Tag: e

Enola Holmes

  By

★★
“Puts the ‘no’ in Enola.”

Complete ranking of Enolas

  1. Enola Gay
  2. Enola Holmes
  3. That’s it.

I’m probably not the only one who spent much of the film humming OMD’s classic Enola Gay to themselves – released 40 years ago this month, coincidentally. And, sadly, it remains my favourite Enola, by quite some distance. This was more annoying than anything else, though I’ve never been on the Millie Bobby Brown hype-train. I didn’t think much of Stranger Things, and her performance in Godzilla: King of the Monsters, interfered with what I want to see i.e. monsters fighting. Here, I found her more irritating than engaging, though in her defense, she wasn’t helped by some poor directorial choices.

This get off on the wrong foot at the very start, Enola (Brown), Sherlock Holmes’ sixteen-year-old sister, breaking the fourth wall and addressing the audience, something she does frequently. Director Bradbeer used this technique in TV series Fleabag, but I’m not a fan: it takes me out of proceedings, reminding me I’m watching a film. What follows is less a convincing evocation of 1900 England, than contemporary America playing girl power dress-up, with “nasty women” blowing things up as they seek to defeat the evil patriarchy. One of these is Enola’s mother (Bonham-Carter), whose vanishing without warning starts things off, causing Enola to begin searching for her, based on coded clues left behind. It escapes me quite why the missing parent couldn’t simply write, “Dear Enola, Gone off to be a suffragette. Love, Mum.”

Not that it matters, because Enola rapidly abandons this quest entirely, in favour of a case involving the young, attractive and entirely personality-free aristocrat, Viscount Tewkesbury (Partridge), whose vote is crucial to get a reform bull passed, expanding the ability to vote [in reality, no such change took place until almost twenty years later – but hey, why let facts stop you from twisting history for your political points?]. On his trail is a mysterious and ill-intentioned man (Gorman), with whom Enola crosses paths. She also has to fend off attempts by her other brother, Mycroft, to have her consigned to a very Handmaid’s Tale-looking boarding school. This is intended to have Enola brainwashed into being the quiet and submissive woman society expects.

The politics on view here are cringeworthy, particularly from Mrs. Holmes, who speaks almost entirely in feminist fortune-cookies, such as “Don’t be thrown off course by other people. Especially men.” It’s one of those cases where merely leading by example isn’t enough: you have to virtue-signal your morality by announcing it, explicitly and repeatedly, which I find immensely off-putting. Hence, we get gobbets of political sermonizing, such as Sherlock (Cavill) being told, by a black, female martial-arts teacher – something I’m fairly sure wasn’t common enough  in the Victorian era to pass without comment: “You don’t know what it is to be without power. Politics doesn’t interest you… because you have no interest in changing a world that suits you so well.” You go, sister!

Speaking of which, the portrayal of the great detective is no more accurate than the other element. “Sherlock Holmes always works alone!” proclaims Inspector Lestrade. Uh, I guess the creators never heard of Dr. Watson, an intrinsic character, from the very first Conan Doyle story? You just never get any sense of keen intellect from Cavill’s performance. Guess they didn’t want to overshadow Enola and her Big Brain. Yet, under all these flaws, is a decent movie, trying to get out. The look of things is lovely, and some of the action sequences are well-handled, even if a slip of a girl like Enola hardly seems equipped to trade blows with grown men.

Maybe they could have made more use of her archery skills (above), which are set-up, then entirely forgotten. Like so much else, that gets lost in the rush to cram an “uplifting” message into the movie, rather than letting one flow organically from it.

Dir: Harry Bradbeer
Star: Millie Bobby Brown, Louis Partridge, Henry Cavill, Burn Gorman

 

Ek Hasina Thi

  By

★★★
“Hell hath no fury…”

A somewhat cheesy melodrama, this throws together elements from Western pot-boilers Double Jeopardy and If Tomorrow Comes, adds a handful of Bollywood spice, and to be honest, probably overcooks the whole thing a bit. The title translates as “There Was a Beautiful Woman”, presumably referring to the heroine of the piece, travel agent Sarika (Matondkar). Into her office one day comes hunky businessman Karan Singh Rathod (Khan), and after some reluctance, she begins a relationship with him. However, it turns out he is actually a mobster, and manipulates her into taking a fall rather than incriminating him, which nets Sarika a seven-year prison sentence. Escaping from jail, she vows to destroy her former lover, and in turn, works on framing Karan with his criminal pals, by making it look like he murdered a colleague and stole money.

The most fun part for me, was the section in the middle where it turns into a Bollywood women-in-prison movie. I’d have watched an entire movie about that, as Sarika – wholly unprepared for the experience – gets dropped into the literal hell-hole which is an Indian jail. [Seriously: I don’t want to hear any complaints about Western prison conditions ever again] This is what transitions her into being the bad-ass she needs to be, to be able to take down Karan, and is where the melodrama reached its peak, right from the get-go. Her cellmate offers Sarika a biscuit, then warns her, “There’s a woman here named Dolly. Beware of her. She’s crazy. She’s a real wretch. She has committed four murders.” Of course, the cellmate is Dolly. It’s like watching an entire season of The Yard, condensed into thirty minutes.

The strong female characters aren’t limited to the heroine. There’s also the prison matriarch, Pramila (Kazmi), who takes Sarika under her wing. And on the other side, is ACP Malti Vaidya – she is portrayed by Biswas, who played the title role in Bandit Queen. Vaidya is the no-nonsense policewoman who gets the heroine convicted (what’s a little finger violence between cops and criminals?), yet also wants to work her way up the chain and catch Karan as well. I’d not have minded seeing either of them get more screen-time, perhaps at the cost of the early scenes depicting the growth of the relationship between Sarika and Karan.

For at 137 minutes, it does meander a bit much, especially when its story should be accelerating forward. I have some questions about the final act, after the heroine escapes from jail during a fire. Firstly, whoever is in charge of security for Karan’s mob friends is in for a really poor performance review this quarter. And the eventual revenge taken, would have made more sense if we’d seen Karan suffer from musophobia, rather than Sarika. Overall, however, it’s an entertaining piece of nonsense, which even got Chris off her mobile phone for its duration. If you’re averse to the Bollywood standard dance routines, you’ll be pleased to learn they don’t show up here at all.

Dir: Sriram Raghavan
Star: Urmila Matondkar, Saif Ali Khan, Seema Biswas, Pratima Kazmi

The Empty Hands

  By

★★½
“Hands of fate”

The title is the English translation of “karate,” yet seems oddly appropriate for a film which barely clears the necessary quota of action to qualify for this site. I can’t say I felt my time was wasted, as such. Yet if you’re looking for a plethora of martial arts, you’ll be disappointed, despite the poster and a story which certainly could have gone in a much more action-oriented direction.

Mari Hirakawa (Tang) is the daughter of a Japanese karate teacher (Yasuaki): she had been taught by him while growing up, but quit the sport at age ten, after an incident at a competition, and now loathes it. When her father dies, she returns to claim the dojo as her inheritance, intending to turn it into apartments and become a landlord. Only, he bequeathed 51% of it to a former student, Chan Keung (To), who plans to keep running the place, helped by the late master’s faithful henchman, the aptly-named Mute Dog (Au). After much crossing of swords between Mari and Chan, he makes her an offer. Take up the sport again, enter a karate competition and simply survive – not even win – the opening match on her own two feet. He’ll then hand over his share to Mari, to do with it as she pleases.

It’s certainly a cliched plot, yet I’d have been fine with it, providing the end result contained a good volume of high-octane action sequences. That’s not the case: there’s really only one, the first-round contest. To the director’s credit, it’s not the point in his telling of the story. Chan’s offer, for example, doesn’t even turn up until after the half-way mark. He’s much more interested in a character study of a disaffected young woman, who is unhappy with her current situation, yet isn’t sure of what she wants from life. Mari isn’t even a very nice character, not least for her affair with a married man which ends up becoming more than slightly stalker-ish. Though Tang’s performance is good enough to keep her sympathetic, if not likeable, and I found myself rooting for her to find her direction.

The ending probably becomes semi-inevitable, after we learn that Mari’s recollection of past events is not necessarily an accurate reflection of what happened. Even there, however, the script manages to subvert expectations, and it turns out that her father was clearly considerably smarter than it seemed. There are some moments which perhaps make more sense to local viewers, such as elderly people doing keep-fit, to a jaunty Cantonese pop-song whose lyrics go – and I wrote them down, they were so bizarre – “If I do not love the motherland, the sun will explode!” On the whole, it’s not a film I would recommend to site visitors, unless they are also open to art-house drama and character studies, and the score above reflects that. On purely cinematic terms, you can certainly add a half-star, possibly a full one.

Dir: Chapman To
Star: Stephy Tang, Chapman To, Kurata Yasuaki, Stephen Au

E.M.P. 333 Days

  By

★★★
“A thoroughly Canadian apocalypse”

Really, for a reported budget of about $6,500 – and those are Canadian dollars, which currently works out to less than five grand in freedom dollars – this is quite impressive. You could argue that trying to create a convincing post-apocalyptic scenario on such a tiny budget is biting off more than you can chew. And there are certainly moments which just don’t work. But in its low-key approach, it’s probably a more accurate reflection than many of the way in which the world might end. Not with a bang, but with a whimper, and a slow grinding to a halt.

In this case, it’s an electromagnetic pulse weapon, detonated high in the atmosphere (most likely by North Korea, going off early radio broadcasts) and wiping out everything that use electronics. Which, these days, is virtually everything. When it does, young heroine Niamh (Ferreri, the director’s daughter) is staying with her grandmother, because Dad is away on a business trip. Initially, they hole up, trying to wait it out, but eventually resources dwindle and Niamh has to strike out on her own. Fortunately, Dad was a bit of a prepper and so she is better prepared than most girls her age for life in the new, primitive world, as well as encountering other survivors, both good and bad.

Undeniably, you have to allow a lot of leeway for the very limited resources. Even given the rural setting, it’s never clear to where 99% of the population has gone, or why; a throwaway line saying, “A bunch of people left a few nights ago,” is about as close as we get. The collapse of civilization into anarchy and chaos is depicted by a shot of Niamh and her grandmother, peering out the window and looking concerned, while somewhat riotous sound-effects are heard. All told, as the tagline above implies, it’s a very polite end of the world. It’s also a bit unusual, and therefore refreshing, to see a positive portrayal of survivalists. Rather than the usual wild-eyed paranoiacs, they’re depicted here as down-to-earth, and simply prepared for unfortunate events.

The technical aspects are quite impressive, especially on the visual front where it certainly doesn’t look like a microbudget production. However, the film does drag in the middle. From the point at which Niamh meets another young survivor, Will (Davidson), it seems to spin its wheels for the longest time, despite the pair stumbling across a rare car still capable of driving. It takes the injection of an external threat before the plot begins to move forward again, and Ferreri deserves credit for getting its depiction of killing right, as not something which should be done lightly by anyone.

The movie did tie up its loose ends up a little too conveniently, just when it was looking set fair to be nicely ambiguous. Though on the other hand, this offers a somewhat hopeful note on which to finish things. That might not be a bad thing after a generally downbeat experience, and if it remains the complete cinematic opposite of, say, Fury Road, that’s not entirely a bad thing.

Dir: Adriano Ferreri
Star: Rosa Ferreri, Liam Davidson, Derek A. Bell, Martin Saunders

Eye of the Colossus, by Nicole Grotepas

  By

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

This probably picked up half a star in the final couple of chapters, because up until the end, the plot seemed to have some huge deficiencies. While most of these were certainly addressed by the final resolution, it still left a rather questionable taste in my literary mouth [if you see what I mean!]. The heroine is Holly Drake, who has been unjustly sent to prison after killing her abusive husband. Unfortunately, he was a police officer, and some of his dubious colleagues helped ensure Holly went to jail for it. On release, her previous career as a teacher is no longer an option, and she’s largely thrown on to the charity of her sister, Meg, also a cop.

It’s Meg who gives Holly a lead to potential employment, albeit of a shady nature. But Holly has few options, and has to accept the job, which involves retrieving a necklace which has been stolen from its rightful owner, before it can be whisked away. To complete the task, she needs to put together a team with the various skills necessary, and also acquire a piece of tech called the Skelty Key, which is needed to defuse the security around their target. For someone with no background in the underworld, all of this poses a significant challenge, even discounting entirely the actual job itself. [Why she was hired at all is one of the eventually explained plot deficiencies]

This is nominally science-fiction, taking place in a six-moon system around Ixion, a gas giant. There are several different races, in addition to expat Earthlings like Holly, and the relationship between them is occasionally fractious. However, I never got any particular sense of “alienness”: you could rewrite this to be on Earth with almost no SF elements. There’s also not much in the way of an antagonist here. Early on, the “Shadow Coalition” appear to be trying to stop Holly from carrying out her mission; this aspect seems to peter out, as if the opposition got bored and drifted away. This combination perhaps turns it into more of a “crime procedural” than SF; that’s less criticism than an observation.

What is my main criticism is its sluggish pacing. You’re more than 90% of the way through before you get to the heist which is the book’s focus, and it’s a bit of a drag to reach that point. While self-contained enough overall, it’s clearly a set-up for future volumes, and I must confess, these are somewhat intriguing. There’s some stuff which happens to Holly late on, toughening up her character from the rather whiny one she has been to that point, and we also discover the harrowing circumstances leading to her incarceration. I just can’t help feeling we could have got to the same place considerably more economically, in about one-third of the page-count, and we would all have been considerably better off.

Author: Nicole Grotepas
Publisher: Amazon Digital Services, available through Amazon, both as a paperback and an e-book
Book 1 of 3 in the Holly Drake Job series.

Element 42, by Seeley James

  By

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

Earlier this year, because he knew that I’d greatly liked the two previous Sabel Security novels, my Goodreads friend Seeley James gifted me with the e-book editions of all of the remaining five. This was just an act of friendly generosity, with no actual request for reviews; but I’m glad to treat them as review copies, and (as always) to review them fairly on their merits. This book’s merits earn it very high marks, which came as no surprise to me!

Unlike some series, this one really should be read in order; you need the background of the first two to fully understand the characters and premise, and the previous experiences that shape their situation and relationships. (My reviews of the previous books, also provide background for this review, and a lot of the earlier comments would also apply here.) Here, Pia and her team of veteran agents stumble onto a scheme that clearly involves unethical biological research on natives in the jungles of Borneo. What else it ultimately involves –well, that would be telling, but plumbing the full depth of what’s going on will have our gallant band of heroes/heroines (where gender is concerned, Seeley’s an equal-opportunity writer!) facing danger and death on three different continents, with LOTS of lives, and maybe the future of mankind, at stake.  It’s worth noting that, while Pia earns her three-star kick-butt quotient here, we have at least three action-capable ladies among our characters here (one of whom is much more lethal than Pia is), and another one who grows unto the role.

Like the previous book, this one interweaves two narrative strands, one in third person and one in the first-person voice of Sabel Security agent Jacob Stearne. Also like the previous one, its premise builds a fictional narrative on the real-life realities of actual geopolitical problems and a world ruled by elitist corporations and governments that are almost totally devoid of any ethic except self-centered utilitarianism, and in the grip of a hubris that’s willing and eager to play God. (No, we don’t have any concrete evidence that anybody’s planning a scheme like the one depicted here –but at the same time, it’s a pretty plausible guess that there are plenty of people in high places who at least contemplate it, or would if they calculated they could pull it off.) Of the three books I’ve read to date, this one has the most action, with an almost manic pace, and the highest body count. We also have some more revelation of what makes Pia tick psychologically, and a hint of more revelations to come about the murder of her birth parents when she was five years old. (She’s operating to a big extent in vigilante mode here, but for me that’s not necessarily a negative thing; the book will force readers to consider how they feel about that, and my personal opinion of it is that it can be morally justified at times.)

The plotting is complex, and the chapters tend to end on cliffhanger notes, only to switch back and forth between equally precarious narrative strands. Seeley knows a great deal about high-tech surveillance equipment, weaponry, etc., and makes liberal use of what he knows here; but the reader doesn’t have to share that knowledge –we can just accept that things work the way he says they do, and go with the flow. If one had unlimited time to read, this would be a quick read; it took me nearly two months to finish only because I read it irregularly here and there in electronic format. (I’d have blazed through it a lot faster in paper format, and would have read it in one sitting if I could have!) No spoilers, but the ending was particularly good.

My reaction to the read wasn’t without a few quibbles. Although I sometimes got lost in plot details and couldn’t remember a connection, etc., I think that was mostly because of the piecemeal way I had to read the book over a span of weeks, not due to deficiencies in the narration. Mostly, I could follow the action sequences (not always; they’d be clearer in movie format, and this would be a great subject for movie adaptation!). But on at least three occasions, characters with their hands tied behind their backs reverse that by, apparently, jumping backwards through their own arms. I don’t believe this is physically possible, no matter how athletic the person is; and even if it was, I think it would result in two dislocated shoulders. Seeley also tends to forget details from previous books. It was established in the first two books that persons shot with Sabel Security tranquilizer darts need to be injected with an antidote to prevent possible allergic reactions (if I correctly recall the explanation); that requirement disappears here. Jacob specifically mentioned in the previous book that fellow agent Carla was married; here he tells us specifically that he never knew anything about her marital status, and it’s made clear that she’s single.

Bad language is probably within the limits of realism, and there’s no explicit sex (though, Jacob being Jacob, we’re not terribly surprised in the opening scene when he’s rousted out of bed, and is sharing it with a recently-met woman). But the revelation, at one point, of past messed-up sexual escapades and inter-relationships among some of the characters (not Pia) is so off-putting it inspires eye rolling. (However, while I recently dropped another series because I discovered that the author wants us to believe his protagonist really has conversations with animals, I don’t believe Seeley really wants us to believe Jacob has actual conversations only he can hear with the Roman god Mercury. IMO, we should understand this simply as a hallucinogenic coping mechanism when he’s not on his meds, and the “warnings” from that source as really deriving from a sixth sense and highly-keen natural senses and instincts. I could be wrong, though….)

Regardless of quibbles, though, I really liked the book and continue to really like the series. I’m invested in it for the long haul, though It’ll be autumn before I’m able to get to the next book. But I’ll be champing at the bit!

Author: Seeley James
Publisher: Machined Media, available through Amazon, both for Kindle and as a printed book.
A version of this review previously appeared on Goodreads.

The Executioners

  By

★★½
“Home of the hits”

“I realized that there was no such thing as a boundary between good or evil, black and white, right or wrong. All I learned is that this world is divided by the executed and executioners.” The above is spoken by a character toward the end of this, and explains the significance of the title, though your mileage may vary as to how convincing it is as an explanation. Four young women go to a country house by a lake, which holds dark memories for one of them. Belle (Dallender, known here from I Spit on Your Grave 2) watched her father die of a heart attack there, after he rescued her from drowning, and has been plagued by guilt ever since. There’s also Kay (Burn), a writer who is working on a “story of home invasion, mixed with supernatural elements.” And, wouldn’t you know it? Barely has the trip started, before three men burst in and take the group hostage.

There then follows some fairly nasty brutality and sexual violence, which seems especially dubious since the director has made energetic (and, let’s be honest, not unsuccessful) efforts to sexualize the attractive women – both before, and even more questionably, after that scene. The victims continue wandering round in their underwear for no good reason, when any real person would have quickly reached for their clothes. However, the tables are turned, with the three attackers turning out to be a bit crap at the whole home-invasion thing. With them tied up, it’s time for the quartet to mete out their own brand of justice – something which Belle, especially, is very keen to do.

This is where things get at least somewhat interesting, and rather meta. For it turns out the home invaders were not acting on their own initiative. They had been hired to attack the house, by person or persons then unknown, and were live-streaming their actions through bodycams back to their employer. Who is lurking in the woods nearby, and may or may not be ready to intervene on behalf of their employees. The scripting in this section is mediocre: one woman’s break for help and fate is so rapidly glossed-over as to be inconsequential, and one of the attacker becomes an ally with little more than “I’m gonna trust you with a gun. Remember, we’re not the enemy.”

As the poster suggests, Serafini is going for the grindhouse aesthetic. I’m just not sure how well he nails this. The nasty and repellent elements, he seems to have a good handle on, and Dallender impresses in her role. Yet the films in that field which have stood the test of time offer more than that, and it’s there where the film seems to fall short most obviously, with this likely making little or no lasting impression. The eventual explanation raises more questions than it answers, and doesn’t appear to make a great deal of logical sense. If you like your meat raw and bloody, this one may be more to your taste than it was to mine. If only they’d named all the characters after Disney princesses.

Dir: Giorgio Serafini
Star: Natalie Burn, Jemma Dallender, Rachel Rosenstein, Anna Shields

Exile

  By

★★
“Planet rock”

Space freighter pilot Jason (Sheridan) has his craft hijacked, and is forced to crash-land it on a deserted planet. Blinded and alone, things look grim for him, until he’s fortunate enough to be found by android Reyna (Guzzetta). She’s the product of a maverick genius, who took refuge on the planet, but recently died: she needs Jason, as the systems which power her require a human presence in order to operate. And he needs her – in particular, her advanced combat skills – in order to protect him, both from the planet’s hostile fauna, and the hijacker’s pals, who have followed him down to its surface. Yet, is Reyna entirely trustworthy?

This is especially shaky at the beginning. Maybe the CGI might have passed muster when this came out in 2008 (key word: “might”). The decade which has passed has not been kind to them, and you’d expect better from a remaindered PS4 game nowadays. Initially, the story is no great shakes either, especially with Jason’s blindness apparently little more than a slight inconvenience. He navigates his way round the unfamiliar landscape with the alacrity of a well-equipped bat, and seems to have little trouble breathing an atmosphere every other human requires a respirator to handle. Apparently, “you get used to it”, according to a throwaway line late in proceedings.

Then there’s the monster roaming the planet. It’s a good thing its only prey is blind, because… let’s just say, speed is not a strength. By “roaming”, I likely mean “shuffling slowly around.” On one level, it’s more than a bit crap, a bargain-basement knock of the Alien. On the other… it’s kinda endearing, simply by nature of being so inept: something Conway seems to realize, showing it only in quick cuts, close-ups and partial angles. We never get a decent medium-shot, probably for good reason. Throw in the proliferation of other people sharing the director’s surname in the credits, and it’s clear this is a professional production in little more than intent.

Yet, it has some interesting ideas, even if the interplanetary warfare described in the opening voice-over is notable by its almost complete absence. Guzzetta is actually decent in her role, with a physical presence which reminded me of Pollyanna McIntosh. It’s a role where her artificial, stilted and slightly forced performance (whether deliberate or not!) works for the character. The second half feels like a considerable improvement, when a rescue mission lands in search of Jason, and Reyna realizes her power source might be about to be taken away from her. If Conway had not over-reached himself and his available resources so aggressively in the first half, this could potentially (again, key word: “potentially”) have been a small cult classic.

Instead, while I’d like to applaud ambition in any film-maker, this feels like someone biting off an entire buffet more than they are capable of chewing. The results turn out to be similarly indigestible for the viewer.

Dir: Mike Conway
Star: Brian Sheridan, Heather Lei Guzzetta, Tiffany Sinclair, Jake Bass

ExPatriot

  By

★★★
“National insecurity”

Riley Connors (Kane) is a CIA analyst, who quits her job and blows the whistle on secret government surveillance programs. Having pulled an Edward Snowden, she hides out in Colombia, helped by the reporter who broke her story. Her peace is short-lived: a knock on the door proves to be a local cop, working in conjunction with Bill Donovan (Weber), her former CIA colleague and lover. He comes with a proposition. Help them take down a pair of shady Cuban banking brothers (Espitia and Browner) who are suspected of funding domestic terrorism, and she’ll be able to return to the United States, with the slate wiped clean. It’s a very risky proposition, even if her reputation as an enemy of the state might be the perfect “in” to the targets’ organization. But can Bill be trusted either?

Probably wisely, it avoids too much in the way of potentially lethal (and largely irrelevant) political commentary. Though the main twist, to be honest, is so obvious, I have to wonder what kind of vetting the CIA does for its employees, and also about the overall accuracy of the term “intelligence community”. Yet, in something of a contradiction, once this clown-sized narrative shoe finally drops, it makes for a more straightforward and effective narrative the rest of the way. Everyone’s true motives have been exposed, rather than the murky world of spy vs. counterspy which the first half of the film has largely inhabited. That section feels a little like an episode from Alias with Sydney Bristow going undercover, climaxing in Riley trying to transfer all the brothers’ ill-gotten funds out of their accounts, before one of them arrives in their office.

As such, it does take a fair amount of disbelief suspension. Would any group of shady bankers employ an ex-spook as a security consultant – particularly one who was too morally high-minded for the CIA? Inevitably, one of the brothers falls for her, causing some friction between her and Bill, who still blames her for walking out on him, yet simultaneously still carries a flame for Riley. I think the latter half works better, showcasing some above-average location work, in and around Bogota, ending up on top of Mount Monserrate with its giant status of Christ [when I first saw this, I though we were in Rio!]. Oddly, this is the second film I’ve recently seen which was filmed there, for no particular reason, after The Belko Experiment.

Kane was also familiar to me, having played the ex-girlfriend of serial killer Paul Stagg in The Fall, though is rather different here, to the point I didn’t recognize her. It makes for solid, if unspectacular, entertainment which site a couple of F-bombs away from being a decent TV movie. While predictable, it’s well-enough constructed, and Riley makes for an interesting character, one whose scruples could end up being the (literal) death of her. There is a certain amount of bait and switch here, in that the Snowdon-esque escapade of the opening, ends up not being particularly relevant to the main plot: I can see how it could have been eliminated without much tweaking of the plot. However, what the film gains from this, likely balances out any losses, although it probably helps I had no fore-knowledge of the specifics. I see a sleeve with a girl and a gun, it goes on the list…

Dir: Conor Allyn
Star: Valene Kane, Charlie Weber, Mario Espitia, Andres Ogilvie Browne

Emergency Exit

  By

★★★
“A heroine who stands against heroin.”

Released in 1980, it was only the previous year – as an opening caption tells us – that women were allowed into the Greek police force. So this obscurity [hence the low-quality images, for which I apologize!] was perhaps the first Hellenic entry in our genre. The heroine is Daisy Alexiou (Karlatou, best-known for playing Prince’s mother in Purple Rain), one of the first batch of policewomen, whom we first see in an introductory training montage. Initially assigned to traffic duty, her role in chasing and capturing a bank robber quickly gets her assigned to narcotics. Which is fine with her: she has a strong anti-drug streak, due to the personal impact it has had on her, proclaiming, “It is a disgusting disease, that kills people and rots their society.” Given this, I was wryly amused to see Daisy smokes like a chimney. Hey, it was the eighties…

She gets to see the human face of the heroin problem when she captures a junkie, Tassos Bekiris (Eskenazy), trying to burgle her apartment. Their relationship helps him get clean temporarily, until a relapse sends him back into the arms of mother smack. He ends up shot dead, and the evidence, unfortunately, points increasingly towards Daisy. Before the police net, under the command of her boss, Markos Angelou (Foundas), closes on her, she has to track down the real killer, who is also the kingpin of the local drug trade. Or, rather, queenpin. For the boss is Katia Theohari (Mavropoulou), the owner of a local import-export business, who traffics the dope inside hollowed-out statues.

Considering this is nearer four decades old than three, it has stood the test of time surprisingly well. Alexiou doesn’t mess around, happily hurtling into danger without a second thought, and proves generally competent, save for an ill-advised undercover operation, which ends badly and seems to exist largely so we can see Karlatou dressed as a hooker. Outside of the cigarette use (so rampant it feels like Marlboro were one of the producers), the most dated thing here is probably Daisy and Markos having a romantic relationship, in total violation of every boss-subordinate protocol. But both the story and characters still feel reasonably contemporary, and Karlatou carries herself effectively.

This clocks in at a meaty 123 minutes, though if director Foskolos was not quite so fond of slow-motion, it could well have been closer to 100. He appears also to appreciate gravel-pits, with the bank robbery at the start and the drug buy at the end, both ending up in what looks suspiciously like the same location. The latter does result in an laudably downbeat conclusion, tying back in to why Daisy is so down on drugs. Yet it’s with a twist that makes for an ambivalent ending: while she may have cleared her name of Tassos’s murder, it seems Markos will now be forced to cover up multiple other killings in which his officer was involved. I suspect Daisy’s commendation for bravery might be a while…

Dir: Nikos Foskolos
Star: Olga Karlatou, Giorgos Foundas, Alberto Eskenazy, Gely Mavropoulou
a.k.a. Eksodos Kindynou or Εξοδος Κινδυνου