Tag: h

Hunter, Warrior, Commander by Andrew Maclure

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

This may be a first, in that the heroine here is non-human – contrary to what you (and, indeed, I!) might expect from the cover. I think I may have covered various crypto-humans before, such as vampires or elves. But this is likely the first entirely alien species. I began to suspect on page 1, when I read that Sah Lee “sank her pin-sharp teeth through the thick fur of the calf’s throat, and tasted the sweet metallic tang of its young blood.” This is clearly not your average twelve-year-old. And so it proves. The story really kicks under way two years later, when Sah Lee leaves her rural village on the planet of Aarn to attend school in the city of Aa Ellet.

She is out of town on a class trip, when demons descend from the sky, causing massive death and destruction. Of course, they’re actually an alien tribe known as “outcasts”, who specialize in this kind of thing. But Sah Lee being a pre-first contact civilization, demons it is. Eventually, the rest of the galaxy, led by the super-advanced group known as “the People”, come to the rescue, but by that point, the planet is uninhabitable and most of the Aarnth dead. Sah Lee is taken aboard a ship, and vows to take revenge on the outcasts by any means necessary, which involves joining one of the galactic armies. But there will be a period of sharp adjustment from the pastoral life she had on Aarn, to being an interstellar soldier. Not drinking out of the toilet will be a start.

It’s not quite clear what Sah Lee is. Mammalian, to be sure – and that’s significant, since one of the features of the universe depicted here is that it is peopled not just by mammals, but reptilians, avians and even insectoid species, generally (but not universally) getting along. Thank heavens for universal translators. Anyway, something cat-like is probably my best guess, though quite how… furry she is, is never established. It doesn’t matter much though: her story is what’s important. And this is at its best in the relatively early stages: seeing an alien invasion from the side of the natives, then following Sah Lee as she has to adjust to a radically new and unimaginably different life. It makes me wonder what first contact will be like for Earth, when it finally happens. Potentially not good.

It’s rather less effective one she settles in, becoming fairly standard space opera. Through a special relationship with the People, Sah Lee has a cutting-edge AI and tech which does make her a bit super-powered. She breezes through every situation, even getting harshly disciplined after breaking military protocol (albeit for good reason). I’m also very unsure of the timeframe here. By the end, she’s basically in charge of her own army, and I’m guessing she is no longer a teenager. Not least because the galaxy as a whole has more or less conquered disease, meaning that violent death is about the only thing preventing near-immortality, with one character being over 172,000 years old. But again, it’s just not clear.

It is, at least, a self-contained story, rather than being volume one of a saga. The book reaches its end at an appropriate and generally satisfying point, which could go on, yet doesn’t have to. I’d have been very interested at the half-way point, when this was offering a different and original perspective on a super-advanced society – looking at it from the bottom up. Now Sah Lee is no longer in that position, she has become considerably less appealing.

Author: Andrew Maclure
Publisher: Amazon Digital Services, available through Amazon, as an e-book only.

High-Rise Rescue

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★★½
“All fired up.”

Architect Beth Davis (Bell) is just about to leave Chicago for a business meeting in Miami, when she hears there has been an explosion at the high-rise apartment building downtown, where she lives with husband Jack (Davis) and son Charlie (Arnold). Rushing back home, she finds the situation increasingly perilous, and the fire department unwilling to enter the unstable structure. Having been the person who designed the building, Beth is able to sneak in, with the aid of a sympathetic fireman, Ray Steele (Holmes, looking like a low-rent Tony Todd) on the outside, and begin the perilous climb to the 55th floor where Jack and Charlie are trapped in the bathroom.

When this sticks to the basic, Towering Inferno-like concept of Davis vs. fire, and the heroine making her way up through the burning building, this isn’t bad. There is some decent practical effects work, and although CGI is also used, it’s clear that someone is getting quite close to the flames – even if it’s unlikely to be Bell. The film switches focus frequently between her and her family, as the latter find themselves in increasing peril, despite the helpful advice offered over the phone by Ray. This is quite educational, and if ever I find myself trapped, six hundred feet above the ground and awaiting rescue, I feel I will be reasonably well-informed as to the best tactics for survival.

The problems are much more when the film attempts to build character through the backstory and dialogue, such as the subplot involving Beth and Jack’s shaky marriage, or their differences of opinion as to whether or not to have a second child (though in an admirable shift from what you’d expect, it’s Beth who is less than enthusiastic about the prospect). Watching them swapping dialogue which is so soapy, you could wash the floor with it, is painful – though likely still less cringeworthy than the scene where Ray reveals the personal life experience which resulted in him becoming a fireman. It’s ironic, since an early scene deliberately establishes that, “Fire doesn’t care who or what you are.” The same can probably be said for this viewer.

It’s all rather too implausible, from the moment live TV has a report on the explosion, within literally ten seconds of it taking place. I’m not sure the actions of the fire-brigade quite stand up to scrutiny either: the chief seems far too unconcerned about the civilians that are still present in the conflagration. I’d like to have seen them make more use of Beth’s position as the building’s architect, putting her specialist knowledge to good use, instead of all but forgetting about it, as soon as she enters the basement. The results just about skate by as a way to pass 90 minutes, mostly thanks to a decent performance from Bell. But it’s a long way short of being even disaster soft-porn, and will barely leave even a scorch mark on most surfaces.

Dir: Robert Vaughn
Star: Catherine Bell, Adrian Holmes, Greg Bryk, Sam Ashe Arnold

Hostile

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★★★
“We are the monsters.”

After an un-specified global apocalypse, humanity is reduced to small bands of scattered survivors, who have to try and scratch out survival, while avoiding the attacks of “reapers”, mutated creatures which stalk the landscape, especially after dark. One of those survivors is Juliette (Ashworth), who is on a foraging mission in the desert when an accident throws her off the road, and leaves her with a badly-broken leg. She has to wait for help to arrive, fending off the reaper (Botet) which is prowling the area, with whatever she can find to hand. As she does so, she thinks about life before the apocalypse, where she escaped drug addiction with the help of her boyfriend, gallery owner Jack (Fitoussi) – only for happiness to be fleeting, and taken away from her when multiple tragedies strike.

Initially, the structure bugged the hell out of me. Just when tension was being ramped up, with Juliette in peril and having to cope with a host of issues, simply to survive, we’d suddenly flash back to mundane reality, and thoroughly unconvincing chat between her and Jack. This happened on multiple occasions, and I was left wondering what the relevance of it all was. Beyond her apparent issues with reading, there seemed to be little or no connection. Finally, at the end, you suddenly get the point. While it’s quite a touching revelation, and the ending in undeniably poignant, I’m not sure it was enough to counter all the irritation the approach generated earlier.

The other problem, is that Turi is considerably better at the action/horror aspects, than at relationship drama. It’s a while before we see the first reaper. Juliette’s first encounter with one takes place inside a caravan where she foraging; the camera remains outside and, brilliantly, we only see the impact of her battle with the creature on the caravan, as well as hearing it, of course. When we finally see one, it lives up to what our imagination has crafted, and is creepy as hell. That’s thanks mostly to Botet’s fine work as a “body actor,” along the lines of Doug Jones. In contrast, there’s little or no wallop packed by the scenes involving Juliette and Jack, which are closer to bad soap-opera.

As noted, you eventually understand why, yet I can’t help thinking there were better ways to handle it. While necessary exposition, front-loading all the set-up, rather than spreading it out through the film, and doing so more efficiently, would perhaps have helped. I’d rather have seen how we got there from here (“there” being the post-apoc world, in case it’s not clear), than rehash every detail of what’s clearly a doomed relationship. If we’d had the reaper stalking her over an extended period, that might also have helped credibility in terms of the final revelation, and a bit more likeability for the heroine would have been welcome. As is, the good here is really good; it’s unfortunately countered by a number of significant issues.

Dir: Mathieu Turi
Star: Brittany Ashworth, Gregory Fitoussi, Javier Botet

Handgun

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★★★½
“The Equalizer”

Either by intent or accidentally – and we’ll get to that in a moment – this manages to be both an indictment of and an advert for, American gun culture. That’s quite a spectacular achievement, and it’s perhaps no coincidence that the writer/director is British, so brings an outsider’s balanced eye to a topic that’s often acrimonious in the States. Kathleen Sullivan (Young) is a teacher who has just moved from Boston to a small Texas town. She falls for local attorney Larry Keeler (Day), though is only interested in friendship, not a significant relationship. The initially-charming Larry eventually won’t take no for an answer, and date-rapes Kathleen. However, the circumstances and her attacker’s local reputation mean she gets no satisfaction from the police. The meek and mild Kathleen decides to take matters into her own hands, buying a gun and taking up combat shooting – at the very same club Larry frequents – with the aim of meting out her own brand of justice.

Director Garnett is a fairly outspoken Socialist, most well-known in film circles for his work with Ken Loach, and those left-wing beliefs appear to have informed his approach here. For example, he said in regard to this film, “America is built on genocide, has a macho culture and confuses owning guns with individual freedoms.” It doesn’t exactly make him a candidate for a film pointing out the positive elements of gun ownership. But it’s absolutely no stretch to read this as a Janie’s Got a Gun-style tale of empowerment through firearms. Yes, Larry uses his gun to coerce Kathleen into sex. However, we then see her use her gun to punish him when society fails to do so. There’s no doubt that weapons and the skills to use them are part of her transformative process, and the Kathleen we see at the end is a much stronger woman than the one to whom we are introduced. Guns, it appears Garnett is saying, are just a tool which can be used for good or evil – like any other. It’s when they become fetishized to a dangerous degree, problems like Larry arise.

This does lead to the film seeming rather ambivalent, though it’s hard to tell how much of this is due to studio interference. Garnett sold the film to the mainstream Warner Bros, and says, “I had to cut elements from the film that I now regret.” While slow-paced at times, it benefits from a good performance by Young, who is pretty without being perfect (the gap in her front teeth is a seriously eighties throwback), and can also sell the transformation believably into an angel of vengeance. Yet there’s one final twist at the end, with Kathleen stopping short of becoming what she despises, and it confirms this movie’s position as easily one of the more thoughtful films in the rape-revenge genre. You may or may not necessarily agree with what Garrett has to say, yet it’s hard to say he does a poor job of making his argument.

Dir: Tony Garnett
Star: Karen Young, Clayton Day, Suzie Humphreys, Helena Humann
a.k.a. Deep in the Heart

Hanna (TV series)

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★★½
“More is less.”

I was quite surprised to hear about Amazon taking up Joe Wright’s 2011 movie of the same name, and turning it into a TV series. There didn’t seem to be an enormous amount of point: the film was perfectly self-contained as it was, and didn’t appear to need expansion. Having now watched the eight 50-minute episodes from the first season… I’m still not sure of the point.

The first three are more or less a stretched-out version of the original movie, beginning with Hanna (Creed-Miles) and her adoptive father Erik Heller (Kinnaman) living completely off the grid in the middle of a European forest. They are re-located by the CIA black operation which had attempted to turn Hanna into a super-soldier, under the control of Marissa Wiegler (Enos – amusing to see her and Kinnaman on opposite sides, since they were partners on the American remake of The Killing), and from which Erick had freed her. Hanna is kidnapped, and taken to a secure facility, though escapes and has to make her way across Europe, solo, in order to be re-united with her father.

So far, so adequate, though the knock-off Chemical Brothers electro-noodly score served mostly to remind me of how good the original was, and we could certainly have used more of Hanna in action. It’s in the middle section that this completely loses its way. If you’ve seen the film, you’ll know on her trans-continental journey, the heroine is befriended by a British family and their daughter, Sophie (Barretto). Here after they part ways, Hanna takes a detour to Britain, hangs out with Sophie, and spends the middle episodes being a teenager, with all the annoying brattiness that entails. Was there anyone who wanted to see this? Certainly not me, and this very nearly went into the “Did not finish” pile as a result, because it’s extremely annoying.

The series does somewhat redeem itself over the final couple of episodes. We discover that the project from which Hanna was spawned, is still operating – and this comes as much of a shock to Marissa as anyone. Hanna and Erik head towards the complex which houses it, with the aim of liberating all the other proto-Hannas, pursued both by Wiegler and the combined forces of the military-industrial complex. However, not everyone necessarily wants to be rescued… The series ends on an open note, and Amazon recently announced there will be a second season. To be honest, you couls get caught up by skipping the first six episodes entirely, and just watching the movie, then parts 7-8.

The series does fill in much more of Hanna’s back-story, in particular how she became part of the project, and I also did like the way Wiegler’s position shifts over the course of the show. It will be interesting to see where she goes in the next season, since her position is now little less precarious than Hanna’s [and as we see at one point, Marissa has some skills of her own!]. On that basis, I’m not prepared to write this off yet, since it will now have to find fresh earth to till. Hopefully Farr does a better job there with original ideas, than of transforming his own work for the small screen.

Creator: David Farr
Star: Esme Creed-Miles, Joel Kinnaman, Mireille Enos, Rhianne Barreto

Hollywood Warrioress

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★
“Just because you can make a film…”

The IMDb says this is a 2016 movie. The copyright in the end credits says 2014. But shooting was apparently going on for this at least as far back as 2011, according to Internet reports. I suspect a lengthy production, shot on weekends, when the participants have some spare time, which may well explain the presence of five credited directors and eight cinematographers. Which in turns helps explains the wretched awfulness of this. Clearly a passion project for Dutch, who is its star, (one-fifth) director, (one-third) writer and executive producer, this proves that passion by itself is not sufficient.

She pulls double duty, playing both the goddess Athena, and Deborah, her chosen vessel on earth. Deb is tasked with stopping the evil machinations of multimedia mogul Girard Devereau (Young), who is kidnapping teens around Los Angeles for some malevolent purpose [a news broadcast early on puts the number of victims at 500; at the end, the number Debbie actually releases, can be counted on the fingers of one hand]. To this end, the Deborator is given ill-defined special powers, which she largely fails to use, while traipsing around Hollywood, looking for her niece, wannabe singer Anna (Andrews). She has been kidnapped by Morgana (D), one of Devereau’s minions who moonlights as a therapist. Or maybe it’s just to stop Anna from singing – in which case, we’re firmly on Team Morgana.

The best thing which can be said, is that Dutch looks good in her battle bikini. About the only genuine laugh I got from this, was when she was hit on by a pimp, who thought she might “appeal to the ‘warrior princess’ crowd”. Otherwise… Well, I initially thought it was an interesting stylistic choice to have all the fights in slow-motion. Then I realized that was actually the speed at which the “combatants” were moving. Welp. Right from the start, the digital effects are similarly inadequate. It would be charitable to say that they might have passed muster 25 years ago. At this point, you’d probably be able to match them on a mid-level iPhone.

Maybe we should nickname her Deborah “One Take” Dutch, given the occasion on which an actor obviously flubbed their line, yet the take was still used? More damning than all the technical flaws, are a storyline which has no sense of escalation or urgency to it at all. I’m not even certain I could state with confidence what Devereau’s end-game is supposed to be here. Rule #1 of movie villains: Have a clear purpose. Actually, it goes for heroes, too, and the Deb-meister is no better. Sure, she’s trying to recover her niece. Yet for someone supposedly blessed by Athena with special powers… her methods are largely indistinguishable from those of any normal person, worried about a missing relative: contact known associates and the cops. By all accounts, Dutch seems really nice, so it pains me to be so harsh, but there’s unfortunately very little of merit – or even acceptable quality – to be found here by a neutral observer.

Dir: Christine Dupree, Deborah Dutch, Chad Hawks, James Panetta and Rusty Pietrzak
Star: Deborah Dutch, Edward X. Young, Angelica Drum Andrews, Debbie D

Hellcat’s Revenge

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★★½
“Mums of Anarchy”

The leader of all-girl biker gang the Hellcats is brutally beaten and murdered, by Repo (Kosobucki). Her replacement, Kat (Neeld), tries to get to the bottom of the killing, and take vengeance on the perpetrators. Complicating matters is Repo’s position in the Vipers, another motorcycle club with whom the Hellcats have previously had generally friendly relations. Part of that is due to Kat’s on-again, off-again relationship with their leader, Snake (Kabasinski); he also has the advantage of being cosy with some of the local cops, who divert confiscated drugs back to the Vipers for resale. But was he aware of – or did Snake perhaps even order? – Repo’s actions?

This is a mix of elements that work well, and those that don’t. The characters and performances aren’t bad. Neeld nails the right “do not mess with me” attitude – even if it seemed as if some of her tattoos were rubbing off on occasion! – looking and acting the part required, as well handling the action required better than I anticipate. And normally, a director putting himself in his own film is a red flag which screams “vanity project”, yet Kabasinski is equally solid in his role. Though disturbingly, he reminded me of Axl Rose some of the time. To varying degrees, this compatibility extends throughout the cast, e.g. the cops look like cops. You’d be surprised how often that is not the case in low-budget films.

Yet other aspects come up short. Most obviously: for a biker movie, it has a remarkable lack of… well, bikes. In fact, while I may have blinked and missed it, I don’t think there is a single shot of a Hellcat on, or indeed anywhere near, a motorcycle, at any point in the film. There’s also an ambivalent approach to female nudity. While there are plenty of that low-budget staple, the strip-club scene, the men involved are strikingly bored by it. Which may be the point: yet if they’re not interested, why should viewers be? And Neeld remains resolutely clothed. If you’re going to tout having a Playboy cover-girl in your B-movie… Well, it’s not unreasonable to expect a bit more than (admittedly, impressive!) cleavage.

There are other problems: the scenes don’t flow into one another, and some seem to have needless padding in them. Here’s an example: in one sequence, Kat is being briefed by her lieutenant Stone at a railway station. Six words of meaningful dialogue are preceded by twenty seconds of Stone walking along the platform to reach her boss. In terms of content, there’s simply isn’t enough here for the length, not least because we know from the start who the perpetrator was, significantly reducing the mystery. Sure, there’s a twist, though since even I could see it coming, it won’t be sitting beside The Sixth Sense in cinematic history. Given the obviously limited resources, this still isn’t bad, and I’d not mind seeing more of Neeld. However, my attention was held only intermittently throughout, rather than consistently.

Dir: Len Kabasinski
Star: Lisa Neeld, Len Kabasinski, Deborah Dutch, Mark Kosobucki

The Heat

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★★★
“Warm, rather than hot.”

McCarthy appears to be Feig’s muse, having starred in his last four movies, from Bridesmaids through this, and then on to Spy and the Ghostbusters reboot. The results here, also fall somewhere in the middle: while decently amusing, this mis-matched cop comedy falls short of the unexpected glory which was Spy. Straight-laced FBI agent Sarah Ashburn (Bullock) is great at her job, but disliked by her peers for her officious attitude. In order to try and win a promotion, she accepts a case in Boston to locate an elusive and unknown drug lord, Simon Larkin. There, she immediately encounters and antagonizes a local cop, Shannon Mullins (McCarthy); Mullins is also a good law-enforcement agent, but the polar opposite of Ashburn, being loud- and foul-mouthed, and no respecter of authority. Inevitably, the two have to work together, and eventually develop respect and affection for each other, etc. as they solve the case. You know the drill.

The story here is incredibly hackneyed, and making the protagonists a pair of women is about the laziest twist imaginable by writer Katie Dippold. Mind you, she co-wrote the Ghostbusters reboot as well, so part of me wonders if her elevator pitches all consist of “(insert film name), but with women!” [Though for the record, she was not involved with the upcoming Ocean’s Eight] What salvages the film are the lead actresses, with both Bullock and McCarthy in equally fine form. The latter has that hyper-acidic persona down to a T, from the moment we first see Mullins, and she tells her boss, “I’ll be there sharply at go-fuck-yourself o’clock, if there’s no traffic.” Ashburn is at the other extreme, prissily tightly-wound, yet so inept personally, she has to kidnap a neighbour’s cat for affection since hers ran off. They’re a perfect match: Mullins doesn’t give a damn, because Ashburn gives them all.

It is at these two extremes when the movie is at its most entertaining, and that’s in the early going. As the film progresses, both of the characters drift towards the middle from the edges. They generally become less interesting as a result, though there’s still amusement to be had from Ashburn’s spectacularly incompetent attempts to be a bit sweary. There’s also a gloriously gory sequence, as she attempts to carry out a tracheotomy, having seen one on television. However, not all of the comedy works, and there’s absolutely no reason why this needs a running time of more than two hours. For example, the scene where they fight each other to go through a door first, goes on about three times as long as is either necessary or funny, and the scenes involving Mullins’s dysfunctional family left me entirely cold. They’d have been better off abandoning all efforts at the drug lord plot, and just given us 90 minutes of the central pair, at the Odd Couple counterpoints of their characters, and the resulting, delightful bickering.

Dir: Paul Feig
Star: Sandra Bullock, Melissa McCarthy, Demián Bichir, Marlon Wayans

Hunting Emma

  By

★★★½
“The Revenge knock-offs start here…”

Actually, that’s unfair. For this was released in its home country of South Africa in March 2017, six months before Revenge had its world premiere. But the timing of its US release, less than two weeks after Revenge, is… let’s say, “interesting”, given the strong similarities between the two films. While there are significant differences, which we’ll get to shortly, both depict the pursuit of a lone woman across a desert landscape, by a pack of men intent on making sure she doesn’t get out alive. She has to turn the tables on them, pushing past societal norms in the name of self-preservation.

Indeed, if I was the makers of Jagveld, I might be a bit miffed that they’re now faced to play catch-up in the US market. Revenge has swept in and grabbed all the plaudits, leaving their film feeling (even if it isn’t) like a mockbuster. It inevitably suffers from being second. If I hadn’t seen Revenge, this might well have got our seal of approval. Instead, it no longer feels as fresh, even if it’s by no means bad. It doesn’t have quite the same feminist subtext, bypassing the sexual assault angle. Instead, the trigger for the hunt is a car breaking down in the veldt, and while Emma (du Randt) is looking for help, she stumbles across Bosman (van Jaarsveld) and his gang, just as they’re shooting a policeman. This not being something to which they want a witness, the chase is on.

This is rather more restrained than Revenge: something of a double-edged sword, as its sibling’s excess was part of the gonzo charm. Most obviously, it’s far less gory, and also has a more prosaic explanation for the heroine’s savagery. Rather than peyote triggering a pharmacological resurrection, Emma’s dad (Meintjes) was a special forces soldier. His cynical view about the savagery of the world led him to train her in survival skills, an upbringing she rejects in favour of a career as a teacher and fervent pacifism – there’s a rather clunky subplot about her breaking up with a boyfriend because he defended himself in a fight. The lessons still stuck, and just as there are no atheists in fox-holes, there are no pacifists in desert warfare.

There’s something of the young Uma Thurman about du Randt, and the gang members offer an interesting range of characters, from the hardcore Bosman through to some of his minions, who would clearly rather be somewhere else. While they’re all meat for Emma’s grinder, some of the wounds are rather self-inflicted [even I know better than to drink untreated wilderness water, and I do not camp well…] The main flaw is its lack of a sense of escalation, something Revenge had by the crimson-coloured bucket. When I saw Bosman picking up his F-sized rifle, I was eagerly anticipating the moment it would be turned against him. At close range. By a thoroughly pissed Emma. No such luck, but I did appreciate what might be a nod to Ms. 45 in the use of an iron as a deadly weapon. Instead, it plateaus some time before the end, finishing on an “All right, I suppose” note rather than the necessary crescendo. Worth a look though. Especially if you haven’t seen Revenge yet.

Dir: Byron Davis
Star: Leandie du Randt, Neels van Jaarsveld, Tim Theron, Tertius Meintjes
a.k.a. Jagveld

Hostile Intentions

  By

★★
“Not brought to you by the Mexican Tourist Board…”

Nora (Carrere) and her two American friends cross the border to Tijuana for a weekend of partying. It doesn’t quite go as expected: the trio instead end up locked up in a Mexican police-station. When two cops on guard at the jail attempt to rape one of her pals, Nora grabs a gun and shoots them both dead. While this perhaps does solve the immediate problem, it obviously creates some rather heftier issues. The three women go on the run, assisted by another inmate, Juan Delgado (Gómez), who has the local knowledge they need to survive south of the border. It turns out Juan was just about to sneak across the American border, and he agrees that if they will fund the payment to the coyotes for him and his family, they can come too.

To say this doesn’t present a positive portrayal of Mexico as a holiday destination would be putting it mildly. Even though the incident which kicks everything off is actually the result of uncouth actions by another group of tourists, it doesn’t exactly depict the locals – the police, especially – in anything except a horrible light. Of course, this is also the poster-child for Bad Decisions Made Overseas, so it’s not as if Nora and her pals deserve to escape the consequences of their own actions. #1 would be “Going to Tijuana,” which in the mid-nineties was a major drug-hub, the local cartel being among the most feared gangs in Mexico. [In 1997, the DEA called the Tijuana Cartel “undeniably the most violent” organization.] So, my sympathy for Nora’s predicament is muted at best.

Even Juan and his family aren’t exactly sympathetic. Between cheerfully confessing that “everybody” wants to sneak across to America, and the gun-battle that breaks out between the illegal immigrants and the federal agents on the U.S. side, they’re basically walking advertisements for Trump’s wall. While this may be partly the result of societal changes over the two decades since this was released in 1995, I think it probably seemed dubious at the time, based off the poorly-considered scenes spent both at the American consulate and behind the scenes with the Border Patrol. I kept expecting these to play some role in subsequent events: never happens. 

The main positive from this is Carrere, whose portrayal of Nora provides – despite the snark above – an energetic enough heroine, pro-active rather than reactive. She especially seems so, when set beside her two travel-mates, who largely sit around bemoaning their fates. There’s no particular reason why there need to be three women here at all; the others serve little purpose, except for an embarrassing subplot where one of them slept with the other’s boyfriend. Not that this has any significant impact, thanks to the “sisters before misters” philosophy on view. If this had been a solo adventure for Nora, Carrere has the charisma to have pulled it off. Instead, we get an ill-conceived exercise, which can’t figure out whether it wants to be liberal or conservative hogwash.

Dir: Catherine Cyran
Star: Tia Carrere, Lisa Dean Ryan, Tricia Leigh Fisher, Carlos Gómez