Tag: h

Hope

  By

★★
“Hope isn’t necessarily good.”

Hope (Larkin-Coyle) is an aspiring vlogger, though has not yet figured out how to make it pay sufficiently to quit her grindingly dull day job, for a boss who perpetually questions Hope’s commitment. She’s not wrong, because Hope’s heart definitely lives in the outdoors, not at a desk or in a Zoom meeting. Her particular niche of content creation is in wilderness adventures, whether that’s going up mountains, diving underwater or – as in this case – scaling a cliff-face. She then posts the videos online, so that others can live vicariously through her experience. She’s excited for her next trip, which will take her back to a part of Ireland by the ocean, which was a favourite haunt of her late mother.

However, a moment’s inattention leads to disaster, with Hope sent plummeting to the rocks below. When she regains consciousness, she finds her shin bone shattered and sticking out of her leg. With (inevitably!) no cell signal, she is thrown back on her own resources, and will have to make her way out of an increasingly precarious situation, entirely by herself. As you can imagine from this synopsis, it puts a lot of weight on the shoulders of the lead actress, and it’s all a little contrived. Initially, I expected there to be much more of her speaking to the camera, documenting events for her online followers. But the film doesn’t really go that way, favoring a more general voicing of Hope’s inner monologue.

In the main, to be blunt, you are basically watching a woman crawl across rocks for an hour, and I’m probably stating the obvious when I say that this is of limited appeal. There are some inconsistencies which seemed annoying at the time, almost as if whole scenes had been removed. One second, Hope is on a beach. The next, she’s swimming in the water – broken leg and all. Then she’s suddenly marooned in a cave. There’s also character stupidity, such as Hope’s ignorance or wilful disregard for basic survival protocols. However, there’s a third-act twist which, to be fair, goes a long way to explaining what had gone before. On the other hand, you’re left wondering if perhaps the film-makers have sabotaged the entire point with it.

A more definite problem is the sense that there simply is not enough happening here. The fall, presumably for budgetary reasons, is a simple fade to black accompanied by a scream. I will say, the sounds Coyle makes when exploring her wound are legitimately harrowing, and help sell her injury as much as the small but effective effects work on her leg. That takes care of about five minutes, leaving… 93 others, which fall well short of possessing the same degree of intensity. It feels as if the makers were looking to paint a psychological portrait, using the frame of a wilderness survival story. As someone who was expecting a genuine wilderness survival story, I’m left feeling distinctly short-changed, and a little bit cheated.

Dir: Bobby Marno
Star: Sadhbh Larkin Coyle

High Heat

  By

★★★½
“Now we’re cooking.”

Reading other reviews, this seems like an exercise in managing expectations. It is, very much, a tongue-in-cheek entry in the action genre. If you’re expecting something serious or even marginally realistic, I can certainly see how you’d be disappointed. But as a dry satire, I found it worked more often not. It takes place on Opening Night at the Etoile Rouge restaurant, where Ana (Kurylenko) is beavering away as head chef in the kitchen, while husband Ray (Johnson) glad hands things in the front of house. Except, both have a secret. Ray’s is that he ran up over a million dollars in gambling debts to Dom (WWE star Page). His creditor now intends to burn down the restaurant and make Ray collect the insurance. 

Ana is not willing to stand by and watch her life’s work go up in smoke, which is where her secret comes in. For she is a former KGB agent, and is more than capable of taking out the low-level goons Dom initially sends in. That forces the gangster to up his game, and hire some bigger guns (literally, even if the mercs demand a catered lunch should the job takes more than four hours). However, Ana has resources she can call on as well, in the shape of former fellow spy Mimi (Doubleday). Though Mimi may not be entirely pleased to get the call from Ana, given the way they previously parted company. Their unfinished business also needs to be resolved. 

Initially, it’s hard to tell this is parody, but it plays not dissimilar to Cat Run. I had my suspicions from the facile way Ray accepts his wife was a Soviet asset. But the comedic aspects really kick in with the arrival of Mimi, her sniper husband and their daughters who feel like teenage versions of the twins from The Shining. They’re as intent on working through their relationship issues – mostly through bickering – as much as helping Ana. The rest of the supporting cast are along the same lines. Larger than life caricatures, yet ones that are amusing to encounter, such as Gary the masseuse, who would rather be anywhere else than storming a restaurant occupied by a pissed-off chef.

Kurylenko still carries herself very well, both looking the part and cracking heads with some style. It’s mostly firearm action until the end, when there’s an extended brawl that offers a decent payoff. Not all of the humour works: Mimi and her husband are a distinctly mixed bag. The structure is also kinda sloppy. Initially, Dom is set up to be the big bad; by the end, he has become almost an afterthought. Yet it’s still a breezy bit of fun. I could have sworn I’d written about this before: however, I’m damned if I can find my review. I’d definitely heard of it, and can’t figure out why it slipped through the net. Although it may have taken two years, I’m glad to have finally caught up with it.

Dir: Zach Golden
Star: Olga Kurylenko, Don Johnson, Dallas Page, Kaitlin Doubleday

Hunt Her, Kill Her

  By

★★★
“Tabling the argument.”

This is fairly sparse, unfolding entirely in the single location of a furniture factory, over the course of a single night. The central character is Karen (Terrazzino), a single mother who has just taken on the job of a cleaner and overnight security guard at the premises, in order to provide for her young daughter, who is ill on the night Karen has to start work. These issues quickly pale into insignificance – though not irrelevance – when a group of masked men enter the building, looking to hunt down and kill her. With the doors chained from the outside and the phone lines cut, Karen is entirely on her own against the bigger and stronger, but fortunately not smarter, intruders.

That’s basically it, and this is definitely not one if you’re looking for complex themes or nuanced characters. It’s straightforward survival horror, with the first half closer to stalk ‘n’ slash territory, consisting mostly of Karen being chased around the labyrinthine building, hiding out and being discovered. Things do become more action-oriented the deeper we get into things. There is a certain element of fortune in the ways she defeats some of her opponents, although this is probably necessary given the size disparity, and there’s a chaotic messiness to them which is effective. The one which stands out is the death by toilet plunger (no, the other end), which is drawn out to the point where it becomes almost blackly humourous.

That said, I did still roll my eyes at some elements, most obviously when Karen disguises herself as one of the predators. It’s an unnecessary push of believability, which would have been best forgotten. On the other hand, it is nice that the damage isn’t all one way. By the time Karen gets down to the final assailant (Oakley), she’s certainly far from uninjured, and this only escalates during their battle. If you likely will not be surprised in the slightest by the identity of the last man standing, it brings a deeply personal edge to the fight, and in addition, certainly gives Karen additional motivation. The result is considerably more of a brawl than anything, neither party giving or receiving quarter, and using whatever is nearby to their advantage.

The scripting here is so bare-bones as to be positively anorexic. For example, the backstory for Karen is put over in a way which you could either call “tersely efficient” or “laughably negligible,” depending on how charitable you might be feeling. While I lean somewhat towards the former, I’d prefer it to have done so in order to get to the meat of the matter faster, in lieu of the extended game of Hide ‘n’ Seek which occupies the first half. However, the film makes good use of its setting, and once things kick off, there’s precious little slack there either. Terrazzino gives a better physical performance than a dramatic one, but given the circumstances, that’s probably the way you want it to skew.

Dir: Greg Swinson and Ryan Thiessen
Star: Natalie Terrazzino, JC Oakley III, Trevor Tucker, Hunter Tinney

High-Rise Invasion

  By

★★★
“Writer’s tower block.”

This animated series bears a certain resemblance to another Japanese show on Netflix, the live-action Alice in Borderland. Both are adaptations of Japanese manga series (Alice started three years earlier), which see a number of young people suddenly transported to a lethal and sparsely populated version of their city. There, they have to figure out how to survive, and what the heck is going on, in the face of enemies human and… well, not-so human. Both shows also manage to reach the end of their first series without achieving even the slightest degree of significant resolution, though the journey to reach that point is still reasonably entertaining, and certainly does not stint on the old ultra-violence.

The fact that High-Rise Invasion is reviewed here should give you a clue to another difference. The protagonist here is Yuri Honjō (Shiraish), a schoolgirl who finds herself on top of a network of skyscrapers connected by rope-bridges. There’s no way down – except to plummet to your death. That’s a fate encouraged by mask-wearing opponents, who appear to be mind-controlled, and whose goal is to drive those without masks to suicide. Or failing that, simply to kill them. Yuri teams up with another girl, Mayuko Nise (Aoki), who has the skills necessary to survive. They seeks for Yuri’s brother, Rika (Enoki), as well as the truth about what is going on, and a way back to the normal world.

It’s certainly a concept that grabbed my attention, and the approach here doesn’t stint on the splatter, with torrents of gore. There’s a nice variety of opponents, each of whom have retained something of their original personalities, and wield their own weapons, ranging from swords to baseballs (!). The first few episodes are excellent, with Yuri struggling to find her footing in this bizarre and murderous setting, and learn the rules by which it operates. The problem is, it increasingly feels as if these were made up as the show went along. For example, sometimes the control of a mask is iron-clad and inescapable. Sometimes, it’s basically no more than giving suggestions to a wearer who retains their free-will, and feels contrived as a result.

The larger arc is not bad. The show finishes with both sides having to team up in order to defeat the near god-level creature known as “Archangel,” who basically sees all humanity as evil and is intent on purging it from the world. By the end of the twelfth 25-minute episode, however, it doesn’t feel like you have moved enormously far or learned a great deal. Yuri is still looking for her brother. We don’t know who is running the whole endeavour, and nor is anyone much closer to finding a way out. There’s a certain unevenness of tone too, with odd moments of slapstick and panty shots, that feel at odds with the grimdark approach. I was adequately entertained, yet the apparent lack of a second season generates no great sense of loss.

Written: Masahiro Takata and Tōko Machida
Star (voice): Haruka Shiraishi, Shiki Aoki, Yūichirō Umehara, Junya Enoki

Hard Home

  By

★★★
“Home not alone”

Mary (Kessell) has a grudge, and probably with good reason, I’d say. Because the serial killer known as Diablo killed her daughter, Kelly, in a particularly brutal manner – finishing his victim off by burning her alive. With the help of information provided by FBI Agent Selena Wall (Adedeji), Mary puts the pieces of the case together, and eventually lures Diablo (Howard) into attacking her, then brings him back to her house. This has been turned into a hi-tech, maze-like warren designed to force Diablo to confront all his crimes, and in particular his murder of Kelly. Naturally, things don’t quite go as intended. Expecting rational, predictable behaviour from a serial killer was probably a mistake by Mary, despite her technological advantages.

This is certainly a novel take on the themes here: part serial-killer film, part vengeful mother flick. The script generally does a good job of dispensing information at a pace that keeps the viewer’s interest, without revealing everything up front. For example, after Mary gets injected with Diablo’s chosen paralytic drug, there’s a flashback which shows her injecting herself with the same stuff, in order to build up her tolerance, and use this to future advantage. It is a bit of a stretch that she has the perfect set of skills necessary for her task: home improvement, dark web knowledge, twelve years of Brazilian jiu-jitsu, etc. The agent funneling information to Mary is also just a little too convenient. 

If you can overlook these speed-bumps though – and I didn’t find them too problematic – there is still a good amount to enjoy. This starts with Kessell, who comes over as a significantly more credible bad-ass than Jessica Alba in Trigger Warning. She has one mission, and is absolutely not going to let anything or anyone (be they Diablo, her husband, a nosy neighbour or the authorities) get in the way of it. In the early stages after capturing Diablo, she becomes somewhat passive, sitting in her control centre and pushing buttons. But once things go off-track, she is forced into more reactive and pro-active behaviour, the film gradually picking up steam until an impressively grim ending (albeit with a rather odd coda, one I don’t quite get).

Bamford showed up here earlier this year with another film, Air Force One Down. Although this is a little lower on the action scale, up until the end where Diablo and Mary go toe-to-toe, it is balanced out by Home Hard working better in terms of plotting. If flashbacks are sometimes used as a crutch for weak writing, here they are well integrated and move the plot forward. Among the cast, in addition to Kessell, praise is also due to Howard. He doesn’t get a single line over the course of the movie, yet still manages to portray a creepy and despicable villain. However, Diablo might not be as frightening as Mary, who feels the very embodiment of irresistible force.

Dir: James Bamford
Star: Simone Kessell, Andrew Howard, Rachel Adedeji, Joseph Millson

Republic Pictures will release the film digitally on June 25. 

Hard Knox

  By

★★½
“Opportunity Knox.”

I was intrigued by this, mostly due to the presence of Penn, an Australian champion in karate who appeared (albeit, in minor roles) in a number of Hong Kong action movies of the nineties. Her blonde hair made her stand out, as one of the few gwailo women to be seen in the genre. This TV movie, intended as a pilot for a series appears to have been her swing at stardom in the West. After it fell agonizingly short, she seems to have given up on acting entirely. She now appears to be the CEO of Signal 8 Security, a private security company back in Hong Kong – the celebrity clients listed on the company’s website appear to include Jackie Chan, ironically enough.

This is, in some ways, art imitating life, as here she plays Niki Knox, who… runs a private security company. On her wedding day to Jackson (Chong), her father Darrell (Lee Majors) is put in a coma by the villainous Delicious Malicious (Kessell) – yes, that’s apparently her name – who is seeking a trio of gemstones which Darrell has been guarding. As a sideline, Malicious runs a PPV website that streams her blowing up buildings and other acts of mayhem. But the gems are the main thing, and Niki has to stop them from falling into the wrong hands, otherwise… bad things will happen.  She has to manage that with the help of former cop Steve Hardman (Calabro), who is now her employee, and despite the betrayal of someone very close to her.

Just as Cynthia Rothrock’s American movies are not a patch on her Hong Kong ones, so Penn’s action here is a pale imitation of her work in things such as In the Line of Duty V. I don’t know why I expected any more from a TV movie though, especially one making a lackadaisical effort to pass the city of Sydney off as a generic American metropolis (an endeavour largely undone by Penn’s noticeable Aussie accent). It still might have managed to work if it had stuck to a simpler scenario, just pitting Knox against Malicious, the latter chewing scenery to entertaining effect. It’s definitely a case where the sidekick outshines the main villain.

Instead, there are too many supporting characters who serve little purpose, and Calabro in particular sucks the life out of any scene he’s in. There’s no chemistry with Penn at all, and I’d much rather have simply seen this sister doin’ it for herself. As noted, I’m not sure there’s much of a stretch in Penn’s role here, yet she’s reasonably engaging. I might have talked myself into watching the show, albeit only if Steve Hardman suffered a quick and painful death in an early episode. That will remain hypothetical. For while the pilot did get a positive reaction in the United States, it appears that sales in the rest of the world were so weak, the production company was unable to proceed to series, and the project was scrapped. I’d be hard-pushed to call it a great loss.

Dir: Peter Bloomfield
Star: Kim Penn, Thomas Calabro, Simone Kessell, Jason Chong

The whole film is on YouTube, as below

Hunt Club

  By

★½
“Stupid hunts.”

Oh, dear. I appreciate that actors have to work, like everyone else. Van Dien, in particular, has a reputation in our house as someone whose name is not typically a badge of quality. But it’s sad to see Suvari is now apparently in the same career boat. I can only presume the offers aren’t exactly flooding in, if this is the work she has to take on. It’s another variant on the old Most Dangerous Game story-line. Here, it sees redneck entrepreneur Carter (Van Dien) luring in women with the promise of $100,000, while remaining vague on the details. Turns out the victims then are pursued through the forest and have to survive for 24 hours. Spoiler: they don’t.

Their latest prey is Cassandra (Suvari), who joins up after having a fight with her girlfriend, Tessa (Stojan), in the cafe where Carter and his teenage son Jackson (Peltz) are eating. This is going to be Jackson’s first hunt, though he’s… not exactly as enthusiastic about it as his father. I should not need to describe any plot elements further. If you’ve seen as many as one (1) of this kind of thing before, you’ll be able to predict almost every story beat to perfection. There is a twist, in regard to Cassandra and the motivation for her actions, which does at least explain some of the idiocy present. Otherwise, this is painfully predictable, and executed in a manner which is equally tedious, almost as if intended to suck away any tension.

It doesn’t help that none of the characters here rise about the most basic and banal of cliches, with the hunters the worst. Obviously, this kind of plot has an inevitable gender political subtext. That’s fine, except when, as here, the makers decide that’s insufficient, eschewing all subtlety to rub the audience’s face in it. Hence we get an extended sequence of Carter and the other hunters sitting around, spouting fringe subReddit BS, which could only be written by a true believer in toxic masculinity. For instance, someone actually wrote this: “We are men. We are primal, strong, sexual beings. We used to be the stronger sex.” I can state, with 100% certainty, I’ve never heard anyone speaking like that. Ever.

The women fare little better: the apparently “feminist” intent severely undermined by a relentless focus on having the women humiliated while scantily-clad. Five minutes of role-reversal at the end, accompanied – and I wish I were joking here – by a lesson in Greek mythology, does not cut it. The action is equally implausible, both in concept and execution, such as knives being thrown incredible distances into people’s foreheads, and any impact is nullified by the fact you have been given no reason to care about anyone involved. For much of the movie, Cassandra’s entire persona is “woman threatened by men”. That’s it. Don’t know about you, I need a little more depth of character – and  that turns out to be largely false. Even by the low standards of Van Dien’s filmography, give this one a wide berth.

Dir: Elizabeth Blake-Thomas
Star: Mena Suvari, Casper Van Dien, Will Peltz, Maya Stojan

Hussar Ballad

  By

★★★
“Russian off to war…”

This is an adaptation of a Russian play A Long Time Ago by Alexander Gladkov, but was inspired by the real-life exploits of Nadezhda Durova. She was a woman who basically pulled a Mulan, concealing her gender in order to defend her homeland in the Napoleonic and other wars of the early 19th century. Durova joined the army on her 23rd birthday and served honourably for a decade, even after her true gender was discovered. Tsar Alexander I was impressed when he heard about Durova, giving her a promotion after summoning the soldier to his palace in St. Petersburg. Wounded by a cannonball at the Battle of Borodino, she eventually retired in 1816, with the rank equivalent to captain-lieutenant.

Somehow this became a light and fluffy slice of musical rom-com. 17-year-old Shura Azarova (Golubkina) is an accomplished rider and tomboy, who meets Hussar officer Dmitry Rzhevsky (Yakovlev), and is mistaken by him as a brother in arms. [As usual in these things, significant suspension of disbelief is required!] When war with France breaks out, Rzhevsky returns to his unit and Shura convinces faithful family retainer Ivan (Kryuchkov) to help her join the army in disguise. She makes a name for herself as a skilled and brave courier, though her relationship with Dmitry is more adversarial than romantic. There’s a French actress on whom he has designs, triggering her jealousy. Mistaken as rivalry, Dmitry and Shura end up having a duel, though the war keeps interfering in its execution. 

All is forgiven after Shura is captured on a spying mission, Dmitry leading his platoon to the rescue, and leading to a rather decent extended fight, running through a ransacked stately home. [While the actual swordplay is no great shakes in general, the other stunts aren’t bad, including Shura leaping down off a balcony, which looks to have been done by the actress herself] The sudden moments where people burst into song are a little jarring initially, yet I got used to them – probably, again, a point of comparison to Mulan. The production is quite large in scale: there’s an opening ball sequence that’s impressive, and the battle scenes aren’t bad, albeit not quite War and Peace [though some of the costumes from it were recycled here!]

There is the obvious, and given the era probably entirely expected, patriotic theme, with discussions about defending the motherland. The film’s premiere took place on the 150th anniversary, to the day, of the previously-mentioned Battle of Borodino, a famous and bloody encounter between Russia and Napoleon’s forces – best known for inspiring the 1812 Overture by Tchaikovsky. However, it’s rarely heavy-handed, and for all its fluffiness, lack of substance and shortcomings in the motivation department, you do find yourself rooting for Shura. To be honest, perhaps to a greater degree than Dmitry, who comes off as a bit of an arrogant dick. Likely more genuinely progressive than anything coming out of Hollywood around the same time. 

Dir: Eldar Ryazanov
Star: Larisa Golubkina, Yuriy Yakovlev, Igor Ilyinsky, Nikolay Kryuchkov

The Harlequin Protocol, by Liane Zane

  By

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

This is the second novel in the author’s Unsanctioned Guardians trilogy, a prequel to her earlier Elioud Legacy series. The new trilogy presents the background of how the three heroines of the first one (all of whom were intelligence agents, though of different nationalities) met and formed their sub rosa partnership as off-the-books rescuers of female victims of sexual abuse and trafficking. In the first book, The Covert Guardian, Zane focused entirely on Olivia Markham, who would become the trio’s ringleader, describing her recruitment and first mission with the CIA. Olivia continues to be the main (and almost sole) viewpoint character here, but this installment also introduces the other members of the threesome, Capt. Alzbeta “Beta” Czerna of Czech military intelligence and Anastasia “Stasia” Fiore of Italy’s CIA equivalent, AISE.

My impression is that about two years have passed in Olivia’s career since the previous book (the date for this one, 2011, isn’t mentioned in the text itself as I recall, though it is in the cover copy; but I don’t remember any exact date for the first one.) Here as in all of Zane’s work, her knowledge of spy-craft, of the various brands, specs and capabilities of firearms and explosives used by U.S. and European military and intelligence services, and of the cultural and physical geography of a variety of European settings is a strength of the series, and never delivered intrusively. (Action here moves from Berlin to Brussels, to Prague and the Czech-Polish border region, and to Venice.)

We also get an inside look at the bureaucratic mindset of the present-day CIA (which has been negatively commented on in nonfiction writings by intelligence professionals who know about the subject), the penchant of some of its honchos for turf and ego protection, and the tendencies towards abuse of power that can be endemic in secret organizations. (The latter is a point of contact with John LeCarre’s work, though I suggested in my review of the previous book that Zane’s vision is more like that of Manning Coles or Alistair MacLean –like the latter, she does view espionage in moral terms, as properly concerned with thwarting genuine evil, but she’s also realistic about the moral shortcomings and conflicting agendas that intelligence agencies staffed by fallible humans can be prey to.)

Because the author and I are Goodreads friends, she graciously gifted me with a review copy of the paperback edition of this book, as she has with all of her books, as soon as it was published; though she knew I’d really liked the previous book, she didn’t pressure me for a favorable review, but trusted that the book would stand on its merits. It definitely did; I actually liked this one even better! What earned the added appreciation (and the fifth star) was what I felt was the heightened dimension of moral challenge and choice here, which for me often makes the difference between great and merely good fiction, and which isn’t as strongly present in the first book. Discerning what the right thing is here requires thinking for oneself, not just obeying orders; and deciding to do it comes with a real risk, not just of harm to life and limb, but of disapproval from the powerful, of serious repercussions to one’s career, and maybe of legal punishment. The strong, distinct characterizations of the three heroines, who are each very different individuals though sharing a basic gut instinct for justice and decency, is also a positive feature that makes the book stand out from the pack.

Bad language here is minor. There’s no explicit sex; Olivia stumbles on a gang rape at one point, but it’s not graphically described, and though we see the traumatized and abused victims of sex trafficking (and in one case the dead body of a victim), we aren’t forced to see what they went through. As far as Olivia’s personal life is concerned, it’s briefly mentioned that since the first book, she’s been intimate with only one man, whom she loved and expected to marry (readers of the preceding trilogy will know that didn’t happen!), but the couple’s privacy isn’t violated.

We do have a lot of violence here, and a high body count, but Zane doesn’t make it any more gory than it has to be. IMO, this trilogy should be read in order. However, I wouldn’t say that the previous trilogy necessarily needs to be read first; and it’s really in a different genre(s) than this one, so might not actually appeal to all of the same readers (though I greatly like both). This is neither obviously supernatural fiction (though readers who’ve read the Elioud Legacy will pick up on something that others won’t) nor romance. But it should appeal to all fans of action adventure and espionage fiction, especially those who appreciate heroines in action roles (here, we’ve got not just one but three ladies who can and do kick some serious evil-doer butt!).

Author: Liane Zane
Publisher: Zephon; available through Amazon, both for Kindle and as a print book.
A version of this review previously appeared on Goodreads.

Homestead

  By

★★★
“Home on the (gun-)range”

This one does take a while to reach the necessary threshold: probably only truly qualifies for the final twenty minutes or so, though it does talk a good game until that point. Also, it’s a decent enough combination of Western and home-invasion genres to that point, to pass muster. Nothing special, mind you. It just knows its limitations and is careful enough to work within them. It takes place in the Old West. whee Beth (Bernadette) and her twin children, Brian and Irene (Betsy) now live with her new husband, Robert (Krause). The trio appear to have escaped an abusive relationship, and it’s not long after a railroad surveyor pays a visit, before Irene is cheerfully telling him, she’s going to go back and kill her father some day.

Turns out she doesn’t have to wait that long to carve some notches on her gun-belt. Because the “surveyor” is actually the advance scout for a gang of outlaws. for Robert wasn’t exactly an angel in his previous life either. He was part of a gang led by Ezekiel (Scurlock) and absconded with their loot. This bit of treachery has finally caught up with him, an his old associates are now ready to make him cough up the location of what they consider their rightful, if ill-gotten gains. They arrive one night, taking the family hostage in an effort to use them against Robert. However, they’ve forgotten about Beth, who has clearly had enough of this male nonsense, and in particular. Irene, who embraces wholeheartedly the opportunity to get some practice in for her future paternal reunion.

As mentioned, we do have to take a detour before the distaff side of the family take centre-stage. Robert and Brian are more or less useless. The former’s efforts to negotiate with his former pals go about as well as you would expect, and Brian is just no good for anything, especially after getting shot in the leg. This is retaliation for his sister stabbing one of the outlaws in the foot: in hindsight, they would have been much better off shooting Irene, considering she is the one who causes them no end of trouble, the deeper we get into the movie.

Eventually, for different reasons, Robert and Brian are no longer of significance, with first Beth and then Irene, finally getting the chance to show it was a fate mistake to overlook them. It’s a very good example of firearms as an equalizer. In a physical fight, they’d have no chance against men who are clearly much larger and more powerful. However, with a gun in their hand, and a steely resolve to use it in defense of their own survival, then strength is no longer a factor. How things unfold is mostly quite predictable, to be honest, yet is done with a reasonable amount of energy. and helped by performances which all feel like they are on the same page dramatically. All told, the ending justifies the means, I’d say.

Dir: Ehrland Hollingsworth
Star: Betsy Sligh, Jamie Bernadette, Brian Krause, Scot Scurlock