Tag: fantasy

Reign of Chaos

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★
“Future schlock.”

There are spells where I find myself going through a stream of mediocre movies, wondering when I’ll see something genuinely good. Then, I stumble into the likes of this, which leaves me yearning for the heady delights of mediocrity. It was in trouble right from the start, with five minutes of opening voice-over that did nothing but leave me confused. Then again, if your story requires five minutes of opening voice-over in the first place, you should probably rethink your storytelling techniques. The same could be said for a post-apocalyptic scenario in which food is in short supply, yet black pleather cat-suits are apparently easily available, in a range of sizes to fit all needs.

A plague has swept the land, turning the bulk of the population into flesh-eating “Joiners”. That is not the worst of it. For it turns out, Chaos is harvesting souls to usher in an unending period of unimaginable torment. Perhaps one where pleather cat-suits might be slightly difficult to come by. Humanity’s sole hope is the three descendants of the Greek goddess Nike: Nicole (Finch), Lindsay (Wood), and Alina (Di Tuccio). They are brought together under the tutelage of Rhodri (Cosgrove), trained in the arts of battle and sent off to face Chaos in their pleather cat-suits. He turns out to be a pasty-faced baldie, like Voldemort with a nose, though the final battle is so underwhelming you may wonder if the final reel went missing.

Let me be clear: there is hardly an element of this which reaches even the level of semi-competent. The most obvious flaw is a world, supposedly collapsed into anarchy and… dare I say it, Chaos, which looks utterly indistinguishable from our current one. Lawns are well-maintained, there is not a broken window is to be seen, and the neighbourhood even has a well-stocked boxing gym open. It’s truly the least convincing apocalypse ever. Into this fit our trio of heroines, who are, similarly, the least convincing saviours of the world ever. Their combat skills are negligible, and I have to assume they were cast solely for their ability to wear a pleather cat-suit (something I allow they do better than I could). Admittedly, their performances are not exactly helped by having to deliver laughable lines, such as, “Goddess power, bitch!”

The above is written as someone who has watched and, indeed, made his fair share of poverty-row cinema. The number one rule of this is: just because you can write it on the page, does not mean you can film it. You need to be permanently aware of the limitations which your lack of resources impose, and operate within them. The makers here seem to have no such idea, writing their way into a corner which a hundred times their budget would have struggled to escape. Ambition is laudable. This instead plays like a child in a cardboard box making “Vroom! Vroom!” sounds, and does not a Ferrari make.

Dir: Rebecca Matthews
Star: Rebecca Finch, Rita Di Tuccio, Georgia Wood, Peter Cosgrove

Ghost in the Cowl, by Jonathan Moeller

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

This one was probably teetering on the edge of a seal of approval, except one aspect. For what’s supposed to be book one in a series, the author spends a lot of time discussing events prior to the book getting under way, such as the tragic loss of the heroine’s true love. However, subsequent research revealed that this is not the start of Caina Amalas’s history. The Ghost Exile series is actually a sub-set of her saga, which appears to consist of no less than 26 primary works. According to the Goodreads listing, this is #11, so we are clearly well under way. I’m a little annoyed, since I never like joining stories in progress. However, this entry is strong enough to stand on its own.

It’s a fantasy setting, populated by powerful mages, alchemists and warriors, where kings and emperors battle for power and territory. As a teenager, Caina became part of the “Ghosts”, the intelligence arm for the Emperor of Nighmar. Over the following years, she acts as a spy and assassin for him, with a particular talent for disguise, though is capable of using force when necessary. Going by the title of the sub-series, she seems to have incurred the wrath of her masters somehow, and as we start this entry, has been sent to re-establish a compromised spy ring in the geographically critical city of Istarinmul. It’s a scant two weeks after losing both the love of her life and the man who had raised her, so she’s still a bit fragile. 

This likely explains why she ends up diverted off-mission, instead risking her life to rescue the children of a widowed innkeeper from the hated slavers of Istarinmul. Yet this opens the door for her to cause havoc as a near-mythical figure, the Balarigar; find out why there has been a sudden surge in the need for slaves; and trigger what may be the Giant Fireball to end all Giant Fireballs, using the occult/chemical concoction known as Hellfire. There’s plenty going on, and when Moeller concentrates on the present (rather than rehashing previous events) this is a fast-paced page-turner. I consumed the entire second half in one sitting, a rare event given my usually fractured reading habits.

Caina, at least by this point in proceedings, is a well-rounded heroine, who is skilled without being overpowered. Part of what makes her so effective is, she knows her limits and how to get things done within them. For example, she knows she can’t beat the enhanced warriors known as Immortals in a straight fight, so uses stealth to get around them. Without having read earlier entries, her dwelling in previous tragedy was a bit annoying, and didn’t add much to this entry. But with the genuine first three books of her story in an omnibus edition for just 99 cents, this still easily did enough to make buying that collection a no-brainer.

Author: Jonathan Moeller
Publisher: ‎CreateSpace Independent Publishing Platform, available through Amazon, both as a paperback and an e-book.
Book 1 of 9 in the Ghost Exile series (but see above). 

Matching Escort

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★★
“No sense nonsense.”

I was pleasantly surprised when this random kung-fu film found Tubi (under the Silver Fox title) turned out to be by the creator of Wolf Devil Woman. which was batshit crazy, but at least quite entertaining. This is, unfortunately, only half of that – and worse, it’s the insanity which is delivered, with the entertainment being only sporadic in nature. I will say, in the film’s defense, the presentation is likely not helping. There’s no subbed version I’ve been able to find, and the English language one is badly dubbed, cropped visually and is likely also cut (either that, or the editing is worse than terrible).

All that said, I didn’t feel this was up to the same level of quality as WDW, which at least had a novel story. This, is just your basis revenge item, no matter how much the trappings insist otherwise. Pearl – I’ve no clue about her character’s name, I’m not sure it’s ever used in the entire film – is brought up as part of a martial arts family, whose training methods consist of strapping heavy shoes to her feet. Just as she reaches adulthood, the other 73 (!) members of her clan are killed by a rival, in search of a jade amulet that’s the source of their power. But, naturally, Pearl escapes with the amulet, and goes into hiding.

She’s taken under the wing of the rather weird Silver Fox (Ying), who teaches her his advanced kung-fu techniques, up until he is also brutally killed. This triggers Pearl, who goes after both his killers, and those responsible for slaughtering her family. There may be a connection. There is also a roaming nobleman (Meng) and his comic relief sidekick (Seng), but up until the end, they are largely irrelevant and so can safely be ignored. The main issue is, the film sits around in Silver Fox’s underground lair for far too long: it feels as if the movie spends twice as long on the training for the revenge, as the actual revenge. While it’s a somewhat loopy environment, it gets old quickly and my interest largely died during this middle section.

Things do perk up down the stretch, with some insane battles, not least the bit where Pearl stabs a guy in the top of his head with her sword, and he then turns into a geyser of blood for a bit. This is is the kind of insanity for which I am here. Unfortunately, I didn’t feel there was enough of this, and I found the herky-jerky editing approach close to inducing a migraine: the stabs at comedy have much the same effect. The IMDb says it was written by Godfrey Ho, and I’ve seen enough of his dreck to make it seem plausible he was involved here. It’s an underwhelming kind of revenge for Pearl too, and leaves the ending falling painfully flat. Closure, it would appear, is for other people.

Dir: Sze Ma Peng, Pearl Chang
Star: Pearl Chang, Fei Meng, Shih Ying, Sek Fung
a.k.a. Fury of the Silver Fox or Venus the Cavalier or Wolf Devil Woman 2

Mayday

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★½
“Send help.”

Yes, this is one of those cases where the title is the review, because I suspect many viewers will be signalling enthusiastically for help before reaching the end. I would start off by saying something snarky, like “That’s an hour and a half of my life that I’ll never get back.” But this would imply the film actually held my attention for an hour and a half, which would.. not be entirely correct. I was in the same room where it was playing. My eyes were open. I am not prepared to commit to much more than that. I also note that at the North American box-office, it took a grand total of $4,382, including a whopping $209 over its second week of release. I trust everyone involved in the production learned a valuable lesson from this.

This is a “war of the sexes” picture thinly disguised as fantasy, which throws elements from Alice in Wonderland, Peter Pan and Lord of the Flies into a blender, in the belief that doing so makes for some kind of feminist statement. It doesn’t. Not even when you burden the cast with lines like, “You’ve been in a war your whole life, you just didn’t know it,” or “You need to stop hurting yourself and start hurting others.” It begins with downtrodden waitress Ana (Grace Van Patten) crawling through an oven in the hotel where she works, and emerging onto a vaguely WW2-era shoreline. There, she bonds with a group led by Marsha (Goth), who lure male soldiers to the beach using fake Mayday signals, sniping dead any who make it past the turbulent conditions. Because all men are predators who deserve to die, right?

It plays like an “Is caffeine-free Pepsi alright?” version of Sucker Punch, with Ana crawling into her own headspace, trying to escape the traumas of everyday life, in a world with repurposed characters. For example, Marsha is the same, reluctant bride Ana comforted in the bathroom shortly before her break from/with reality. The only element of interest was Ana’s refusal to go down the same murderous path of intent as her colleagues. though this does lead to a feeling the movie doesn’t quite know what message it’s trying to send. At least Paradise Hills, which occupied similar territory, had a gorgeous visual sense to paper over the weaker plot elements. Here, there’s no such distraction.

This is not quite the worst “young women trapped in a surreal landscape” movie I’ve ever seen. That would be the near irredeemable awfulness of non-GWG film, Ladyworld. However, that I found myself consciously comparing this to it, is not a parallel to any movie’s credit. If there’s a lesson to be learned from Ana’s eventual fate, it’s that the cure for what mentally ails you, apparently involves a psychotic break, along with some quality girl time spend living on the beach alongside a crew of Aileen Wuornos wannabes. I guess it probably works out as cheaper than therapy.

Dir: Karen Cinorre 
Star: Grace Van Patten, Mia Goth, Soko, Havana Rose Liu

Crimson, by Arthur Slade

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

The world of Illium has enjoyed a millennium of peace under its powerful queen Servilia. Though “enjoyed” might be the wrong word, since it has come at the cost of freedom, and harsh justice. A victim of the latter is 15-year old Fen, who four years previously, had her hand lopped off for stealing a trinket from a merchant’s stall. Worse follows, as she wakes up to find her hair has turned red, the sign of a “wildmage” – someone who has magical powers, an ability Servilia seeks to extinguish before it can pose a threat to her rule.

Fen is forced to leave her family, and seek sanctuary in the forest of Helwood which provides the only area outside the queen’s control. She meets another wildmage, Ithak, with the talent of invisibility, who brings her to the legendary Mansren, who lives in the centre of Helwood. History had told her he was evil incarnate, overthrown by the queen after a violent war, a thousand years earlier. But how accurate is that version? For he offers to help Fen free her sister from Servilia’s dungeon, if she helps him become whole again. But is the reward worth the cost – both personally to Fen, and for Illium?

This is a well-written page-turner, which I found myself looking forward to reading each night. It poses some interesting more dilemmas, without ever getting bogged down in them, such as the limits of personal responsibility, the veracity of the past (as Ithak says, “Those who win wars write the histories”) and the balancing of evils against each other. Fen is initially prepared to do anything to rescue her sibling; however, she gradually realizes that by doing so, she may have unleashed a more destructive force on the entire world. For Mansren’s mind has been imprisoned by Servilia in the middle of a lava lake for centuries, which hasn’t exactly improved his state of sanity, charming and eloquent as he may be.

I will say that the means by which the dilemma is resolved is perhaps a little bit of a stretch. Perhaps a greater emphasis on the powers locked within Helwood, and how Fen taps into them, might have been better. The setting also appears to be Chinese, though I’m not sure why; I was quite surprised when this suddenly cropped up. I certainly wouldn’t have guessed this from the cover, and it’s little more than window-dressing. However, the story does a lot of things right, bringing us along with Fen on her heroic arc, as she grows into her powers and learns that everything she has been told may not necessarily be the truth. Though she’s “just” a teenager, there are few of the obvious trappings of YA fiction, and it’s the better for it.

It is a little restrained on the action front, with Fen largely refusing to use her abilities against others, and in the final act, being more an observer up until the very end. However, these moral restraints help her character from becoming over-powering, and on several occasions, there’s a genuine sense of threat. With this being a stand-alone book, it is entirely possible it could end in her being forced to make a heroic sacrifice, and Slade handles that aspect particularly well. I was actually quite sad there are no further volumes, but it’s also nice to have a story which is entirely wrapped up in a fully satisfactory way. I’ll have to make do with perhaps checking out some of Slade’s other works.

Author: Arthur Slade
Publisher: Dava Enterprises, available through Amazon, both as a paperback and an e-book

Ever After

  By

★★½
“Off-centre, not dead centre”

This is not your normal action heroine film. Nor is it your normal zombie apocalypse film. While it certainly nods in both directions, it seems entirely committed to going in its own direction. My mental jury is still out on whether or not this was a good thing or not. I think if I’d perhaps been prewarned what to expect, I might have been better equipped to handle this. It takes place after the outbreak of a plague, with the dwindling number of survivors now holed up in two cities: Weimar, where infection is an immediate death sentence, and Jena, reported to be trying to research a cure. 

The mentally fragile Vivi (Kohlhof) tries to do her part by volunteering on the fences surrounding Weimar, but a brutal incident on her first day sends her into a state of shock. She tries to head for Jena on the automated train which runs between there and Weimar. On it, she meets Eva (Lehrer), who is considerably more versed in the ways of survival. When the train breaks down, the two young women have to set off on foot across country. Which is where things get increasingly odd, as they bump into characters such as the Gardener (Dyrholm), who is running a market garden in the middle of the apocalypse. The zombies themselves also begin to mutate, such as the one on a wedding dress, whose face is half plant. Is nature healing? Or is a human apocalypse not necessarily such a bad thing from the perspective of the rest of Earth’s species?

There is a fair amount going on here to unpack, and it feels like the kind of party to which you have to bring your own booze. For the film offers no easy answers; indeed, I’m not necessarily certain what are the questions it is asking. At times it felt like there was a religious aspect with the Gardener being the snake in Eden. Yet at others, it is more about the different ways Vivi and Eva come to terms with the traumas they have experienced. Vivi shuts down, emotionally and mentally, while Eva adopts a hard shell, prepared to do whatever is necessary to survive. Also of note: there are almost no male speaking roles, though it’s subtle enough not to matter [The crew are also largely women]

There are still the required moments of threat, heroic sacrifice, etc. familiar from the genre. However, these feel almost perfunctory, as if imposed on the director in some kind of contractual obligation. The film might have been better to avoid the standard beats entirely, as these feel out of line with the rest of the movie. On the other hand, if it had gone full art-house, it’s possible I would not have bothered watching it, and almost certainly wouldn’t be reviewing it here. Still, it’s an approach to the zombie film I’ve definitely not seen before. Even if this wasn’t what I expected – or wanted, to be honest – that has to be worth something. 

Dir: Carolina Hellsgård
Star: Gro Swantje Kohlhof, Maja Lehrer, Trine Dyrholm, Barbara Philipp
a.k.a. Endzeit

The Princess

  By

★★★★
“Die Hard in a castle.”

Well, this was a surprise. I was not expecting too much, this being a movie released straight to Hulu or Disney+ (depending on your territory), and starring someone best known for rom-com franchise, The Kissing Booth. Actually, scratch the “too” from that sentence. I went in on the basis that I was contractually obliged to watch it, as the guy running this site. I say this, so you’ll understand how unexpected it is to be writing this: it’s the best action-heroine film of the year so far. This is just thoroughly entertaining, and as the tag-line above suggests, is as close as I’ve ever seen to a genuine, female version of the greatest action movie of all-time. 

The first half structure though, plays more like The Raid in reverse, the heroine having to fight her way down, floor by floor, from the top of a high tower. It opens with the Princess (King) ‐ and that’s her credited name – waking to find herself in a bed-chamber. She’s being prepared for a marriage she very much does not want to happen. Her father, lacking a son and heir, intended to wed her to Julian (Cooper) for diplomatic purposes. She jilted him at the altar, and he then staged a coup, seizing her family and planning a union by force. What he doesn’t know, is that the Princess had been quietly trained by family retainer Linh (Ngo) in fighting skills, and begins working her way down, to rescue her family and stop Julian. Guess he is going to have to “altar” his wedding plans, hohoho.

It’s the kind of film which will stand or fall on its action sequences, and the good news is, these are the movie’s strongest suit. Kiet had previously worked with Ngo on Furie: that was solid, yet it now appears his imagination was bigger than the resources available to him there. Right from the start, when the Princess takes out the two attendants sent to her chamber, the fight scenes are all inventive, well-executed and assembled in a coherent manner. Now, King is no MMA fighter. However, they’ve constructed a fighting style for her character based on speed and agility, rather than strength and power. Her holding her own against bigger (sometimes, far bigger) opponents feels credible as a result. 

This reaches its height in a glorious, extended sequence, with the Princess battling her way down the tower’s staircase. It feels as if it’s 20 minutes long, such is the energy contained in it. There’s even a beautiful moment of tension releasing humour, part of a running gag involving one of Julian’s minions who is too fat for all the stairs he’s ordered to climb. Nothing thereafter, including the inevitable fight against her wannabe husband, quite reaches the same heights. Glover is good value as Julian, staying just this side of a pantomime villain. As Die Hard shows, having a memorable antagonist is an important element. He’s not quite Alan Rickman – though who is? And I do have to question some of Julian’s decisions. 

I mean, if ever I become an Evil Lord, I will choose a more definitive method of execution for my nemesis than defenestration. And if I did chuck them out a high window, it would be on the side of the building over the cobblestone courtyard, rather than the one facing the water. Though I must give credit where it’s due, for his selection of a sidekick, in whip-wielding bad girl, Moira. Kurylenko has a track record of her own on this site, most recently in Sentinelle, and builds further on that here. On the other hand, the Princess’s father is a totally ineffectual pussy, when faced with the brutality of Julian and his crew. This isn’t necessarily a bad thing though. It makes his daughter’s rebellion feel organic and legitimate, rather than some kind of obvious third-wave feminist statement. I’d rebel in her shoes too.

Speaking of which, my concerns this would end up being some kind of Statement Movie, largely proved unfounded. Indeed, some reviews criticized it for not being progressive enough. [Insert eye-roll] This is largely traditional fairy-story territory, except with a female lead who is capable of rescuing herself, rather than needing a prince to come to her aid. I would say some of the flashback scenes were superfluous, breaking into rather than enhancing the narrative progression. For instance, we know Linh trained the Princess; do we really then need to see it taking place as well? The R-rating, while welcome, seems a little at odds with the atmosphere too, which does feel quite Disney+. If you’re going R, embrace it in all its forms, I’d say. However, these are minor gripes, and this is one Disney princess I’m certainly happy to endorse. 

Dir: Le-Van Kiet
Star: Joey King, Dominic Cooper, Olga Kurylenko, Veronica Ngo

Seventh Son

  By

★★★
“Son of a witch…”

Despite generally terrible reviews, this is definitely not, by any means, a terrible movie. It is, admittedly, a fairly generic sword-and-sorcery flick, in which a hero must rise from a common background to save the world from a terrible magical threat. But it looks spiffy – the hundred million dollar budget is on the screen. If the central performance has its issues, there’s enough around the fringes to make both for an adequately entertaining experience, and also merit the existence of a review here. In particular, the main antagonist is the evil witch Mother Malkin (Moore). She escapes from the prison to which she had been confined years ago by Gregory (Bridges), now the last survivor of his order of witch-hunters.

Malkin seeks revenge, but only succeeds in killing Gregory’s apprentice, Jon Snow [okay, it’s just Kit Harrington, but this works well enough as a Game of Thrones side-quest]. With just a few days before Malkin’s powers are fully unlocked, he needs a replacement, stat. That is pig farmer’s son, Tom Ward (Barnes), whose lineage provides him with the necessary talents to help fight Mother Malkin. Maybe… Things are, naturally, complicated on the fringes, by Tom’s growing relationship with half-witch Alice (Vikander), for she is also Malkin’s niece, and if uncertain loyalties. On the other hand, Tom owns the Umbran Stone, which his mother – at the time an acolyte of Mother Malkin – had stolen from her mistress, and which multiplies the abilities of any witch who possesses it.

In other words, a smorgasbord of Young Adult fantasy tropes, and there are a few plot-holes, e.g. why doesn’t Malkin just hole up for a few days to acquire her full powers? However, the execution of things here has some positives, in particular the energetic commitment of both Moore and Bridges [It’s a Big Lebowski reunion: I leave it to you to write your own joke there]. The former delivers a no-holds barred approach, getting good support from Antje Traue as Malkin’s sister, Bony Lizzie.  The witches depicted here are certainly independent, strong women. They’re just not very nice. Meanwhile, Gregory has a clear zero-tolerance policy for witches, something which brings him into conflict with Tom, and Bridges’s mumbling feels a bit reminiscent of his performance in True Grit. Once you get used to that, it’s a far bit of fun to watch. 

I think Bodrov’s lack of Hollywood experience may have been the main issue. While Bridges and Moore are experienced enough not to need much direction, the same isn’t true of Barnes, despite his previous fantasy role as Prince Caspian. Tom is simply bland and uninteresting. If the movie had concentrated on Gregory and Malkin, I’d probably have liked it a lot more. As is, whenever the hero is on-screen, I tended to find myself admiring the pretty backdrops and production design instead. Though I’ve not read the book by Joseph Delaney on which this was based, we did review the later series entry, I am Grimalkin. Done properly, I’d certainly not mind seeing that made into a film. However, the tepid response to this killed any hopes for a franchise: Grimalkin will likely have to remain a creature of my imagination.

Dir: Sergei Bodrov
Star: Ben Barnes, Jeff Bridges, Alicia Vikander, Julianne Moore

Witch Hunt

  By

★★★
“Not-so sunny spells.”

This is set in the everyday world – but with one major tweak. Witchcraft exists, and has been outlawed in the United States by the 11th amendment. Now, government agents from the BWI seek out witches, using tried and true methods from the middle ages (the “sink test” is exactly what it sounds like), and punish those found or suspected to be practicing witchcraft. But those opposed to this have set up an “underground railroad” to smuggle the targets over the boarder to Mexico. Teenage girl Claire (Adlon) is part of one such family, courtesy of her mom Martha (Elizabeth Mitchell); Dad is out of the picture. Claire is rather ambivalent about their activism, since she just wants to fit in at school. But the arrival of Fiona (Cowen) and her little sister, siblings whose mother was burned at the stake, forces Claire out of her professed neutrality,. Especially as the investigation of the unrelenting BWI Agent Hawthorne (Camargo) gets closer to home.

This was on wobbly territory in the first half, with a few storyline flaws. Why are witches outlawed? Was there some 9/11-like incident to trigger the crackdown? And why has the government built a wall to keep them in? If they want to leave, surely that’s a victory for everyone? I was also amused that, at least initially, it appears all witches are redheads. Because, as we all know, gingers have no souls. :) There was also a scene in which schoolgirls Claire and Fiona hang out in a bar: hey, this society may hate witches, but they’re clearly more relaxed about teenage drinking. However, that scene was also where the film suddenly “clicked”, as they discussed whether the ending of Thelma & Louise had been censored because they were witches. For whatever reason, thereafter I felt in tune with what the film was trying to do. The film may have been more than a little clunky with its social metaphors, yet it was still an interesting universe to depict.

This seems to ramp up markedly after Hawthorne shows up, putting an all-too human face on the hatred, and providing a good antagonist – something largely absent in the early states. There’s a very politeness to him which makes his actions all the more menacing – a little like Hans Landa in Inglourious Basterds. The updating of old-time mythology surrounding witches also works very well: the modern version of the sink test involves the school swimming pool and, in a nod to the “kinder, gentler” era, scuba apparatus. Though as it turns out, this isn’t infallible: albeit without consequence or impact. All told, there are plenty of interesting ideas here: however, the movie falls short of merging them into an effective whole. If the generally decent performances do help paper over some cracks, there are enough still apparent, and the end result is actually a little infuriating. I suspect a moderately near-miss like this has a greater sense of unfulfilled potential than a complete disaster.

Dir: Elle Callahan
Star: Gideon Adlon, Abigail Cowen, Elizabeth Mitchell, Christian Camargo

Justice is Calling, by Justin Sloan and Michael Anderle

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

I’ve heard of the “Kurtherian Gambit” universe before, but this would appear to be the first book I’ve read which is part of it. For some reason, I thought it was more of a science-fiction series. While there are elements of that, such as anti-gravity, and the overall setting is post-apocalyptic, this entry seems more like urban fantasy. We have the almost requisite vampires and werewolves, the former represented by the story’s main protagonist, Valerie. She flees the carnage in Europe after her brother tries to kill her, accompanied only by her faithful human sidekick, Sandra. On the airship to New York, they meet Diego, who is a werepuma, and the trio become allies.

On arrival, however, their individual goals in the New World have to take a back seat. They discover that humans in the city are using the local Weres to hunt and abduct vampires, so their blood can be harvested, and used as an “elixir of youth”. Valerie isn’t standing for that, needless to say, and starts assembling a combined force of vampires and Weres, to stop the farming and go after its instigator, Strake – part of a shadowy trio who run the city. Adding a sense of urgency, is that her brother is on his way across the Atlantic, eager to add what’s left of the United States to his dominion. There’s also whispered legends of the “Dark Messiah”, a particularly powerful vampire. Could that be Valerie? Or is there someone even above her?

The cover is a bit misleading, as Valerie seems much more inclined to use the sword nestling on her hip – or even her bare hands – than anything as prosaic as a firearm. Looking at the cover, it was only then I realized, it tells me more about what the heroine looks like, than I’d gleaned from the whole novel. As events were unspooling in my head cinema, she was almost a blank space. Diego probably gets more descriptive prose. The authors do a good job of capturing her personality though, and how honour is an important aspect of it. I also liked the dry humour that occasionally popped out.

There is definitely no shortage of action: the movie of my imagination was rated a hard R for strong violence. It builds over the course of proceedings nicely. First, Valerie rescues Diego from Strake’s “Enforcers”; then she and her were/vamp loyalists mount an assault on Strake’s HQ; finally, she has to face her brother in single combat. It did skirt around the deus ex machina a bit at the end, with a convenient (and not unexpected) arrival; though wisely, this then stands back and lets Valerie handle things herself. I’m not sure the set-up here quite justifies a further seven more volumes. Yet as a quick read, this was entertaining enough to leave me at least somewhat curious to see where it goes.

Author: Justin Sloan and Michael Anderle
Publisher: LMBPN Publishing, available through Amazon, both as a paperback and an e-book
1 of 8 in the Reclaiming Honor series.