Tag: fantasy

The Warslayer, by Rosemary Edghill

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

This review requires a sad preface: “Rosemary Edghill” (there’s some uncertainty about her actual name) died of sepsis on April 7 of this year, at the age of only 69. But on a positive note, with 91 distinct works listed on Goodreads, she left behind a considerable body of speculative fiction; and judging by what I’ve read of it so far, it’s a legacy in which she could take genuine pride.

Published in 2002, this stand-alone novel draws significant inspiration from the popular TV series Xena: Warrior Princess, which ran from 1995-2001. (I was a fan myself back in the day –or as much of a fan as my work schedule allowed for TV viewing– and I’d surmise that Edghill was as well.) Our protagonist here, Glory McArdle, plays Vixen the Slayer, star of a wildly popular (fictional) TV show now wrapping up its first season, which has a lot in common with Xena, including a fervent international cult fan base, and a six-foot-tall heroine hailing from Down Under. (Lucy Lawless, who played Xena, was from New Zealand.) There are some differences; for instance, The Incredible True Adventures of Vixen the Slayer (“TITAoVtS,” for short) is set in Elizabethan England, and incorporates some qualities of Buffy the Vampire Slayer, and unlike Lawless, Glory –who got her role after going to an audition as an extra in the shooting of a pilot for a different series– was a former Phys Ed teacher, and before that a member of the Aussie Olympic gymnastics team. But the Xena parallels are significant; and just as real-life author Greg Cox wrote the real book Battle On! An Unauthorized, Irreverant Look at Xena: Warrior Princess, here he’s said to have also written the (imaginary) book Vixen the Slayer: The Unofficial Journeys.

In our first chapter, Glory (who’s in Hollywood taping a short MTV promotional for her series) gets an unexpected knock on her trailer door, while she’s waiting in costume for another take. Her visitors are three rather short people in fantasy-world costume. But they’re not, as she initially thinks, actors, or fanatical fans dressed up and acting out a fantasy. They really are mages from another dimension. You see, in their world, 1,000 years ago the great mage Cinnas the Warslayer chained an evil entity called the Warmother; but now she’s been loosed, and is wreaking havoc. To save their people, they’ve scoured all the other worlds they can reach for a “hero” (like the writers of the Xena series teaser, they don’t grasp the grammatical distinction of hero/heroine, but I digress), and been turned down by all the prospects. Having read Cox’s book, their last hope is Vixen the Slayer. Sensing that these poor deluded people genuinely believe what they’re saying, Glory’s trying to explain that the book is fiction; but when a sudden burst of uncontrolled magic sends all four of them back into her visitors’ world, that attempt might be a bit moot….

The cover blurb/Goodreads description creates the impression that this is a light exercise in humorous fantasy; and it actually does have a lot of humor (I read it to my wife, and she laughed out loud in several places). Both TITAoVtS and Xena are shows that offer mostly action-oriented entertainment without a lot of serious content, which might also lead readers to expect the same here. However, The Warslayer has its unexpectedly deep and serious side. Glory can deliver a fair amount of wry humor; but we’ll also see her bleed, vomit, and cry. While there’s some intense physical combat going on here at times, the battles aren’t all going to be physical, and the author has some really important things to say. (I’m not going to try to summarize them, because the story is the message, and you need to experience it the way she wrote it.) Her plotting here is not at all predictable. (But it’s deeply satisfying!)

There’s no sexual content here, and no obscenity (and no use of the f-word; Glory started to say it on one occasion, but stopped herself). There is, though, a certain amount of vulgar and profane language, used by Earth natives (it’s not a feature of native culture in the fantasy world). While she’s a likable young woman with a kind heart and good instincts, Glory tends to have an earthy and irreverent speaking style; she was raised on her dad’s Outback sheep station, a milieu where speech isn’t very refined (and some of the Aussie slang here that I’m not familiar with might be expressions I’d rather not have translated!). The worldview here is not Christian per se, but like Glory herself, though she’s basically secular-minded and God-shy, it’s not anti-Christian or anti-theistic either. Trigger warnings are in order for brief descriptions of the ravaged corpses of a pony and a dog (the Warmother and her playmates aren’t nice entities!); but the biggest problem here is the improbability that all of the non-Earth natives converse in fluent English. (I deducted a half-star for this in my rating, but rounded up.)

As an added feature, the opening few pages of Greg Cox’s imaginary book on Vixen are “quoted” as a kind of prologue here, and as an appendix, we’re given his supposed “Episode Guide” to the 17 episodes of TITAoVtS. (I’d guess that none of this is written by him, but that he gave his permission for the use of his name.) The deadpan humor of this material is a hoot; and as a suggestion to any TV producers who may read this, if anybody actually ever tried to make a real-life incarnation of this series, I’d be interested in checking it out. :-)

Author: Rosemary Edghill
Publisher: Baen, available through Amazon, only as a physical book
A stand-alone novel.

Supergirl (2026)

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★★★
“A girl and her dog.”

Watching reviews by some fans for the new Supergirl movie is like seeing someone being publicly tarred and feathered. But I do understand how this works. A review titled “Supergirl is an acceptable, though not great, summer superhero movie” wouldn’t get you many clicks, right? Almost any big studio movie seems to get the same treatment: heavily, negatively criticized; scrutinized as to its wokeness (which admittedly is a problem in today’s film landscape); and judged as garbage, long before the average Joe or Jane has a chance to see the movie and make up their own opinion about it. The numbers of views on YouTube have a clear message: social media thrives on vitriolic hatred, not a balanced attitude. I sometimes get the impression the reviewers have not even seen the movie themselves, arguably rendering their opinions worthless. How can anyone judge a movie that they have not watched?

This isn’t meant to say there aren’t problems today with the way movies are written, directed, produced or marketed. And the other side of the coin are ‘professional’ journalists, who appear to act as media mouthpieces for the industry. They consider every movie by established directors or big studios as great entertainment, glossing over its faults. There is something foul in Hollywood and I don’t want any of it. The big problem is, the average cinemagoer can’t rely on reviews or critics any more, and I think that’s a shame. Yes, any review will always reflect the author’s personal attitudes. But in the cases above, there is no balance, and the respective review is frequently very far from an objective dissection of the film. Let’s see if I can do better: though in any case, you should decide which movies you’ll support with your money – if at all.

Supergirl already got the YouTubers up in arms, when star Milly Alcock made some potentially ill-considered comments, including stating that Supergirl “probably goes both ways” sexually. That was perhaps not smart – unless the marketing department was targeting an audience which was never really interested in the character to start with. Supergirl, created in the late 1950s by Otto Binder, was originally intended as a tamer version for girls, of what Superman was for boys. Nevertheless, the majority of people who read Supergirl and kept the title alive over the decades were young men. She had a rich comic book history before the ill-fated Supergirl movie from 1984, with the lovely Helen Slater. And though DC decided to kill the character off sensationally in 1985’s “Crisis on Infinite Earths”, she made an indirect comeback in several forms, until officially returning as her true self in 2004.

Most of the buyers of her comics continue to be male. Not because “all men are creeps”. But because Supergirl was a cool character – and admittedly, also very pretty. But I have never heard about the supposed “queerness” a reporter asked Alcock about. From what alternate universe did this journalist come? Alcock continued, “What makes this film beautiful is that it’s not centered around a man, it’s not centered around love at all.” To be fair, the love story in the 1984 movie didn’t really work. But it’s a leap to conclude that a movie about a female action character is immediately better because it does not feature a love story. Look at Wonder Woman, where the love story between Diana and Steve was an integral part of the story, and see how well it worked. It’s really up to the screenwriter.

Comments like Alcock’s – though probably given without much thought – put her in the same category as Rachel Zegler, whose remarks contributed to the justified downfall of the live-action Snow White remake. That’s a shame. If a movie is bad, it’s one thing. But if the main star shoots her own film in the foot… The makers of this Supergirl mistakenly thought they had a movie targeting a female demographic of a certain age. The results of the first week indicate that 59% of those watching were male, the great bulk of those over 25. Contrast Wonder Woman, which drew a majority female audience. It’s a remarkable miscalculation. If you annoy the audience, don’t be surprised if it doesn’t show up for your movie. Who knew? Apparently not Alcock, and the financial flop turns out to be entirely studio-made.

Anyway, what’s the story? Supergirl continues from 2025’s Superman, which in its last scene introduced Supergirl. She is Kara Zor-El, Clark’s cousin, owner of Krypto the Superdog, and together with Clark, the only survivors of the planet Krypton. The Superman movie didn’t show the destruction of Krypton (we have seen that too often on screen in the past) but Craig Gillespie, director of Supergirl, gives us glimpses of it, or flashbacks to Argo City, the city that survived due to SF-technology on a chunk in space. Its inhabitants are nevertheless doomed, due to kryptonic poisoning. So, Kara’s father sends her to Earth, to her cousin who already lives here. The makers generally stay true to Supergirl’s origins, though there is no orphanage into which Superman puts her, nor surrogate parents like the Danvers as in the comics.

However, how it shapes Kara is very different from the original character: this Kara is jaded, cynical and stands in sharp contrast to Clark’s true blue heroism. Even when the movie was in production, she was compared to a “punk rock girl” – more or less the opposite of the original Kara. Obviously, this Supergirl has problems, and in 2026, The Powers That Be have opted out of the traditional image of Supergirl. Separate from any other concerns, it really depends on your acceptance of this new version, and if you are able to enjoy Milly Alcock in that role. Her interpretation has as little in common with the original character, as Daniel Craig’s had with the original James Bond. That this version of Kara would not follow the traditional values was already apparent on the official poster that replaced the famous Superman-Reeves statement “Truth, justice and the American way.” with “Truth. Justice. Whatever.” You either accept that or you won’t like the movie at all.

Supergirl is accompanied by her pet Krypto – still a super-annoying, not very realistic-looking CGI-dog. She celebrates her 23rd birthday in an intergalactic bar, then more or less accidentally gets involved with a 13-year old girl, Ruthye (Eve Ridley). Her parents were killed by the evil Krem of the Yellow Hills (Matthias Schoenaerts). Ruthye wants revenge but Kara is not interested in helping her. That is, until Krem pops up and poisons Krypto with an arrow. As she has only 3 days left until Krypto will die, Kara follows Krem with Ruthye, whom she just can’t shake off. I have to be honest; this is not much of a story. I’ve heard the movie went through different test screenings with audiences, and suspect a lot of what was originally in it ended up on the cutting-room floor. Which I’m generally in favor of, because I don’t really enjoy seeing 160 minutes long superhero movies. But here it felt as if the movie was kind of an emergency patchwork.

Why the flashbacks to Argo City, given we didn’t need any of Krypton in Superman? Yes, it might help frame Kara as a trauma survivor, since she watched her people die, slowly and painfully. But did we need the inserts of Superman (David Corenswet), save for audiences caring more about him than the new Supergirl? Why does bounty hunter Lobo (Jason Momoa) suddenly appear in the movie, only to quickly disappear from it again? Why is there an entire sequence with only Ruthye and Lobo in prison, while Kara is off, recovering from the effects of a green sun? I think Warner Bros. saw a potential flop in the making after test screenings, and tried to save what they could. Reducing the length (= more showings); bringing in Corenswet, whom audiences reacted quite positively to last year; and adding Lobo, a long-time DC comics fan-favourite.

The fact that the production had three different music composers over time, does not reflect well on it. That said, the music of Claudia Sarne, the composer the production finally settled with, is adequate: I liked it. But Gillespie obviously felt (or was forced?) to follow James Gunn’s way of using music: underlay an action scene with a cool rock song. Gunn has been doing this since his first Guardians of the Galaxy movie in 2014, and the result here is even less convincing than in his Superman last year. I yearn for the classic music of a John Williams (1978’s Superman – The Movie) or Jerry Goldsmith (1984’s Supergirl).

The big problem here – apart from the re-interpretation of Supergirl – is that there is little at stake. Kara wants to save her dog. Ruthye wants revenge, though the actress is never really able to deliver this convincingly, coming across as a little brat. Lobo just wants the bounty for someone’s head – and not even Krem’s. When I go to the movies to see a superhero movie, I expect that someone saves the world, prevents global annihilation, or at least brings order to the criminal underworld of Gotham. This movie feels very small because the ambitions of its protagonists are very small. I could at least understand why John Wick went berserk over his dog; I don’t feel an emotional connection here. The villain Krem is evil and… well, that’s it. He feels like lazy screenwriting. Villains should have an attitude, their own worldview, a philosophy, a big objective. Krem doesn’t have any of this. Yes, there is sex trafficking, which seems to be what Krem does. But we never get a good explanation for why or what purpose. Hitchcock once said, “The more successful the villain, the more successful the picture.” The mediocrity of its villain reflects negatively on this movie. 

The end is also more than questionable: Supergirl repeatedly tells Ruthye she should not take revenge, because this is not the way, she won’t feel better after it, yadda, yadda, yadda. But then Kara takes revenge on Krem, making her appear a hypocrite. Also, I think heroism usually, albeit not necessarily, comes with a sacrifice. If Kara would have had to give up Krypto for some bigger purpose, e. g. saving all the girls captured by Krem, the story might have had a much bigger impact. Bonus: I would finally have gotten rid of this obnoxious CGI dog. Honestly, I despise him so much and don’t think he is cute at all. But be careful what you wish for; they might replace him with Streaky the Supercat!

There are editing and creative choices that baffled me. Instead of showing a bar brawl with Kara, the camera focuses on Ruthye in front of us, hiding from the fight. Mind you, in action scenes, the camera often gets so close we can barely tell who is fighting whom. In one flashback Clark tells Kara her powers will set in “right now” – and we cut away to another scene of Kara sitting in a room listening to music on her headphones. A couple who wants to trade Kara and Ruthye for their kidnapped daughter, poisons Kara – how did they know that their poison would work on her? In another scene in a prison, small, lightly-built Ruthye takes on a henchman around double her size, possibly four times as heavy, and easily beats him. There is no explanation given how she does that. While Kara isn’t physically big either, we know what kind of power Kryptonians have. But Ruthye?

Some people have pointed out that the colour palette of this movie is mainly brown, dark or garish and I agree with them. While I personally didn’t have a big problem with it, I do prefer more colour in my superhero movies. This film was based on Supergirl: Woman of Tomorrow (left), by Tom King. While I haven’t read this myself, most reports say the movie has little resemblance with the original comic and changed its ending. Although the comic itself was an “Elseworlds” story, so you could argue it’s not really representative of Supergirl. All quite negative, right? Why am I then not as harsh as the YouTube fan critics mentioned above?

First of all, I still found the movie entertaining, despite all its flaws. That doesn’t sound much, but believe me, there are many movies out there which are either plain boring or don’t even try to be fun. Case in point: the week before, I saw The Death of Robin Hood with Hugh Jackman. Supergirl is far from perfect but at least it tries. Milly Alcock is indeed fun and a good actress. I figured what direction “her” Supergirl would go, when she was cast. I had seen her as a relentless rebel girl in Australian series Upright, and a larger audience discovered her in the first season of House of the Dragon as Rhaenyra. She has and is a great talent: while this movie doesn’t do her justice, she could have a great career in the right roles.

Eve Ridley does her best as Ruthye, but the part doesn’t offer much and she was not really convincing in it. The idea here is obviously that Ruthye is a counterpoint to Supergirl, creating a conflict between different objectives. It kind of works, though, I would have preferred the movie without an annoying teenager who constantly repeats herself like an NPC, and is little help during the search for Krem. Jason Momoa has been the fan-choice for Lobo, as long as there have been plans for a Lobo movie. Though this version seems a tame, “free from 12 years on” version, he is very enjoyable. I really, really would like to see a single movie with him as the Czarnian bounty hunter. But the new DC film universe under the current Warner Bros. management is already imploding. Again.

There are moments I like. If you can accept the idea of Kara being a more complex, work in progress (the ending suggests she may finally settle on Earth and support Clark), then that may help you enjoy the movie more. This Kara has a quite cocky attitude which sometimes made me chuckle quite a bit. At the same time, Alcock can bring the gravitas to more serious scenes if she is given those. To repeat myself: it’s all in the writing. I have to say, I expected more from Craig Gillespie, who directed the great I, Tonya a couple of years ago. But directors are dependent on the scripts they are given. A lot of the creative decisions concerning the movie (such as Supergirl killing Krem), were apparently made by Gunn, not Gillespie who seems more the “yes”-man of the production.

I understand screenwriter Ana Nogueira had never written a real movie before which is astonishing considering that it is said to have a budget of $170 million. It also seems questionable that she has already been chosen by Gunn to write upcoming DC movies Teen Titans and Wonder Woman. It’s estimated that the movie needs to make $300 million to cover its costs. At the time of writing, it’s a lot less than half that, only $116 million worldwide, and is losing screens rapidly. That doesn’t bode well for the movie. Though, it has been said that Gunn has further plans for Supergirl, as she plays a part in the next Superman-themed movie Man of Tomorrow – this time hopefully at her cousin’s side. Let’s hope, it’s not once again centered around the insufferable Krypto!

Dir: Craig Gillespie
Star: Milly Alcock, Matthias Schoenaerts, Eve Ridley, Jason Momoa

Mary From the Prayer Ward

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★★½
“When you order Wynonna Earp on Temu.”

I mean: Stetson wearin’, six-gun shootin’ country gal, on a mission to slay demons, vampires and things that go bump in the West? Yeah, it’s like that. Mind you, there’s a rough start to this, with three minutes of what is likely a top contender for the worst acting of 2026. I guess it’s good to get it out of the way early, and it does make the rest of the cast look like Oscar candidates in comparison. To be fair, Jones is decent enough in the title role. Even when lumbered with some pretty clunky globs of exposition about a 17th-century Satanic cult, she is generally tolerable, and occasionally above that.

Things unfold in the rural Kansas town of Bentley, where a series of gruesome murders is baffling police chief Peaks (Neighill). He seems oddly unaware of the presence in Bentley of Mary, whose parents were fighters of the occult, killed in the line of duty. She now carries on the family tradition, with the help of her blind uncle Hughes (Polk). Naturally, these murders are the work of the unsubtly-named Velkir the Butcher (Smith), who is intent on completing a ceremony originally started in 1690’s Salem. For, y’see, the witch trials there were not hysteria, so much as a carefully-constructed cover-up of the truth, which involved a Satanic plot to raise Hecate. “What’s a Hecate?” asks Chief Peaks. Explanation follows.

It does feel like the structure of the film is a little weird. It’s not until well after the half-way point that Peaks and Mary formally team up, leading to a bit of a gallop towards the obvious confrontation with Mr. Butcher. This partnership requires a diversion, in which Mary takes him on a house call, helping a woman who is reporting strange happening in her home. He blames psychological issues, until she demonstrates otherwise, thereby convincing him of her genuine skill-set. It feels like this should have happened much earlier, to explain the casual way in which this nun is allowed to poke around crime scenes. Well, she’s got a clerical collar on, which seems to demonstrate a loose understanding of religious garb. 

My main issue, however, was the copious use of highly unconvincing CGI, from muzzle flashes and blood spatters, to showers of sparks as the supernatural entities are dispatched. It absolutely took me out of the situation every time I noticed them. Which was every time they appeared. Which was every time anything much happened. Neighill is certainly guilty of trying do much: between writing, directing, editing, co-starring, composing songs, etc. it feels like every other credit is his. But despite a cover pic (above) which makes it look more like Mary from the Special Ed Class, this isn’t worthless. As noted, Jones is an engaging heroine, and Smith’s scenery chewing antics are fun, taken in the right, B-movie way. It’s no replacement for Wynonna Earp. Yet as dollar store knock-offs go, I’ve seen worse.

Dir: Andrew Neighill
Star: Mandy Jones, Glenn Polk, Andrew Neighill, Christopher Thom Smith

Ferromancer, by Becca Andre

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

Bridget ‘Briar’ Rose is a rarity: a woman who runs a canal boat, transporting cargo along the waterways which form the Ohio & Erie canal network. However, her livelihood is under threat. The increasing growth of the railway as an alternative method of transportation is increasingly a rival for the jobs she takes, and her cousin, Andrew, is looking to see her barge out from under Briar, so he can invest in the railways instead. However, she suspects he is working with an outlaw: a ferromancer, one of the mages who revolutionized industry in Europe, but who had supposedly been wiped out two decades ago due to the threat they posed. 

If she can prove that, it will discredit Andrew, and allow Briar to keep plying her trade. She steals the plans from Andrew’s house, and kidnaps his apparent business partner, Grayson, after he finds her and demands the return of the plans. Doing so creates a whole new set of issues, bringing Briar and her crew into contact with some very dangerous people. In particular, Mr. Solon, a ferromancer whose can use the darker magical arts to turn people into soulless automatons under his control. I think the world building here is likely the strongest suit. Though it’s lightly drawn – I’m really curious about what must have been a war between the mages and The Scourge, the organization set up to destroy them. 

The sense of period is also nicely done. For some reason, I kept forgetting it was taking place in America, maybe because I associate canals more with England. But it’s another aspect of the world which I enjoyed, a slightly alternate history where a brief dalliance with magic was ruthlessly crushed. On the other hand, I was rather confused by the motives of a number of characters. Both Grayson’s and Solon’s motivations are murky at the best of times. The former’s fondness for dribbling out both significant and relevant information, which might have helped, annoyed me – considerably more than it did Briar, who just seems to (metaphorically) roll her eyes briefly and keep on hanging out with him. 

Given the era, it’s not surprising that most of the physical action is left to the men-folk. However, Briar does get involved in a brawl with another “canal chick”, for want of a better time. She’s also not averse to a great leveller in the battle between the sexes, which is a kick to the groin! The further we go on, the clearer it becomes that ferromancers are very different to normal people – to a degree where they may not even technically be human. Andre does leave a lot of things open at the conclusion of this, although at least has the courtesy to avoid a direct cliffhanger. Was there enough to get me to buy into further volumes? Likely not immediately, though it’s not entirely off the table. 

Author: Becca Andre
Publisher: Independently published, available through Amazon, both as a paperback and an e-book
Book 1 of 5 in the Iron Souls series.

The Ghosts Omnibus 1, by Jonathan Moeller

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

I previously reviewed an entry from the middle of this series, Ghost in the Cowl, and – probably unsurprisingly – a major complaint was the sensation of being dropped into the middle of the series. This was to some extent due to the book not being clear about it being the tenth (or eleventh, depending on source) entry, since the cover said “Ghost Exile #1”. But I’m not one to hold a grudge, and accepted the chance to pick up the actual first three parts for less than a dollar. It definitely helps, following the story from the beginning. Though at 1,134 pages, you’ll understand why it took four years from purchase to review publication. 

When it begins, the young heroine Caina Amalas is living a somewhat unhappy life, mostly due to her mother being borderline abusive. Eventually, there’s nothing “borderline”, as Mom uses dark magic to turn her husband into a vegetable, and sells his daughter off to sorcerer Maglarion. Caina’s virgin blood is very powerful for his arts, and she is “milked” for all she can provide, kept just this side of death. Fortunately, while the wizard is out, an attack on the facility frees Caina, and she is recruited and trained by the near-mythical group responsible, the Ghosts. These are the Emperor’s spies and assassins, who swear an oath to counter his enemies, by any means necessary.

In particular over these three books, the enemies are those who practice necromancy, beginning in Child of the Ghosts with Maglarion. Now an adult, Caina is very keen to see him receive his just deserts, although in that time, he has become much more powerful. He’s now working towards a ritual which will render him immortal – albeit at the cost of a city-wide human sacrifice. The second book, Ghost in the Flames, sees Caina investigate an increasingly disturbing trend of pyromancy in the city of Rasadda. Finally, in Ghost in the Blood, she has to stop a plot to open a pit under Marsis, which has been sealed for thousands of years – for very good reason. All of these require her to use her talents, both in combat and disguise.

It actually might be a case where reading them one after the other works against them, because they might be a little too similar. I get it is Caina’s specialty, due to her heritage. Yet is there no other threat to the Empire except for power-obsessed magicians? That minor quibble aside, this was a very enjoyable trilogy. The characters on both sides are particularly well-done, with Caina and her allies very likeable: she may not be the biggest bad-ass in the group, an honour likely reserved for Ark. The villains are also suitably terrible people, and there’s almost a Lovecraftian bent to some of the horrors which are unleashed. More will likely follow. Let’s just hope some other adversaries are found for Caina. 

Author: Jonathan Moeller
Publisher: Azure Flame Media, available through Amazon, as an e-book only.
Books 1-3 of 19 in the Ghosts series, plus a bonus short story.

Scarlet

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Mamoru Hosoda is one of the senior figures in Japanese animation, with thirty-five years of experience since he joined Toei Animation in 1991, after graduating from college. He made his feature debut with One Piece: Baron Omatsuri and the Secret Island in 2006, though this came only after he had almost directed Howl’s Moving Castle for Studio Ghibli. He subsequently left Toei, to go freelance, and his works since have met with both critical and commercial success. Mirai was nominated for an Oscar in 2019 as Best Animated Feature – the first non-Ghibli film to be so honoured. 2021’s Belle , loosely inspired by fairy-tale Beauty and the Beast, was the second-biggest movie at the Japanese box-office that year, domestic or foreign.

His latest movie and the follow-up to Belle, Scarlet, was a long production, taking four and a half years to complete. It mixes traditional 2D cel animation with computer-generated animation, and is a take on Shakespeare’s story of Hamlet, with its titular heroine seeking vengeance on the people who murdered her father, the monarch of 16th century Denmark. Her first attempt backfires, when she consumes the poison intended for her uncle Claudius, the leader of the plot. Scarlet wakes to find herself in the purgatory of the underworld. She needs to complete her revenge in order to move on to the Infinite Land; otherwise, her spirit will collapse into nothingness. It turns out that Claudius is in the underworld too…

Both Dieter and Jim watched and reviewed this one independently. Below, you’ll find their respective ratings and thoughts, with Dieter going first. 

★★★★★
“The undiscovered country from whose bourn no traveler returns”

On the fourth anniversary of Russia invading the Ukraine a movie like this hits harder, I feel. At the same time, the Berlin Film Festival has ended and while a whole lot of boring message movies got awards, this one was not even in competition. I guess it also won’t win any Oscar awards. For the same reason: it’s just too good. It would blow any competing features out of the water. And yes, this is a strongly subjective review. Watch the movie and judge for yourself, I suggest.

But… I’m already starting with the end. I was honestly blown away by this movie. While neither the idea of a female Hamlet is new (see the 1921 Hamlet: The Drama of Vengeance with Asta Nielsen) nor doing a Shakespeare-inspired anime (there is the anime series Romeo x Juliette from 2007) what director Mamoru Hosoda has done here for Studio Chizu, is fascinating. No idea why he chose the story of Hamlet as an entry point: perhaps because it’s the most universally-known revenge story next to Death Wish? It would have worked just as well with new, fictional characters and other names.

I didn’t mind. It only serves as a basis on which the director discusses the general but often overlooked and therefore more essential questions of humankind: What defines our humanity? What do we live for? What does death mean? What is love? What can be forgiven? What cannot? How much are we shaped by the environment we grow up in? And if we spread a loving and peaceful attitude can we change the world for future generations?

These are big, important ideas which do not normally form a part of “entertainment culture” or political discussions today, as everyone is too much occupied in serving their own self-interest. Actually, I would locate these questions more in the areas of philosophy and religion. At the same time, the animation style itself is impressive: not just the usual 2D cell animation nor CGI animation. I don’t know how to describe it: while most of it seems classically drawn, many of the backgrounds seem photo-realistic as if they are “real”, including the desert, water, ruins and a jungle. Also overwhelming is the sky of this “other land” which looks like waves, over which a giant dragon flies and occasionally erupts in deadly lightning.

While the visual style takes some time to get used to, this is not necessarily a bad thing. It’s different and new and that’s it. I liked it but I can understand if other people might reject this approach. It’s really a matter of individual taste. Putting all these aspects aside, I found the movie really entertaining. It’s an epic, bombastic movie with a passionate heroine, lots of fights (somehow these medieval Danes seem to have quite some knowledge of martial arts) and – surprisingly – beautiful songs. With Scarlet being shown training hard since her early youth, her fighting larger opponents doesn’t seem that much of an overstatement. She also doesn’t always win, which helps to make the fights look more realistic.

If Mamoru Hosoda might not be as famous or successful as Hayao Miyazaki or Makoto Shinkai (Your Name), so far, he has always delivered excellent and interesting movies. Scarlet is his 8th movie (I challenge the uninitiated to discover his other movies, and especially recommend The Girl Who Leapt Through Time and Summer Wars) and was co-produced by Columbia Pictures. I regret that movies like this only ever run for one day here, and occasionally some more in some tiny cinemas as I think they deserve so much more exposure. Here is hoping, I may have contributed to making this excellent movie more well-known, and create some interest in its potential audience watching it, or at least giving it a chance.

★★★
“Better red than dead.”

Up-front confession: I haven’t seen any of Hosoda’s other work, so am not familiar with the style. Indeed, for a while, I was confusing him with Mamoru Oshii, of Ghost in the Shell and Avalon fame. Which isn’t as much of a stretch as it may seem. Oshii’s work seems to rely a lot on a loose narrative, using the virtual world in Avalon as a convenient loophole through which any plot thread can pass. You could make much the same argument for Scarlet, with the underworld being a realm where stuff simply can happen, because it’s the underworld. I’m not a huge fan of this kind of plot armour, and would likely have been happier if Scarlet had been pursuing her vengeance in the everyday world. 

The early stages will feel rather familiar to any fan of Game of Thrones. Scarlet can only watch as her father, a beloved figure, is executed in the name of political machinations. She then vows revenge, and undergoes a rigorous training program to that end. Very Arya Stark. Fortunately (or perhaps not?), it finds its own way after she consumes poison, and Scarlet finds herself in the afterlife. It’s necessarily a shock, but she has the mental fortitude to adapt. She’s joined there by Hijiri, a paramedic from the present day. In effect, he acts as her conscience, continuing to treat the wounded as he had done in life, and questioning the need for her revenge. This becomes especially pertinent after we hear the message Scarlet’s late father had for her. 

I cannot fault the visual side of things here at all. Dieter encouraged me to see this on the largest screen possible. Unfortunately, it did not last long in cinemas here: two weeks after release, it was down to showing in just twenty-four theatres nationwide. But having seen it in my living-room, I would not have minded a much larger viewing experience, and can only imagine the impact. It’s not seamless, in that you can often tell which sequences were old-school, and which were zeroes and ones. But the overall effect is undeniably impressive, and on that basis alone, I’d say it deserved an Oscar nomination more, say, than Zootopia 2.

However, as the above likely suggests, I was not particularly impressed with the plot. The basic elements were there – you can’t go wrong with revenge of the Shakespearean kind – but there are elements which seem not to serve this. For example, there’s a significant chunk where Scarlet and Hijiri are simply hanging out with elderly souls. It feels like John Wick paused his revenge, to spend an afternoon helping out at the local senior centre. I guess the eventual aim is that Important Lessons™ need to be learned by Scarlet about the value of life. But if you compare this to the works of Hayao Miyazaki, the moral lecturing here comes over as less than subtle. 

I did like the contrast between Hijiri and Scarlet. Interesting that the “caregiver” character here was male and from the present times, while the vengeance seeking warrior was female and out of the middle ages. This subversion of standard tropes is thought-provoking, without needing to deliver any explicit messaging, and the relationship between the pair works well. If you’re familiar with Hamlet, you’ll also get a kick out of some of the references (the versions here of Rosencrantz and Guildenstern are particularly memorable). But any film which uses a dragon – another Game of Thrones nod? – as a convenient prop for the story-line, needs to be answering questions about its scripting. It’s this which stopped Scarlet from being more, for me, than just a well-crafted, pretty thing at which to look.

Dir: Mamoru Hosoda
Star (voice): Mana Ashida, Masaki Okada, Koji Yakusho, Kōtarō Yoshida

Gate of Ivrel, by C.J. Cherryh

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

Once upon an unspecified time, somewhere in the cosmos, a human-like, space-faring race called the qhal (or Qujal, in a later dialect) stumbled upon, and subsequently greatly extended, a system of high-tech Gates, a relic of a vanished civilization, which permitted instantaneous travel to other planets and other times. Fearing that travel into the past would prove dangerous, the qhal forbade it; but they used the Gates to travel extensively in space and future time, building up an empire that oppressed and exploited the various despised other races they encountered. This gave them much wealth and power (and universal detestation from others) –until somebody eventually tried past time-travel. The resulting cataclysm (only dimly surmised in the theories of the subsequent scientists) reached as far as the Gates themselves reached, and proved to be an apocalyptic warping of space-time that destroyed civilizations and worlds in its path. But the Gates themselves survived. We learn all of this from an omniscient narrator in the first part of the Prologue.

The other parts of the Prologue are excerpts of various (fictional) documents. In the Journal of the “Union Science Bureau,” we learn of the formation of a team charged with traveling through the Gates, for the sole purpose of closing or destroying them permanently on the far side, to prevent a repeat catastrophe. (Since nobody knows how many Gates there are, this may be a multi-generational task until the last one is reached; and it’s surely going to be a lethally dangerous mission.) Written on a low-tech, medieval-like world, a short text in the Book of Embry tells us that on “the height of Ivrel” still stand ill-regarded, rune-marked “Staines” [stones] of Qujalish origin and still imbued with their “sorceries,” which if touched produce “sich fires of witcherie as taken soul and bodie withal.” This place and others such are sought by those with Qujal blood, recognizable by gray eyes and tall stature, who are thought to lack souls, but “by sorceries liven faire and younge more yeares than Men.”

Finally, a longer passage from the Annals of Baien-an recounts how, “In the year 1431 of the Common Reckoning,” five strangers supposedly from the distant south came to the northern realms, one of them a tall, light-colored young woman named Morgaine (who was thought to be Oujal). They persuaded the northern kings to make war on “…the witch-lord Thiye… lord of Ivrel of the Fires;” but near Ivrel, the great northern army of 10,000 men was unaccountably nearly annihilated, and the five were blamed for the disaster. All of them but Morgaine vanished without trace; pursued, she fled south and supposedly died at another place of Qujalish “Stones,” afterwards called Morgaine’s Tomb. “Here it is said she sleeps, waiting until the great Curse be broken and free her.”

Our story proper begins about 98 years after the disaster at Ivrel, when we meet young (about 20, from later clues) Nhi Vanye –the first name is the clan name, the second the personal one. He’s the out-of-wedlock son of a clan chief, grudgingly taken into the latter’s citadel because his mother, a lady from a hostile clan taken in a raid, died giving birth to him; but (as we learn later) he’s been persecuted and bullied by his two half-brothers from childhood on. By the second page, he’s in serious hot water with his father after a sword-practice bout turned deadly, leaving one half-brother dead and the other badly injured. Outlawed, disowned, dishonored and cast out, he no longer has a clan or a livelihood. His one hope is to try to work his way southward (through the territory of his half-brothers’ mother’s clan, whose members will want to kill him on sight) to an area where he has kin.

We skip over the details of that slow trip, but by the second winter of his outlawhood, surviving by hunting (and stealing what he has to) he’s close to the border –but also close to the unchancey vicinity of Morgaine’s Tomb. And when he wounds a deer, and the fleeing animal blunders through the Gate, it opens on the other side. A century before, Morgaine desperately rode into the Gate, and horse and rider have been held in suspended animation, but now, as she rides out from legend into Vanye’s reality, for her it’s as if she’s been gone just for a moment. And (being, as we can guess, part of the Union Science Bureau’s afore-mentioned team) she still has the same goal on her mind. By the following morning (long story, but sex doesn’t play any part in it; there’s no sexual content in the book), due to the complicated mores of his people, Vanye finds himself oath-bound to service as her vassal for a year. (The old kings had given her “lord-right.”) So this is to be a “quest narrative,” and hers is to close however many Gates there are, starting with taking out the Gate of Ivrel. (On this world, that’s the main Gate; the other two depend on it, and can’t survive without it.) The latter goal is now, perforce, Vanye’s as well. And Morgaine’s grimly committed to seeing it through, if it kills them both (which it very well may).

This is a tale of action and adventure, hardship and danger in a rugged land, with escapes, betrayals and subterfuge. Vanye’s a trained warrior, and Morgaine packs some high-tech weapons that she knows very well how to use; that’s fortunate, because there will be plenty of enemies in their path. Thiye’s still alive, and still ruling in the Ivrel area (and with power and domains greatly increased since the debacle a century ago). But there’s also the problem of clan chieftains who hate and fear Morgaine, or who would like to get their own hands on Qujal “magic” (or both); and a surprise enemy waits in the shadows…. It’s also a powerful tale of complex, nuanced characters, facing very high-stakes moral choices as they struggle with conflicting values, obligations and emotions. While Vanye is our viewpoint character and maker of the most significant choices, and it’s his head we’re inside, it’s Morgaine who’s the center of the tale, and her determination that drives it. (We can fairly say that she’s the protagonist; and she makes decisions too, or bears the pain of decisions made.) Cherryh’s world-building is superb, her plotting impeccable, her prose deft and evocative, and she delivers an emotional impact that’s almost breath-taking. I wasn’t even remotely prepared for how rich and rewarding this novel is!

Though this is the opener of a four-book series, there’s no cliff-hanger; the immediate situation here is brought to closure. But though I intended at first to read this as a stand-alone, I’m now in it for the long haul.

Note: Andre Norton’s two-page Introduction to this DAW printing is spoiler-free, and basically just an eloquent appreciation of the author’s literary achievement here. But though the accompanying map was made by Cherryh herself, it’s crudely-drawn, with hard-to-read place names, and hard to refer to due to its small size. And while Michael Whelan is a leading cover artist in the field of speculative fiction, his work here doesn’t reflect any actual scene in the book, and gives the wrong idea about Morgaine’s character; she doesn’t dress at all revealingly under her fur cloak, and doesn’t act like a sex object!

Author: C.J. Cherryh
Publisher: DAW, available through Amazon, only as a paperback. There is an e-book available of the whole series. 
Book 1 of 4 in The Morgaine Cycle.

The Beta Project

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★
“Beta, in the other sense of the word.”

I usually strive to find something nice to say about most low-budget action heroine films. Maybe the soundtrack is cool. Or there’s one performance which stands out. But for this one, I’m really struggling. The good here more or less begins and ends with the synopsis, which is also why it’s here: “Four women are recruited into an organization that hunts the supernatural.” Mauser does appear to be on board with our field, and we’ve covered a couple of his films before, most recently the fairly decent Lady Lawman. While flawed, you could overlook the shortcomings if you squinted somewhat. This, however, is a clear step back, and was a real struggle to get through. 

In the scenario that unfolds here, there is indeed an unnamed organization, run by Rose (Nash). The supernatural in question is… Well, it’s basically vampires, and in particular the legendary Lilith (co-director Berkshire). She is supposed to have died centuries ago, but the group discover this is not the case. The decision is made to recruit four women to take on Lilith (who is not the hairy dude shown on the poster). Why does it have to be women, you may be asking. Good question. Pity it’s one the film is completely uninterested in answering. Not that it matters, because the group never really ends up getting recruited either. Instead, there’s just smuggler AJ (Rodriguez), who gets paired with the organization’s accountant (!) and… Well, not very much, either. They go rescue one of AJ’s pals. That’s just about it.

What we have here feels like it could, and should, have been taken care of inside the first ten minutes, instead of playing out at feature length, like a pilot movie for a TV series that nobody wants to watch. It’s full of interminable scenes which deserve to have died a death on the cutting-room floor, like the introduction of AJ and pals, sitting around a restaurant. Or the training scene where AJ and accountant get whacked with sticks a couple of times. The latter is actually pointed out by the characters as useless, in a way that I can only presume was intended to be funny. Guess what? It isn’t, in the slightest. 

This is in part because there’s no real difference between the stick-whacking and the “genuine” action scenes, which are utterly limp and unconvincing. When killed, the vampires “explode” in a shower of sparks, in a way done considerably better by the Buffy TV show, approaching thirty years ago. The performances are generally unconvincing too: Berkshire comes out okay, which may explain why she ends up also playing another recruit, Joy, in addition to the villainess. I kept expecting them to be sisters or something, but… Nope. Like so much else here, it was thoroughly pointless. All the goodwill Mauser picked up for the “can do” attitude of his previous films has been wasted; he’s now on my “approach with caution” list. 

Dir: Brett William Mauser and Dane Berkshire
Star: Cristina Cruz Rodríguez, Dane Berkshire, Katrina Nash, Brett Mauser

Cloak Games: Thief Trap, by Jonathan Moeller

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

I previously reviewed Moeller’s Ghost in the Cowl, which comes from a different series, and enjoyed this every bit as much. Indeed, I think the premise here is better, rather than the fairly generic (if well-executed) fantasy of Cowl. However, in terms of action, the heroine here is second banana, and just as with Cowl, this consequently falls fractionally short of Seal of Approval. In this case, Earth has been conquered by a race of elves, whose High Queen has taken over and now rules with an iron fist. They had been booted off their home world, and traveled the Shadowlands, the path between the worlds, before breaking the seal to Earth.

Doing so allowed magic to come with them, though elves are largely the only ones allowed to practice it. The human race is now effectively indentured servants or worse. Which brings us to our heroine, Nadia Moran. To save her little brother Russell from a lethal disease, she agreed to work for an archmage called Morvilind. But now, she’s his slave, constrained both by him being the only one keeping Russell alive, and his magical skills which can kill her at any time. He trained her in certain areas, in order to become his personal thief, liberating magic artifacts, antiquities, art, etc. This included spells, of use in these jobs. But she’s not happy about it, wanting freedom for her and Russell.

Her latest task is particularly tricky, stealing an Assyrian tablet from a human industrialist. She’s not given the whole truth about either the object or its current owner, and it becomes apparent someone else is interested in him too. The someone else is Corvus, a sorta-human (it’s complicated…) who has abilities of his own, and handles the action elements here. They eventually agree to team up to help each other’s overlapping goals, but will face threats both temporal and almost indescribably Lovecraftian, emanating out of the Shadowlands. It makes for highly entertaining reading, and at only 180 pages, I raced through it very quickly. For ninety-nine cents, it’s fine, but I would hope further installments offer a little more bang for your $3.99. 

There were a couple of bits of world building which didn’t quite gel. The conquest happened in 2013, and we’re now three centuries past it. But it feels like technology is unchanged: Nadia still drives a sedan, for example. If you consider how radically different life was three centuries ago, it’s odd: maybe the High Queen dislikes innovation? It’s a minor, albeit niggling, glitch in what’s otherwise a fun scenario, with a well-constructed heroine who offers plenty of room for development. And with eleven books to come, that’s certainly necessary! By the end of this one, she has an ally in Corvus, some additional talents of which Morvilind is unaware, and appears slightly closer to achieving her eventual goal of freedom. I’m looking forward to that journey. 

Author: Jonathan Moeller
Publisher: CreateSpace, available through Amazon, both as a paperback and an e-book
Book 1 of 12 in the Cloak Games series.

Calixta: The Vanquishers of Alhambra, by Omayra Vélez

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

Subtitled “A grimdark fantasy,” if you are expecting this to be packed full of sex and violence, as a result… Well, you might be a little disappointed. While the lead character, Calixta Harlow Carlyle, is an “Exotic” – a highly-trained prostitute – she doesn’t seem to do all that much… um, prostiuting. We’re about half-way through before she goes to bed with anyone. The violence isn’t particularly brutal or copious either. It is, I guess, somewhat dark, and certainly not a young adult book. But anyone who watched (or read) Game of Thrones will not exactly require the services of a fainting couch to get through this.

Calixta ends up dying, trying to protect one of the girls in the brothel she runs. However, that’s just the start, because the powers that be in the afterlife inform our heroine she’s actually a Vanqusher. These are people with magical talents who act as guardians against the forces of evil, currently massing as they prepare to take over the world. Vanquishers are supposed to have guides from birth, who train them. But Calixta never had that benefit, instead being sold into slavery and trained as an Exotic. She’s sent back to life – much to the shock of her employees – and told to find the other three Vanquishers. But the evil Jadro wants to ensure Calixtra dies permanently, before she can come into her true abilities, and stand against him.

She’s forced into going on the run, with three friends who are even less suited to survival. This involves an escape through the sewers which is about the nastiest sequence in the book (straying uncomfortably close to fetish for my tastes), although they are then rescued by Dreyden, another Vanquisher. Together, they go on a quest to awaken another of their kind, Calixta learning how to control the battle-mage skills she has been given, which allow her to summon and manipulate the element of fire, both offensively and for protection. This talent is very much a work in progress, hence the lower score for action – Dreyden likely does more of the heavy lifting in that department. I suspect she may improve in future installments.

There are several points where the writing does come off as somewhat clunky, and points at which it feels like characters are saying things which are more needed for the plot than anything else. It did also feel that things were unfolding at a leisurely pace: this is approaching four hundred page long, and by the end, we’re not particularly far on from where we were. There’s a lot of travel. However, it is an interesting pantheon, with virtues like Justice, Wisdom and Hope taking human form under a deity they call “Father”. It has occasional moments of genuine emotion too, such as in regard to Calixta’s unborn child, which proved surprisingly poignant. I suspect it’ll end up being fairly straightforward good vs. evil, and there’s nothing wrong with that.

Author: Omayra Vélez
Publisher: Self-published, available through Amazon, both as a paperback and an e-book
Book 1 of 4 in the Vanquishers of Alhambra series.