes such a chore to watch, an Oscar-winning script and performances would have struggled to keep your attention. Not that this will exactly be unjustly overlooked by the Academy, shall we say.

For this feels like a 20-minute short extended to feature length. So many scenes end up being little more than empty padding, outlasting their usefulness – if they even had any to begin with. Is this a horror film, or a drama about a married couple moving house? There were times when I wasn’t sure. Indeed, the entire Robert character could be excised from the film with little or no impact. Yet, just when the sisters are stalking Ella through her house, and the tension should be ramping up inexorably, the film breaks away to a particularly superfluous sequence of her husband at work.

Then there’s the ending. If the preceding 75 minutes require the usual horror movie idiocy from the victims… Well, it’s nice to see the film is equal opportunity, and demands the same from its killers. After this, comes a coda. We know this, because we are given a large, superfluous inter-title: “CODA”. I literally LOL’d at that. This ties everything back up to where we started, though tells us little we probably couldn’t have guessed, and thus largely falls in line with the other superfluous scenes.

This would probably be somewhat more tolerable, if you looked at it as a loving homage to 80’s slasher flicks, with their practical effects and simplistic approach. The problem is, this is rather closer to the tidal wave of post-Halloween knock-offs, which a friend at the time memorably disparaged as “shot on video shit-heaps”. While nice to see a film with women on both ends of the stabby implements, the problems here are monumental, and this demonstrates that good intentions are no more a guarantee of success than aping better movies.

Dir: Bryan Coyne
Star: Brea Grant, Graham Skipper, Hannah Prichard, Andrea Collins

Bring It, by Seeley James

  By

Literary rating: ★★★★★
Kick-butt quotient: ☆☆

It took me about six years after reading the series opener to get back to the adventures of one of my favorite action heroines, Seeley James’ Pia Sabel; but I only wish I’d done so a lot sooner! Some of my comments in my review of the preceding book, The Geneva Decision, are relevant here as well, and that review also explains something of the premise and who Pia is. In this second book, we learn significantly more of her backstory (and the revelations are corkers –but no spoilers here!).

However, I liked this book even better. Here, there were no interspersed deus ex machina revelations to jump over plot obstacles, and for the most part I could visualize the action scenes better (with only a couple of exceptions). I attribute this to the author’s increasing skill at writing. A review by a Goodreads friend had stated that Pia isn’t the main character in this novel; I also knew that Seeley had opted here for using Sabel Security agent Jacob Stearne as a first-person narrator (actually, his narrative thread only comprises part of the book), and that Pia is kidnapped early on by the baddies. Since, for me, her character is the main draw of the series, all of this was somewhat off-putting; I feared that she would be largely inactive and off-stage here.

But I needn’t have worried; I would definitely dispute the assessment that she’s not the main character, and I can categorically guarantee that she’s neither inactive nor off-stage! Although the two characters are distinct and not clones of each other, in some ways Jacob reminds me, in his personality and his relationship to Pia, of Peter O’Donnell’s Willie Garvin and his relationship to another kick-butt heroine, Modesty Blaise; both Willie and Jacob are utterly clueless in their certainty that recreational sex is a perfectly harmless pastime and that any woman they meet should be a potential partner, and both are apt to prompt some eye-rolling moments from readers who aren’t similarly clueless. (There’s no explicit sex in the book, however.)

They differ, though, in that while Willie adores Modesty, he thinks it would be an impermissible “liberty” to entertain romantic fantasies about her, but Jacob definitely has romantic fantasies about Pia. (Of course, he also has feelings for another of our old friends from the first book, his colleague Agent Tania –but that doesn’t inspire fidelity to either woman.)

Another aspect of this book that’s superior to the first is the seriousness of the theme, because here the author takes a hard fictional look at the real-life underbelly of America’s Deep State, where an out-of-control, largely unaccountable security apparatus can too often be run by sociopaths who think only in terms of “us against them” rather than right vs. wrong, see morality and law as quaint superstitions, and can and do carry out outrages (up to and including murder) against innocents, including American citizens. (Yes, the horrors of Operation Snare Drum here are fictional –but there have been documented crimes by U.S. government personnel or “contractors” that aren’t fictional.)

To his credit, Seeley doesn’t portray this as a partisan issue with just one establishment party as the bad guys, because it isn’t; it’s not a Republican vs. Democrat issue, but of decent Americans of whatever party label vs. traitors to our ideals regardless of what party label they use. (Though this was written during the Obama administration, it’s set after it, with a fictional new President of unspecified affiliation.) It’s a needed eye-opener for any American who cares about the rule of law and ethics in government –which is why I’ve recommended it as not just for genre fans!

A quick disclaimer: Seeley and I are Goodreads friends (though he’s not very active here), but I bought my copy of this novel myself, and my rating wasn’t at all affected by his “friend” status.

Author: Seeley James
Publisher: Amazon Digital Services, available through Amazon, both as a paperback and an e-book
Book 2 of 2 in the Sabel Origins series.

Bird Box

  By

★★★
“A not-so quiet place”

Malorie Hayes (Bullock) is nervously heading towards the birth of a child, supported by her sister (Hayes), when a mysterious epidemic of suicidal psychosis breaks out worldwide. In the ensuing carnage, Malorie finds shelter in the home belonging to the acidic Douglas (Malkovich), whose wife dies trying to help Malorie, and a small number of other survivors. They figure out the epidemic is triggered by entities of some kind who are now prowling the planet – if you see them, you are overwhelmed by your worst fears and kill yourself. The obvious defense is not to make eye contact. Yet how do you survive in a world you cannot see? Especially when it turns out that those who were previously psychopathically inclined are immune to the effects, and are free to roam that world, with their sight intact.

The structure here is a bit problematic, bouncing back and forth between the early days of the apocalypse, and five years later when Malorie and two children are making their way down a river towards a supposed sanctuary. This both robs the early scenes of some tension, since we know who will and won’t survive, and eventually leads to a troublesome and unexplained leap: how, exactly, did they get from stuck in the city, to farming in the middle of a forest? However, it manages to get by, largely on the strength of Bullock’s intensity. This is apparent from the very first scene, where she’s instructing the five-year-olds on their imminent journey, in a thoroughly unmotherly manner.

If you’re looking for an explanation, you’ll need to look elsewhere, as the film never provides any. I’m not sure whether the book in which this was based was any more forthcoming [one thing I do know is, in the novel and not the movie, the sanctuary was populated by people who had deliberately blinded themselves] This isn’t necessarily a problem: indeed, it has been a genre staple going back at least to Night of the Living Dead, to present an apocalypse and its consequences without rationale. Yet, the specifics of the event here seem particularly contrived e.g. simultaneous parturition, and if you’re overly concerned with story logic, this may prove troublesome.

Fortunately, the performances help overcome this – not limited to, but certainly highlighted by, Bullock’s. Her gradual evolution from someone who isn’t certain she wants to be pregnant, into a fiercely protective mother (even to someone else’s kid) is nicely handled, and convincing. She gets particularly good support from Malkovich, playing the jackass character who appears almost de rigeur in any apocalyptic scenario. As many have noted (and the review tagline suggests), there is more than a little similarity to A Quiet Place; though I found that rather underwhelming, and the brutally internalized nature of the threat here seemed considerably more effective. The prospect of having to lose your sight is certainly scarier to me, and if far from perfect, I found enough cheap thrills here to make the time worthwhile.

Dir: Susanne Bier
Star: Sandra Bullock, Trevante Rhodes, John Malkovich, Sarah Paulson