Tag: d

Daughter of Sparta, by Claire Andrews

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

The author says, “My goal was to bring to light the often-underappreciated women of Greek myth and history—I wanted to give these women the stories they deserved.” It’s a somewhat odd goal, given there’s not exactly a shortage of them already. Hard to call the likes of Zeus’s wife Hera, goddess of war Athena, or Artemis the huntress particularly “underappreciated.” But what Andrews has done here specifically, is flip the script on the myth of Apollo and Daphne. Originally, it was the story of Apollo’s relentless pursuit of wood nymph Daphne, who ended up becoming a laurel tree to escape him.

That is, understandably, far too stalkery for modern consumption. In this version, Daphne lives in Sparta, and is a strong warrior. However, because she was not born there, she is destined to remain a Mothakes, an outsider. Regardless, she is still the gods’ choice, when they need someone mortal. Their divine abilities are waning, after someone has kidnapped the Muses, “the source of all the power of Olympus”, home to the gods. Daphne is compelled by Artemis to go on a mission to find and free them, with Apollo alongside her. This sends our heroine across the entire Hellenic region, encountering deities both benign and malevolent, as well as facing mythical creatures like the Minotaur, ending with a journey into Tartarus, where the souls of the wicked are punished. 

As a reversal, it’s fairly well-done. It reminded me of the other quest stories which pepper Greek mythology, such as the twelve labours of Hercules. I particularly liked how the gods covered the whole spectrum of characters. Artemis, for example, while clearly acting in the best interests of Olympus, has no hesitation in forcing Daphne’s co-operation, by transforming those near and dear to her, into animals. Determining where the loyalties of the others lie can sometimes be tricky, though if you’ve seen Wonder Woman, you’ll not be surprised by Ares’s allegiance. Daphne’s character arc over the course of her adventures was also an effective one, and she becomes battle-hardened, taking damage to the point she can barely walk by the final encounter.

I was considerably less convinced by the, sadly, inevitable romance which was developed between our heroine and Apollo. There were points where I would have welcomed turning into a tree myself, to escape it. The presence of so many deities, all with infinite powers, does become a bit of a “Get out of jail free” card on a couple of occasions, though the limitations resulting from the missing Muses do prevent this from becoming an excessive crutch. It’s an interesting twist on mythology, albeit one which has to bang a few square pegs in, to mould the narrative to its desired ends. I wouldn’t call it any better than the classical stories. Just a little different, and that’s no bad thing. 

Author: Claire Andrews
Publisher: ‎ Little Brown Books, available through Amazon, both as a paperback and an e-book
Book 1 of 3 in the Daughter of Sparta series.

Detained

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★★
“The Unusual Suspects.”

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

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

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

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

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

Deep Descent, by P.R. Adams

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

Chanda Bajaj is the very epitome of a troubled protagonist. A former soldier, she left the service after she and her comrades took part in the mass murder of “synths” – synthetic humans, and has been plagued by guilt and nightmares ever since. She has become an independent bounty hunter (or “Lancer” – short for “freelancer”), and has just landed on the ferociously hostile mining planet of Reitman, far out in the frontier colonies. The corporation which runs Reitman has an issue, with some of its employees – who are, really, more like indentured serfs – turning them into drug fuelled and violent killers.

Chanda, along with a group of like-minded Lancers, are hired to take the worst of the worst into custody, so justice can be served. Except, inevitably, it’s not as easy as that. Word of their mission gets out, and they’re greeted by an increasingly ugly mob, who see them as company mercs. Almost simultaneously, the colony is the target of a terrorist attack, leaving Chanda and her colleagues stuck in the network of tunnels beneath the planet’s surface. Their original mission is changed, and becomes key to the entire survival of Reitman and its inhabitants. But there are people with a strong interest in them not succeeding, or living to tell the tale. Especially, after they discover a very nasty little incident in the corporation’s past, where an attempt to replace the human employees with synths did not go well. 

Once things kick off here, it’s an almost relentless cycle of Problem > Solution  > Slight progress. Some issues are physical ones, such as a surge of radiation resulting from the terrorist attack. Others are more psychological: whether or not to use lethal force against the mob who vastly outnumber the Lancers. There’s also a great deal of internal tension within the group, because not a lot of love is lost between certain members. Some have even figured out that the fewer the number of the group that survive, the bigger their own share of the payout will be. This is not exactly conducive to team-building and working together, standing in contrast to Chanda’s military background, and “no man left behind” philosophy. 

Naturally, there’s a revelation towards the end which upends a lot of what you thought you knew. Though I can’t say this came as too much of a surprise, and provoked more of a “Huh, makes sense,” rather than anything else. It does rely on some convenient literary amnesia from Chanda, though the book does a decent job of managing this, since it makes sense that she would take a drug specifically in order to repress the most troublesome memories. Interestingly, the other books in the series appear to be about different Lancers, with likely just a single volume falling in our area. However, I’d not be surprised to see a review of that one here, a little way down the road. 

Author: P.R. Adams
Publisher: Promethean Tales, available through Amazon, both as a paperback and an e-book
Book 1 of 6 in the Lancers series.

The Doxies Penalty, by Madeleine E. Robins

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

One of my favorite mystery series by a contemporary author is Madeleine E. Robins’ Sarah Tolerance series. I’ve read and reviewed all three of the earlier books (Point of Honour, Petty Treason and The Sleeping Partner), the most recent of those published in 2011 (seven years after the second one). The long gap between books had convinced me that the series was to be a trilogy, so I was delighted when this continuation was published in 2025! It didn’t disappoint.

This series should definitely be read in order; but for the benefit of readers who may be starting it here, the author provides a couple of paragraphs of essential backstory to introduce our heroine, and precedes the text itself with the short notation “October 1811. Another London.” That cryptic note is meant to clue us to the fact that this is a slightly alternate Regency England, in which Queen Charlotte, rather than Prince George, was initially named regent for her husband. But in the third book, her ill-health required the naming of a new regent, so Prince George got the job belatedly; and this book really has no noticeable alternate-world features.

So, for the benefit of readers who haven’t read, or don’t remember, the earlier books or my earlier reviews, Miss Tolerance (born Sarah Brereton) is a scion of a lower-nobility family, which disowned her as a teen when she ran off with her brother’s fencing master. (The pair were in love, and would have married if her father hadn’t forbade it.) After her man died young, Sarah took shelter with the one relative who’d have her, an also-disowned aunt who owns a high-end brothel (fortunately, there’s a small cottage out back); and rather than resort to prostitution like many young women in her situation, she’s created a profession for herself as an “Agent of [discreet] Inquiry.” (She’s smart, inquisitive, able to blend in a variety of social settings and pass as a man if she has to; and since she packs pistols and learned how to fence from her late life-partner, she can handle rough stuff if it’s thrown at her.)

Our tale here begins about six months after the preceding one. My general comments about the previous books in terms of style, writing quality, literary vision, etc. would apply here as well. There’s no bad language as such here (Sarah can cuss at times, when trying circumstances evoke it, but Robins doesn’t quote her), and no explicit sex; but there’s definitely reference to prostitution and other illicit sex –Sarah behaves with a sense of honor, but her aunt’s a madame, her best female friend is a sex worker, and her two clients in this book are retired prostitutes.

One only appears in the first chapter, where Sarah’s recovered some stolen jewelry for her. But the case brought to her by the second one will be more knotty. Elderly Annie Pouter (who used to work for Sarah’s aunt) has invested her life savings in a mysteriously-managed “Fund” that apparently caters to former “ladies of the evening” who have some money put by, and which promised a generous rate of return; but the payments ceased after the first few. But what starts as an investigation into possible financial malfeasance will soon turn much darker….

There will be some bloody violence in this book before the last page is turned; though it’s not made any more grisly than it needs to be, and we get a ghastly look at the ugliest faces of the Regency flesh trade (which may involve pre-teen kids!), opium addiction, the ravages of pre-antibiotic era STDs, and the general depths of moral perversion that fallen humans are capable of. This is definitely not simply a time-marking book; it advances the series narrative in significant ways (and it’s clear by the end that there will be at least one more book). We’re introduced here to greater London’s Roma community (referred to here as “Travelers”), with a couple of characters who I’m sure we’ll be meeting again. More importantly, there are a couple of MAJOR developments in Sarah’s personal life. And at the end, she’s presented with a serious moral decision.

Do I recommend that you read his book, if you like the genre and setting, and aren’t put off by some gritty elements? Absolutely; but I strongly recommend that you read the other three books first!

Author: Madeleine E. Robins
Publisher: Faery Cat Press; available from Amazon, both for Kindle and as a printed book.
Book 4 of 4 in the Sarah Tolerance series. A version of this review previously appeared on Goodreads.

Dietroit 2 Chiraq

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★½
“Aspirations impossible to fulfill.”

I’m not averse to the concept here. The Tubi synopsis says, “Three women rampage from Detroit to Chicago seeking revenge on Davion Legrel I, the ruthless criminal who killed their best friend.” I’d watch that movie: if anyone ever gets around to making it, let me know. Because this certainly would require subdued lighting and a very specific angle, as well probably as some kind of eye condition, before it could be mistaken for the synopsis. I am even slightly interested in lead character Christina (Brazier), a former Army nurse who, bizarrely, alludes to having learned interrogation skills while on tour in the Middle East. This would not be a combination I’ve encountered before. 

Unfortunately, that’s where the good news ends. I guess the synopsis is technically accurate, providing you are happy with a very loose definition of the words “rampage”, “revenge” and “ruthless.” For the main problem is simply resources unable to depict convincingly what’s in the script. The most woeful example is when Christina and pals Robin (Merrill) and Stephanie (Reynolds) arrive in Chicago, and go to a “club” in search of information about Davion (Spearmon). “This is a classy place,” says one attendee. No: it is not. It looks far more like an empty office suite, having folding tables as furniture, and two bits of paper on the wall, with the words “CLUB” and “HADES” printed on them. And don’t even get me started on the woeful rap artist, supposedly launching his EP. 

These poverty-row production values permeate the whole production. There’s a latter sequence supposed to be set in a top-end bordello, where our trio masquerade as hookers (explaining the cover), again for information gathering purposes. To be blunt, I’ve seen condemned crack houses with more erotic ambiance. The problem is, basically, ambitions far in excess of what the makers can deliver. They should have gone the other direction, rather than trying (and failing miserably) to appear high-end. Go low instead, and aim for gritty authenticity, telling a story fresh off the streets – a 40-ounce of MD 20/20, rather than Rémy Martin. Make that brothel an actual drug-den, ugly and grimy, and turn Christina’s journey into a descent to a lower circle of hell. 

The results often left me feeling second-hand cringe for actors likely better than the film deserves, and relentlessly obliged to play make-believe so hard, to try and sell what’s happening. Meanwhile, the rest of the film seems to be actively trying to sabotage them, courtesy of elements like unconvincing CGI muzzle flashes. Though I was amused by the unexpected recycling of one of Pulp Fiction‘s most notorious lines. Specifically, the one about being a holding location for deceased persons of African-American heritage: it probably works better here, than coming out of the mouth of Quentin Tarantino. But it’s a rare moment where this manages to be other than an embarrassment. Even by the standards of this genre, this is well short of adequate. 

Dir: Shawn Woodard
Star: Shavannahre Brazier, Richelle Merrill, Lakeisha Reynolds, Shawn D. Spearmon Sr.

Dead of Winter

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★★★½
“Old, bold and cold.”

Thompson seems to be having a second wind, making her first appearance on this site at the age of sixty-six. That’s a decade more than Liam Neeson was when he became an action star with Taken, and probably makes Thompson the oldest debutante here. This comes on the heels of series Down Cemetery Road which, while not quite qualifying here, certainly was more brisk than expected. At this rate, I might even have to forgive her for throwing shade at Audrey Hepburn. No question about the credentials of Winter for this site, since it plays like a cross between Fargo and Taken. There’s not a lot of fat here, certainly. Things kick off just a few minutes in, and barely stop thereafter.

Barb (Thompson) is on the way to a lake in Minnesota – a part played by Finland – for some ice fishing. She gets turned around, and stops at a remote cabin to ask for directions. There she meets an odd man (Menchaca), and notices some blood on the ground. Then, at the lake, she sees the man chasing after and recapturing a young woman (Marsden), so realizes she has stumbled into the middle of a kidnapping plot. After the obligatory “no signal” scene, Barb realizes she is the victim’s only hope. But the man may not be her biggest problem. His wife (Greer) is the real brains behind the operation, very highly motivated, and prepared to go to any lengths to stop Barb from interfering in the grim plan.

I will say, it does take a bit of getting used to, hearing Thompson going full Marge Gunderson, eh? This is no comment on the accuracy of the accent, a topic on which I am not qualified to speak. It’s just odd. However, this is not a particularly dialogue-heavy movie, with Barb spending much of it alone and in the wilderness. We never find out either of the antagonists’ names, incidentally, the end credits just calling them Purple Lady and Camo Jacket. The film focuses increasingly on the two women. Purple has nothing left to lose, generally having the edge in firepower and ruthlessness – as is demonstrated after Barb is able to reach help through a CB radio. But Barb has motivation of her own. 

This comes out in rather clunky flashbacks to the early days of her relationship with her husband. Truth be told, I didn’t feel these added particularly much; the same information could have been provided more efficiently, and in ways which didn’t derail the tension of the current situation. Though I did like how the young Barb is played by Thompson’s real-life daughter, Gaia Wise, I found myself impatient for the film to return to the one-on-one battle, which you know is going to end badly for someone. Or someones. The film doesn’t disappoint there, with a brutal struggle in the middle of a frozen lake, good enough to make me forget the combatants have a combined age of 116. 

Dir: Brian Kirk
Star: Emma Thompson, Judy Greer, Marc Menchaca, Laurel Marsden

De La Cruz

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★★½
“Proverbs 21:15.”

Which, in case you were wondering, is: “When justice is done, it brings joy to the righteous but terror to evildoers.” Though based on this, I would suggest adding “…eventually” to the end. Because you are going to need a lot of patience here. While this is a rape-revenge movie, the sexual assault in question takes almost an hour to show up. Until that point, there are two threads, and you’ll also be waiting for them to connect. By far the less interesting is the teenage soap opera of the pure and innocent Yoli De La Cruz (Diaz), and her friends, the somewhat annoying Daniella, and the immensely irritating Adriana. Boys, parties, etc. You know the score.

The other is rather more intriguing, being the struggle of former MMA fighter, now a cartel hitman, Lobo (Patiño), to leave the criminal life. This comes after a near-religious experience involving Santa Muerte, who is basically the personification of death in Mexican folklore. Meanwhile, Yoli ends up being raped by Victor (Issac GH). The moral here is, you’re clearly far better off being a slut like Adriana, and going with it. Victor is the son of the local police chief, so justice will not be done. However, this is where – after an hour and twenty minutes – the stories join up. Because Lobo turns out to be Daniella’s cousin, and agrees to teach Yoli a very particular set of skills, so she can administer her own vengeance. 

Things definitely improve in the latter stages, not least because Adriana is almost entirely absent. You will need to be extremely patient to get to the good stuff. Lobo holds the film together, and there’s a great scene where he’s talking to Yoli’s father (Gaviria), and explaining why he can’t do anything himself. The way Santa Muerte gets mixed in isn’t bad, though when she rises up behind Yoli before her first bout, it does look like someone cosplaying as the Grim Reaper. There is a reasonable amount of effort put into the heroine’s transition from shrinking violent to avenging angel, though it is a little montage heavy, writer/director Baez being unable to get out of his own way. 

It certainly needs a good half-hour edited out in the early stages, when there is simply far too much faffing around, to use a good old British phrase. There’s also a weird lack of location: while presumably set in Mexico, going by references to cockfighting arenas, etc. there’s a significant amount of English being spoken. It ends in “To be continued…” having opened, one hundred and thirty minutes earlier, with a “Part 1” caption. I had spent much of the previous two hours bracing for a cliffhanger, which mercifully never appears, this being relatively tidy. Would I mind a part two? That depends largely on whether Baez avoids the faffage which dragged the first half here down like an anchor. Lobo and Yoli going 100% vigilante might be of interest though. 

Dir: Michael Baez
Star: Sofia Diaz, Raul Patiño, Noe Issac GH, Fernando Gaviria

Damsel: No More, by P.S. Power

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

It’s rare that I can pin-point so exactly, the moment at which a book jumped the shark. But in this case, I can. I came across a paragraph which was so striking in its badness, I actually put the book down, to ponder what the heck I just read. It did not improve on several repeat attempts, and thereafter, I was simply unable to enjoy the book. Oh, it hadn’t been any great shakes to that point, but it became a genuine chore, and if I did not want to write this warning review, would certainly have become a DNF. Here we go:

Instead, she got out of the car, let Veronica lock up and secure the used towel in the back, in the trunk, which had a change of clothing in it, which the woman grabbed, carrying it with her. Since she still had chemicals all over her, that made sense to see to.

I am not exaggerating when I say that my eleven-year-old self would have been embarrassed to assemble those words in this order in a story. That this book is somehow rated over four stars on Goodreads makes me weep for the literacy of the population at large. The cover is what lured me in. The concept isn’t bad. But the execution is like being trapped inside the head of Kim Kardashian, and I would not wish that on my worst enemy. The heroine is Hannah de Peyser, a rich, vacuous heiress, who has had enough after the fourth time she gets kidnapped. “She might not be a hero, but she isn’t going to be anyone’s victim, not any longer. The damsel is gone, and in her place is a force to be reckoned with.”

Except… not mentioned, is that this is a bad superhero caper, with the world populated by caped crusaders with various powers. Our heroine initially has no such ability, but develops over the course of it, the ability to remote view people. If you’re thinking this could easily be used as a crutch to escape bad writing… No comment. She’s also apparently good at convincing people, including really stupid scenarios, such as that they are coated with an explosive that will blow up if they return to the United States. I feel like I lost measurable IQ points reading that chapter. 

In regard to action, so far, she has spent almost all her time training in VR, with the actual action highlight being her foiling a robbery at a truck stop. There is a lot of space spent discussing thing like a “third gait,” which is apparently a better way of running. I did not sign up for a kinesiology lecture, but apparently some people did: again, four-plus stars on Goodreads. I somehow ground my way through the pages to an underwhelming ending. Do not hold your breath for any more reviews.

Author: P.S. Power
Publisher: Orange Cat Publisher, available through Amazon, both as a paperback and an e-book
Book 1 of 8 in the Damsel series.

Desolation, by David Lucin

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

When the apocalypse comes, if popular fiction is any guide, it’s going to be undead and craving brains. But not far behind in terms of literary popularity, appears to be an EMP. This is a high altitude nuclear detonation, which would unleash an electromagnetic pulse – hence the name – capable of frying anything with a circuit board, continent-wide. It is generally not good for civilization. I think this is the first such book I’ve covered, and I was particularly intrigued, because it’s set here in Arizona. Which is a little weird, because the author appears to be based out of Vancouver, British Columbia. I presume some connection to the state.

It mostly takes place in the northern mountain town of Flagstaff, where Jenn Jansen is attending college when the power goes out, and the world grinds to a halt. Not that it’s exactly a great world to begin with, already teetering on the edge of famine and war, with multiple conflicts around the globe (in particular between the US/NATO and China), while most of the population live in poverty, even in the United States. Jenn’s parents are down in Phoenix, which… the author doesn’t seem to like much, calling it a “desert hellscape” among other things. [Looks out window] OK, he’s not wrong… But it doesn’t get any better after the city gets hit by multiple air-burst nukes. Help is not coming to Flagstaff any time soon.

Jenn has to figure out what to do, though at least initially, basic survival is not too rough. However, she gradually realizes not everyone is willing to pull together, and hard times make for difficult moral decisions. She’s rather better at these than her boyfriend, Sam, who comes from a more privileged background. His family are in Payson – between Flagstaff and Phoenix – and the pair head down there to bring them up to Flagstaff. That pushes Jenn further along her evolution. According to the author, “By Book 4, she’s not the impulsive, bossy, and sometimes annoying girl from Book 1; she is a soldier and a cool-headed leader,” and I can see the early signs of this appearing already, though I never found her especially annoying. 

Action-wise, it is fairly restrained, but there is a sense of escalation, with the book giving us good insight into Jenn’s thoughts. Of note, her reaction to having to use increasing degrees of violence is explored in more detail than I would have expected. It’s not easy or facile, but by the end, the blood on her hands is mounting. I sense that’s only going to increase, as it appears the next part has her becoming part of a reconnaissance expedition to Phoenix. That’s a story I am interested in reading, and not just for reasons of personal familiarity, also to see how Jenn develops. But perhaps my neighbourhood might make an appearance. Even if it’s going to be a bit radioactive.

Author: David Lucin
Publisher: Highway 3 Publishing, available through Amazon, both as a paperback and an e-book
Book 1 of 6 in the Desolation series.

Dirty Angels

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★★★½
“Dirty deeds, done dirt cheap.”

It’s important to realize that this is a throwback to movies from an earlier, simpler time. One when action movies could consist largely of a red-blooded American hero, killing evil furreners in spectacularly violent ways. And it didn’t matter much whether the person playing the hero was actually a foreigner themselves i.e. Arnold Schwarzenegger. Thirty years later, we are supposed to be more tolerant, and watch films where nuance has replaced shallow stereotypes. We have met the enemy and he is us, or some similar guff. Dirty Angels cares not one whit for such niceties. Its sole concession to ‘progress’, is a hero with a vagina. Who is still actually a foreigner, Eva Green being French. 

She plays Jake, a hard-ass soldier who has been causing trouble for the military brass, since an incident in Afghanistan where the rest of her team was killed. She gets a chance to put things right after ISIS kidnap a batch of girls from a school in Pakistan and take them back over the border. It needs to be a majority female team because reasons, and so we get minions referred to only by their skill-set, e.g. The Bomb (Bakalova) or Medic (Rose). I was a little worried by the latter’s presence: going by her recent films, she should have been called The Bomb. However, she’s a minor presence compared to Green, whose irresistible force beats the immovable object of Rose.

Adding to Jake’s enthusiasm, the ISIS leader behind the kidnapping is Amir (Iskander), the same man responsible for killing her comrades. However, they can’t cross the border armed, so before launching an assault on Amir’s compound, they first need to liberate the necessary weaponry. This all provides Campbell, recently seen here with The Protégé (and he has Daisy Ridley’s The Cleaner out early next year), with plenty of opportunities for some seriously messy violence, and a high body-count on both sides. Throat slitting, head shots and some severe stabbing ensue, though there is some dodgy CGI. An exploding helicopter at the beginning is shockingly bad. Fortunately, it is not a portent of what’s to come, with a lot of good, practical effects work instead. 

In other reviews, I’ve seen a lot of predictable whining from predictable whiners, but the bottom line is, I was entertained. A very significant portion of that is down to Green, whose intensity fuels the whole movie. [This represents a reunion with Campbell, who directed Green for her breakout role in Casino Royale] With someone less effective in the lead role – coughRubyRosecough – this could potentially have been a whole star lower. Again, it is a throwback to times where a crap action film could work, given a star with enough charisma, and once more I’m thinking of Arnie. There’s nothing new or innovative here, certainly. I was not looking for such, just a cacophony of giant fireballs and mild to moderate xenophobia. Sometimes, that really is all you want. It’s the simple things which matter…

Dir: Martin Campbell 
Star: Eva Green, George Iskander, Maria Bakalova, Ruby Rose