Tag: crime

The Millennium Trilogy

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★★★½
The Girl with the Dragon Tattoo

I think we know the exact moment we fell in love with the character of Lisbeth Salander, the central character both in Stieg Larsson’s Millennium trilogy, and the Swedish films based on the books. It would be the scene in the first film where she goes back to see the man who had been sexually abusing her. Little did he know, on her last visit, she had recorded the whole event. This time, she knocks him out, ties her assailant up, forces him to watch the video and then engages in a spot of amateur tattoo work, leaving him with “I am a sadistic pig and a rapist” etched permanently across his torso. Yeah. You go, girl.

Salander is not your typical action heroine: she’s 5’4″, weighs maybe 90 lbs dripping wet, and anti-social to a degree that may be pathological. But she possesses a mind like a steel-trap, impressive computer hacking skills, a steely resolve and a zero-tolerance policy for anyone who abuses women [the Swedish title of the first book and film translates as “Men Who Hate Women”, and misogyny is something of a theme throughout the trilogy]. This was demonstrated very early: at the age of twelve, and fed up of seeing her father hurt her mother, she doused him in petrol and set him on fire. Like I said: “zero-tolerance”.

We first meet Lisbeth in Dragon Tattoo, using her skills to conduct surveillance on Mikael Blomkvist (Nyqvist), a journalist who has just lost a libel case and is facing prison as a result. As a result of her report, Blomkvist is hired by Henrik Vanger (Sven-Bertil Taube), to investigate the disappearance, forty years previously, of his niece Harriet, who was also Blomkvist’s babysitter. It has been nagging at Vanger ever since, and he feels his time is running out to find the truth. Reviewing the evidence, Blomkvist finds names and numbers in Harriet’s bible, but it’s Lisbeth, helping ‘remotely’, who cracks the code, revealing them to be verses from Leviticus about punishing sinners. The two gradually peel away the years to reveal the truth, a serial-killer whose crimes go back to just after the war – a truth that proves very uncomfortable for some in the Vanger family.

To some extent, Lisbeth is secondary to that plot, but she also has her own concerns to deal with. After the incident involving her father, she spent most of her youth under psychiatric observation. Even after release, she is still effectively ‘on probation’, under the control of various court-appointed guardians. The latest, a lawyer named Bjurman (Andersson) is a truly slimy jerk, who abuses his position to extract sexual favours from Lisbeth. After all, she’s just a little girl – what could she possibly do? See the opening paragraph for specifics there, if you’d forgotten.

Dir: Niels Arden Oplev
Star: Michael Nyqvist, Noomi Rapace, Sven-Bertil Taube, Peter Andersson

★★★★
The Girl Who Played with Fire

It’s in the second film, Fire, that Lisbeth really comes into her own. After a period traveling the world, she returns to Sweden, and pays a visit to Bjurman, who has been looking into tattoo removal – she warns him off doing that, threatening him with his own gun. However, she leaves the gun behind, and Bjurman then uses it to frame Lisbeth for the murder of two crusading journalists, who were working on a story exposing sex traffickers, and those using the women they provide, for Blomkvist’s magazine. With both the police, and the real perpetrators – the criminal gang who control the traffic – trying to track her down, Lisbeth is forced underground. Fortunately, Blomkvist is able to help, as Lisbeth turns the table and goes after the shadowy “Zala” who leads the crime syndicate.

There’s a number of very interesting aspects to the film, such as how Blomkvist and Salander don’t meet until the final scene – I can’t think of many other film where the two central protagonists do that [Heat comes close]. But it’s most memorable for the unstoppable force which Salander has become, utterly fearless, whether it’s taking on a pair of bikers or going into the heart of enemy territory. Even when you think it’s all over for her, she crawls her way back in a way which would make The Bride applaud. It’s curious, yet somehow entirely fitting, to see her as an updated, adult version of another Scandinavian literary and cinematic icon: Pippi Longstocking. Except, to steal a line from Romy and Michelle, she’s like a Pippi who smokes and says “shit” a lot.

Salander’s personality is abrasive, and she clearly has difficulty relating to people or showing them anything even approximating affection: the closest she gets is a bewildered silence. I think the only time we saw her give a genuine smile was in the third film, when she received news that someone she hated had been killed. And yet, people like Blomkvist warm to Lisbeth, initially pitying the circumstances in which she finds herself, yet eventually seeing the human beneath the multiple layers of defensive ice. Fiercely loyal to her (very few, admittedly) friends, and as lethal as a boxful of well-shaken, peeved rattlesnakes to her enemies, the second film proves her to be smart, and as quick with her fists as her brain.

Dir: Daniel Alfredson
Star: Michael Nyqvist, Noomi Rapace, Yasmine Garbi, Paolo Roberto

★★★½
The Girl Who Kicked the Hornets’ Nest

The third film, like the second, has Blomkvist and Salander apart for almost the entire movie; they meet only right at the end, in a way which is as low-key and unobtrusive as an Ikea coffee-table, yet somehow feels entirely appropriate. This time, their separation is because Salanger is in custody for attempted murder, following the events at the end of Fire. The secret group in authority, whose activities are in danger of being exposed, intend to avoid the embarrassment of a trial by getting Salander certified as insane, so she can be locked up as mentally incompetent. This brings her back to confront Dr. Peter Teleborian (Ahlbom), the man in charge of the institute where Lisbeth spent two years. However, Blomkvist asks his lawyer sister, Annika (Hallin), to take up the case. Can they reveal the truth before Lisbeth is committed to Teleborian’s sinister care one more?

While undeniably a good end to the trilogy, tying up the loose ends and dishing out justice in a solid, satisfying way, it seems a shame to have Lisbeth locked up for 95% of the film. This is much more a purely-investigative thriller than the first two, which were more action-oriented. Here, there’s a fight in a restaurant for Blomkvist, and Salander’s only action is an admittedly impressive battle in a warehouse against an unstoppable force. Much as at the end of the first movie, she doesn’t actually kill the opponent herself, though here, that would be more due to a lack of ammunition for her impromptu weapon. While a nice final act by which to remember Salander, it’s not representative of her more passive role in this entry.

The trilogy of books have sold more than 50 million copies worldwide, though sadly, Larsson didn’t see their success, as he died in 2004, before they were published. The success of the films, which have grossed a total of more than $210 million worldwide – a phenomenal sum for any non-English language series – has led to the inevitable Hollywood remake. Pause for eye-rolling here… Except, the American Tattoo does have David Fincher at the helm, so I’ll wait until seeing it – while, naturally, reserving the right to administer a good kicking in due course. The first pictures of Rooney Mara as Lisbeth (right), don’t exactly inspire confidence, as she looks more like some kind of coked-up fetish supermodel than anything else. Daniel Craig plays the role of Blomkvist, which would seem to make him a bit more glamourous too.

I guess we’ll see, but Fincher and Mara will certainly have their work cut out. I can’t help thinking of the lukewarm remake of another, highly-lauded Scandinavian movie, Let the Right One In, and the overall history of such things is not cause for optimism. But even in a worst case scenario, we’ll still have the books and Noomi Rapace’s steel-cold portrayal. Wikipedia says that when Larsson was 15 years old, “he witnessed the gang rape of a girl, which led to his lifelong abhorrence of violence and abuse against women. The author never forgave himself for failing to help the girl, whose name was Lisbeth,” even though much of his life was spent fighting oppression, in various forms. But with his creation of a new style of heroine, one appropriate for the 21st century, Larsson has, unwittingly, perhaps achieved redemption.

Dir: Daniel Alfredson
Star: Michael Nyqvist, Noomi Rapace, Annika Hallin, Anders Ahlbom

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

Alice in Wasteland

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★★
“Washing-up proved marginally more interesting.”

Ok, that brief is a little harsh, but it is true to say by the end, I had opted to double-task, and was watching this while I stood over the sink in the kitchen. It wasn’t as good as I expected: I was hoping for something along the lines of Faster, Pussycat, and instead got a turgid, over-extended crime drama. While it has all the right aspirations, the yawning chasm between that and its execution would require several days’ trip by mule to cross. Alice Wynn (Sondrup) is part of an armored-truck robbery, only to find herself double-crossed and left for dead by corrupt cop Jill Robbe (Beisner). Alice vows to recover the loot and take revenge on Robbe, and won’t let anyone – examples include her late mother’s boyfriend, psychotic pimp Ramrod or his Swedish assassin – stand in her way.

It’s not as good as it sounds, with the low-budget impediments and a largely amateur cast providing almost permanent blocks to success. About the only thing it shares with Faster, Pussycat is a complete lack of actual nudity – and unlike that, this doesn’t make up for that shortcoming in charisma. There are some amusing moments, such as adverts for a non-dairy product called “Pusé Whip”, or a film called Kill Jill, yet most of the individual scenes seem to solve little purpose except to get you to the next one – they’re just not very interesting on their own.

I did quite enjoy the two leads, with both Sondrup and Beisner surpassing the minimum necessary “Oomph” for their roles – the final scene together is perhaps the best thing about the movie (save the Swedish assassin). However, I don’t come into films expecting “the minimum necessary,” and when the other aspects largely fall short of even that mark, I have to confess that disappointment, and a resulting decision to get on with some housework, were the result. I’m left with the feeling that some things are perhaps best left to the professionals.

Dir: Lasse Jarvi and Peter Schuermann
Star: Roxane Sondrup, Michelle Beisner, Major Mandolin, Adam Ryan Villareal

Big Bad Mama

  By

★★½
“Doesn’t live up to its reputation as a cult classic, beyond Dickinson’s charisma.”

With B-movie entrepreneur Roger Corman getting honoured at the Oscars earlier this month, it seems appropriate to pop on one of his classic productions, starring Dickinson, who was just about to become a star in one of the first shows with a female law-enforcement lead, Police Woman. The truth is, however, that this doesn’t have much more to offer beyond Dickinson: while she holds the film together with her steely resolve, and proves that sexy doesn’t stop at 40, the rest of it offers nothing as substantial. It’s a basic enough plot: she plays Wilma McClatchie, a single mom bringing up her two teenage daughters in Depression-era rural America. They fall into a life of crime, in part because they happen to be trying to cash a fraudulent check in a bank when it gets robbed by Fred Diller (Skerritt). They also team up with gentleman con-artist William Baxter (Shatner), but things go awry when they pull of their last big heist, kidnapping the daughter of a millionaire.

However, it just doesn’t really feature much development, of storyline or characters, and there’s never much tension or interest generated by proceedings. The approach seems to be to get the actresses to take their clothes off in lieu of the movie developing, and there’s a fair bit of nudity, not least from Wilma’s daughters. That’s a bit uncomfortable, since neither look old enough to be smoking, never mind stripping – but I’m pleased to report, both were of age during filming. While there’s no doubt that Dickinson is impressive when cutting loose with a submachine-gun or blazin’ away at the cops in the final showdown (pausing only to dress, in the movie’s most infamous scene), it’s no Bonnie and Clyde. It’s probably not even a Bloody Mama, made by Corman at the start of the decade. Much like the sequel, which we covered back in 2006, Dickinson is largely the sole point of (non-exploitative) interest; whether that’s enough to sustain your attention, is something only you will know. It fell fractionally short of enough for me.

Dir: Steve Carver
Star: Angie Dickinson, Tom Skerritt, William Shatner, Susan Sennett

Bitch Slap

  By

★★★★
“Smack my bitch up.”

There are some films which I like, and where if you don’t agree with me, you are an idiot – such as Shaun of the Dead. However, there are movies where I can see, understand and accept why people dislike them, even if I may strongly disagree. Bitch Slap would be one of the latter. Looking at the the IMDb ballot results, the top number of voters have given it one out of ten. However, the next-most have given it 10/10. Between them, those two extremes represent more than 40% of the total votes. Much the same thing – albeit to a somewhat less rabidly-partisan degree – happened here in GwG Towers.

Chris has a certain firmness of opinion. When she has made up her mind about something, it’s pretty hard to get her to change it. She will purse her lips, fold her arms and stick to her guns. You could argue whether this strong will is a character quality or a flaw, but it certainly led to her early exit from Bitch Slap. Here’s an approximate timeline of the comments from the seat on the couch next to me:

  • 5 minutes: “Would you rather watch this alone?”
  • 5:30 minutes: “Are you sure you wouldn’t rather watch this alone?
  • 10 minutes: “Is this a porno?”
  • 20 minutes: “Could this get any more stereotypical?”

It was not long after this – I think it was when the lesbian canoodling started – she suddenly remembered she had a vitally-important task to perform elsewhere. Judging by the sounds emanating from our office, that task appeared to involve Facebook poker.

Of course, to me, complaining about the film being stereotypical is missing the point. It’s supposed to be a frothy melange of cliches, thrown into the cinematic melting-pot and the heat turned up to ‘High’. The opening credit sequence, with its clips of “bad girls” such as Tura Satana and Christina Lindberg, gives you some idea of what to expect, and it hardly pauses thereafter, growing increasingly more breathlessly frenetic. Not often have I seen a movie suffering from a more chronic case of Attention Deficit Hyperactivity Diso… Ooh, look! Shiny, pretty things!

Speaking of which, it centers on three women, with about as divergent personalities as it’s possible to imagine. There’s Hel (Cummings), a con-artist with a secret identity; the psychotic Camero (Olivio), who starts off the movie insane, yet somehow manages to get even more loopy as things progress; and, finally, Trixie (Voth), the “innocent” one, whom you’re not quite sure about. The heroic trio end up out in the desert, with Gage (Hurst) tied up in their trunk, seeking… Well, part of the plot revolves around that issue, so I’ll leave that out of the summary. From there, the story of how they reached that point is told in flashback, and event also unfold moving forward, as they try to locate their obscure object of desire before the infamous, deadly “Pinky” shows up.

Of course, it’s not as simple as that. Others are after the same prize, such as Hot Wire and his GoGo Yubari clone (Japanese, schoolgirl, killer yo-yo), Kinki (Minae Noji). There’s also a good deal of tension, sexual and otherwise, between the three heroines: are any of them quite what they seem? I imagine my usage of the phrase “secret identity” above might have given some of the game away there. It hardly counts as a spoiler either, to say that it all ends (eventually) in a brawl between Camaro and Hel, in the middle of a desolate wasteland, which has become steadily more wasted and bullet-ridden over the course of the movie.

The Laydeez of Bitch Slap

Director Jacobson certainly has a solid pedigree in the action-heroine world, at least at the televisual end of the spectrum. His resume includes episodes of La Femme Nikita, Cleopatra 2525, Xena: Warrior Princess and She Spies, a good number of which have a similarly self-parodying approach to their subject matter as seen here. However, while the excess is somewhat greater, this only really extends to some potty-mouth lines and digital blood. Despite all the tension and canoodling mentioned earlier, Cummings shows a lot more skin for Jaconson as the hero’s wife in Spartacus: Blood and Sand. If you’re going for camp excess, as appears to be the case, you need to be a good deal more…well, excessive.

The main weak link is the leads, who don’t have the chops – physical or acting – to pull this off. I to wonder whether it might have been a good deal better if stunt co-ordinator Zoe Bell, Lucy Lawless and Renee O’Connor had been the stars of the film, rather than merely cameos. They have all previously shown the necessary combination of martial ability and screen presence necessary for the parts here. Not that the actresses here are “bad”: however, when you’re spitting out Satana-esque lines like, “Ram this in your clambake, bitch cake!” you’d better have the F-sized volume of charismatic fire-power to pull them off, and they fall short of the level needed for this to achieve classic status (Olivo probably comes closest to the necessary level of conviction, spitting our her dialogue with a perpetual sneer).

Having got those criticisms out of the way, the rest of the film is very solid entertainment – providing, as noted above, you can get your brain lined-up with what it’s trying to do (and if you can’t, which is understandable, it’s basically unsalvageable). Alcohol will probably help the neurons go in the correct direction, as will an encyclopaedic knowledge of pop culture, and tolerance for trash at an industrial concentration. The litmus test is probably the slow-motion water-fight which breaks out among the three laydeez early on: if you greet that with a smirk of guilty pleasure (as charged, m’lud), rather than, oh, bailing for the Facebook poker lobby, you’ll probably be fine.

Jacobsen also does a good job with the visual style, providing a perfect match for the lurid, frenetic approach of the script and character. There’s a lot of green screen work, which lends proceeding a hyperreal feeling, and the pace means that there’s hardly a dull moment. Not sure the storyline makes a great deal of sense, I admit, and it feels as overstuffed as a giant bean burrito (you know the kind, the ones you regret buying about one-third of the way through, but just can’t stop yourself from finishing). The fractured plotline has been compared to Tarantino, but personally, there’s a good deal less annoying self-indulgence than Quentin usually inflicts on the audience: for example, Camero doesn’t bring things to a grinding halt, just to witter on about comic-books.

All told, it’s refreshing to see something which is so avowedly politically-incorrect, and proud of it. The film is at its best when wallowing in the gutter, unashamedly down and dirty, and with a broad grin upon its face – credit to all those involved for having the guts not give a damn about the nay-sayers and one-voters. It’s not going to trouble the more-evolved areas of your brain very much, and will tug on the heartstrings even less, but for the times when you don’t want anything more than the cinematic equivalent of a one-night stand, this will certainly do the job perfectly well. Certainly the most full-on, and arguably the best, of the genre to come out of Hollywood in the past five years.

Dir: Rick Jacobson
Star: Julia Voth, America Olivo, Erin Cummings, Michael Hurst

"Certainly the most full-on, and arguably the best, of the genre to come out of Hollywood in the past five years."

Double Duty

  By

★★½
“Action? Comedy? Romance? The Jill of all trades, proves master of few of them.”

After 20 years in the Marines, MJ (Lesseos) returns to civilian life, but finds it somewhat hard to adapt to life as a civilian. Her old college friend Sophie (Duerden) helps her adjust – somewhat – and introduces her to Craig (Sizemore), a designer who is perhaps rather more feminine than MJ. Sophie is working on a charity auction, not realizing her assistant Carl (Freeman) is planning to steal the top item, a Faberge egg. Meanwhile, hypnosis has given MJ the ability to get in touch with her inner woman – but the problem is, every time someone snaps their fingers, she switches between her two personas. There is that of the rough, tough and gruff Marine, and then there’s the other, a giggling girlie for whom breaking a nail would pose a deep, personal crisis. Which will win out when the chips are down?

To be fair, the actors and their characters are not the problem here. The concept of a marine having to return to civilian circumstances has enough in it to power a movie, and Lesseos is believable as a soldier, in a way that many actresses wouldn’t be [see Mena Suvari in the Day of the Dead remake as a counter-example]. Still looks pretty good, given she’s… Well, let’s just say, I was surprised. Sizemore is playing against type – the star of Black Hawk Down and Saving Private Ryan is usually the one who’s in the military – yet is none the less effective for it. However, the entire film is almost stolen by Karen Black, who plays the adviser called in to help MJ become a lady; this unfolds complete with a My Fair Lady reference, at which I must confess I did laugh out loud.

The problem is that the rest of the film falls flat. Lesseos in feminine mode is much less amusing, and does not improve with repetition, shall we say. Some of the comedy is startlingly unfunny, such as the scene where MJ takes on a drunken biker-chick in a bar – I felt embarrassed for all those concerned, just watching it. Although that low point is never quite matched, the bar is set low, and it’s also the kind of film where people only get shot in the arm [that happens three times in about twenty seconds at the climax]. The moments of the heroine kicking butt with some style are sadly few and far between, and I was left with the definite feeling that Lesseos deserves a better vehicle for her talents.

Dir: Stephen Eckelberry
Star: Mimi Lesseos, Tom Sizemore, Susan Duerden, Alfonse Freeman

Police Women of Broward County

  By

★★★½
“Mums with guns.”

Twenty years ago, Cops debuted on Fox, and has become a part of the cultural landscape, leading to an avalanche of spin-offs, ranging from the serious to the complete spoofs (Reno 911 being the most notable). The very first episode took place in Broward County, Florida and, two decades later, the latest in the field returns there. PoBC, as I’m going to refer to it for obvious reasons, follows four women members of the Sheriff’s Department there, both at home and on duty, as they take down the bad guys and deal with the public.

The four present a cross-section, covering three races and a broad range of ages, from 25-year old Deputy Shelunda Cooper, to Detective Julie Bower – almost double Cooper’s age, whose hair appears firmly rooted in the 1980’s. Each episode is a semi-random selection of incidents. If there’s a theme, it’s in the type of crimes with which each deals. Bower is a member of the sex-crimes unit, which covers everything from rape cases to staging prostitution stings [one of which involved her dressing up as a street hooker]. All the cases of Detective Ana Murillo seems to involve drugs, while Cooper is the queen of the “domestic” – if there’s a family squabble, she’ll be there. Detective Andrea Penoyer’s caseload has a little more variety, though she achieved a certain notoriety for her gung-ho quote, “There’s always a good time to use a Taser,” featured prominently in the trailer (below).

Murillo seems to have a little bit of an attitude, shall we say, especially if any of the members of the public with whom she comes into contact do not adopt the appropriate reverential approach – such as the woman who has the temerity to talk on her cellphone. Murillo basically confiscates the phone, and there are numerous other incidents in the show which have a questionable nature as far as constitutional rights go. Her approach to law-enforcement appears to have more in common with Judge Dredd than “To protect and serve,” though one wonders whether TLC’s description of it as a docudrama – emphasis added – has more significance than might immediately be obvious.

“I’m no different fron the guys, I still kick ass and take names – I just do it with nail-polish and lip-gloss.”
— Ana Murillo

Despite Murillo’s unquestioned position as Empress of Lip-gloss, it’s blonde, blue-eyed Penoyer who is the glamour queen of the show – though the illusion is somewhat damaged when she starts yelling commands at suspects in a voice that’s probably the audio equivalent of getting Tazered. Though as she points out, such an attitude is necessary: “When someone walks in a room and you got a cop who is 6’5″ and 300 pounds, he looks intimidating. So we have to act intimidating: we have to be very, very serious and let people know we’re not playing around.” Well, not all the time, anyway. We also get to see Penoyer and her policewomen friends shopping for guns, and relaxing on the beach. In their bikinis.

This illustrates the strange double-standard at the heart of the show: on the one hand, it wants to show that the subjects are “just like the guys”. On the other, it keeps reminding us that three of the women are mothers – two of them single moms – and takes great care to point out how much they care about their kids. That’s the dichotomy that’s at the core of girls with guns: the contrast between the maternal and life-giving aspects and the death-dealer. I suspect, however, that it would be giving the creators of the show more credit than they deserve if I were to say they were conscious of such philosophical concepts.

Oddly, it’s Cooper of whom we grew fondest, even though she seemed condemned to the pettiest of crimes – someone refusing to pay a taxi fare for instance. Yet she seemed the one most genuinely concerned with her role as a member of the community, not just as a law enforcer. In one scene, she was called to an elderly gentleman’s apartment and ended up calling his girlfriend on his behalf; in another, she gave a homeless person the sandwich her husband had bought for her dinner. When she got a ‘proper’ crime – a burglary – and was able to take fingerprints, she was so genuinely delighted, we couldn’t help but cheer – hopefully, she’ll eventually achieve her ambition of getting into the CSI side of things.

I do have some serious qualms about the philosophy of policing shown here. While there’s no denying the awful effects of drug addiction [some of those arrested are a stark, poignant reminder of that], the efforts here seem almost entirely directed at street-level pushers – who, curiously, all seem to be black. What are the odds of that? Busting them is a pointless endeavour, since it simply creates a temporary gap in the marketplace, into which someone else will stop. Even more dubious are the prostitution stings: disturbing amounts of police resources are devoted to something which is basically a massive waste of time. Want to control prostitution? Legalize it, license it and tax it.

Once again, however, the creators have little no interest in addressing such things. This is about the telegenic end of policing, where no bad guy gets away and questions about rights and the ethics of entrapment operations are not considered. It’s entertainment, pure and simple – and even as people who have a very low tolerance for “reality entertainment” [since we usually find it neither realistic nor entertaining], this is curiously habit-forming.

Shown: TLC, Thursdays, 9pm
Star: Ana Murillo, Shelunda Cooper, Julie Bower, Andrea Penoyer

My Wife is Gangster 3

  By

★★★
“I guess The Daughter of a Business Associate is Gangster wouldn’t be quite as commercial.”

Despite being directed by the same man as part one, this is only tangentially-connected to the first two films. The most obvious difference is no Shin Eun Kyung, who was the glue that held those movies together. Instead, as noted above, there is no wife at all: Shu Qi stars instead, as Lim Aryong, a mobster’s daughter forced to flee Hong Kong after her apparent involvement in murdering the leader of a rival gang. She goes to Korea and is put under the protection of Ki-Chul (Lee), a fairly crap mobster whose sole qualification for the job is a few words of Chinese. However, his star begins to rise and he develops a tough-guy rep: it’s really Lim who is responsible, but the local criminals would rather credit Ki-Chul than admit they got their asses kicked by a girl. Eventually, her hiding-place becomes known, and a team of vengeful assassins is dispatched to Korea to take care of Lim.

Similarlu to the previous entries, it’s a somewhat sporadic mix, with the humour generally working better than the action. There’s too much obvious doubling of the heroine in the latter, though for the former Lee’s expressive eyes are a nice contrast for Qi’s deadpan cool. Possibly beating both is Hyeon, as the translator hired to interpret: she starts of by saying what Ki-Chul wants to hear, before realizing the potential in her new friend, and the interplay among the trio provide most of the film’s high-lights. On the other hand it is undeniably too long, and especially towards the end, begins to drag considerably. The love that blooms between hero and heroine is, frankly, implausible: yet, since the entire concept is fairly flimsy, this doesn’t hurt the overall feel of the movie too badly. While we certainly mourn the loss of Shin, who is missed, much like its predecessors, this has no ambition beyond being light, frothy entertainment, and as such, doesn’t embarrass itself or the series.

Dir: Cho Jin-Gyu
Star: Shu Qi, Lee Bum-Soo, Hyeon Yeong, Oh Ji-Ho

Ninja Cheerleaders

  By

★★
“B-movie rule of thumb: “ninja” in the title in never a good sign…”

Probably half a star should be taken off if you’re not a fan of really bad movies like us, for this is a bad movie. Really. Let me begin with a straight-faced recap of the plot. Courtney, April and Monica are junior college students who are trying to earn the quarter-million bucks necessary for them to go to an Ivy League college. They earn this by go-go dancing at a strip-club, Their plans are thrown into disarray when the owner of the club (Takei), who has been looking after their savings, is kidnapped by the mob. Fortunately, he is also their martial arts sensei, and they just qualified as ninja. Can they rescue him, get their cash back and make it to the All-City Strip-Off?

Yes it’s every bit as silly as it sounds, and unfortunately not as entertaining. Nor even as potentially full of flesh, since they’re go-go dancers, not strippers they keep their clothes on – which seems odd since it’s not as if Cannatella is exactly a shrinking violet. [Link NFSW, if you hadn’t guessed] How exactly they are supposed to have raised 250 grand in six months doing that is unclear. In a lame attempt to compensate, Presley splices in occasional footage of nekkid boobies, presumably to avoid the PG-rating this would otherwise deserve.

There’s definitely scope for humor in the goofy concept – students by day, ninjas by night, or something like that. However, the movie rarely succeeds in mining any of the potential. Occasionally, Takei appears to realize how ridiculous it all is, and I did laugh at one scene where the girls are questioned by a cop, and feign innocence with the kind of stupidity familiar to anyone who has raised teenagers. Otherwise, however, it’s mostly guilty either of trying too hard or not trying hard enough. Natasha Chang playing the evil henchwoman Kinji is probably the most memorable character, with an odd quirk of referring to herself in the third person. This alone, probably gives her as much personality as the heroic trio; they’re otherwise just not very interesting, despite McConnell’s resemblance to Hilary Swank.

The action isn’t exactly breathtaking either, with the ninja costumes used to conceal body-doubling [save in Takei’s case, where it’s pretty damn obvious]. As a result, it’s never exactly convincing; while there are a couple of fights where the girls have to take on various low-level Mafia people, it’s only at the end, when they face Kinji, that things are interesting. And it’s kinda odd to have the bad girl outnumbered three-to-one by the heroines, which just doesn’t seem fair. Overall, it just about scrapes by if you find it as a freebie on cable. Spending any more than ninety minutes of your time on this is probably not recommended.

Dir: David Presley
Star: Trishelle Cannatella, Ginny Weirick, Maitland McConnell, George Takei

Police Women of Maricopa County

  By

★★★★
“More Mums with Guns.”

The second series of TLC’s “mommy cops” reality series struck close to home, centered as it was on Phoenix. It didn’t come as much surprise as our local sheriff, Joe Arpaio, is infamous locally as a media whore, who wastes no opportunity for self-promotion, and is a sharply-divisive figure locally, adored and loathed by about equal parts of the population. We wondered how long it would take before Joe slimed his way onto the screen: six minutes into the first episode, we had our answer. Fortunately, this was more of a blip, and our fears of an Arpaio-centered show proved largely unfounded [see the execrable Smile… You’re Under Arrest for how bad this could have been].

The series was an improvement on its predecessor, and not only because of the thrill of seeing local places [though we soon realized the editors played fast and loose with geography, consecutive shots often being miles apart]. The Florida show was actually quite depressing in many ways; seemed like the majority of crimes were a) drug-related, and b) ethnic. Here, there’s a good deal more variety: it seems like the sheriff’s office spent as much time serving warrants to deadbeat dads as anything [this is one of Sheriff Joe’s tactics to pad his crime numbers and make him look good, because those are piss-easy warrants to serve, compared to those involving real criminals. Again, see S…YUA]

As notable as what is shown, is what was not included. The MCSO are notorious for “crime sweeps,” which are much about illegal immigration, a massive hot-button political issue in Arizona, as any other offense. However, these have come in for criticism from civil liberties groups, and there was not a mention of these high-profile activities on the show. The only real coverage of the topic was in chasing down “coyotes”, those who smuggle illegals across the border. On the other hand, whiny, liberal media outlets such as the Phoenix New Times bleat “Can’t The Tourism Board Shut This Show Down?” Actually, I like the New Times in general, and we’re good friends with one of their reporters, but the paper’s politics are a different issue entirely.

But outside of the the “Ooh! Been there!” local interest, I think the characters here were generally a slightly more personable bunch. As before, it centres on four women – again, mostly single moms, which makes me wonder whether the job attracts them, or leads to marital stress. There’s Deputy Amie Duong, who is the “Shelunda” of the series – when you see her arrive, you know a domestic dispute isn’t far behind. There’s Deputy Kelly Bocardo, the token minority representative, whose three brothers (among her 14 siblings, apparently!) also work for the department. And there’s Detective Lindsey Smith, whose accemt appears to drift, chameleon-like, depending on to whom she’s speaking.

Finally, there’s Detective Deborah Moyer (right), who is completely marvellous, and the main reason to watch the show. A 19-year veteran, we’d be entirely happy if the show was 100% about her. While the other women occasionally seem very scripted when they are talking to the camera, that isn’t the case with Moyer: there’s a definite sense that what you see is what you get with her. While her policing style may not be “by the book” – in one episode, she basically arrests a teenage girl for failing to hug her father – her reactions are entirely natural and certainly had us nodding in approval more often than not. She just comes across as being very normal: when she encounters a young perpetrator, she tends to think about her own kids of the same age.

But all the police here are more interested in “justice” rather than the letter of the law. That’s in contrast to the Broward County show, where there was far too much entrapment going on: I don’t think the police should be involved in creating crime. It was also notable that the cops in Arizona seemed to have much more discretion. If you were respectful and polite (the New Times would no doubt say “subservient”), you stood a much better chance of getting off with a warning than if you gave them attitude. I’ll file that away for the next time I encounter law-enforcement here, though one speeding ticket in a decade hardly makes me a habitual offender. Still, if we got to meet Detective Moyer as a result, we might considar a life of crime!

What the show did best of all was make us appreciate that, behind the grandstanding, publicity-seeking nonsense of Sheriff Joe Arpaio, are a number of dedicated, hard-working officers who have a very difficult job to handle. They’re not Robocops, and so are both imperfect and fallible, but law-enforcement personnel are human, just like you and me. Being reminded of this fact is something that is never a bad thing.