Tag: h

Hooker With a Rocket Launcher

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promo6Some titles conceal their meaning behind layers of depth. Needless to say, this is not one of those – but it is, instead, one that demands your attention, and I was not surprised to hear that, according to its Canadian creator, Chris Greenaway,”The title definitely came first.” However, inspiration for this short came from a number of sources. Most obvious among those is Hobo With a Shotgun, the fake trailer originally part of the Grindhouse double-bill, directed by Robert Rodriguez and Quentin Tarantino, before eventually becoming a real (and wonderfully trashy) movie, starring Rutger Hauer.  But Chris says the project additionally “drew inspiration from 80s ‘hooker movies’ such as Angel and Vice Squad. As Misty’s weapon of choice indicates, we were also heavily influenced by the awesome Cannon Films action movies of the 80’s like the Death Wish sequels and Delta Force.” I’ll pause here, for anyone of a certain age to sigh nostalgically.

Lead actress Adrianne Winfield needed no convincing, having worked with Greenaway previously: “Adrianne enquired about the role when I posted a casting call so I didn’t actually have to pitch it to her at all. She really liked the premise.” The actual production was relatively quick, just 2-3 evenings – one of those a reshoot day – with between two and four hours of shooting each night. Perhaps surprisingly (or not, if you have experience of how tolerantly placid our Northern cousins tend to be!), the film-makers didn’t have any problem toting large weaponry round the streets. “We had no issues with the rocket launcher because up close it looks VERY fake,” laughs Greenaway. “We also shot at night when most people were out of the downtown area.”

Chris came relatively late to production. Originally a writer, of everything from comic strips to travel articles, he transitioned into making films after returning home in 2006, after teaching English in Japan. He recalls, “I went through a number of training workshops, and worked as a P/A on a number of sets while making the transition into writing screenplays.” He has been making web series since 2008, with six to his name so far, as well as a host of shorts, and directed his first full-length feature, Witchstalker, in 2013, which was released by Screamtime Films the following year. His IMDb filmography reads like a love-letter to pop culture and bad film, with titles such as Beach Blanket Lucha, Ninjas of the Caribbean and Escape From Ridgemont High.

But what of Misty, whose armaments would make the residents of Sin City‘s Old Town deeply envious? “The reactions have been very positive from the get go. We’ve had several very positive reviews and feedback from my existing fans on Youtube has also been great,” says Greenaway, who would like to see Hooker follow in the footsteps of its Hobo predecessor, and blossom from a trailer into a full-blown movie. “We’re hoping to do a crowdfunding campaign to make it into a feature film. Once I’m done with a few other projects I’m involved in at this time, we can go all in with this!” We certainly hope that’s a project which comes to fruition – some day, we will get to utter the immortal line, “Play Misty for me…” Here’s the film, in its glorious, full 132 seconds.

The Hunger Games: Mockingjay – Part 2

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★★★½
“Not exactly Harry Potter vs. Voldemort, shall we say”

mockingjay2Unlike the adventures of our schoolboy wizard, where the final installment took the most at box-office, this was the least successful of the Hunger Games movies. And I can see why: almost without exception, it’s a relentless downer, rather than a grandstanding finale. I have not, to this point, read the book on which it is based, so can’t say how accurately this cynical tone reflects the novel, but based on the movie, let’s just say, politicians as a species do not come out of it with a glowing portrayal! It begins immediately after the end of the events of Part 1, when Katniss (Lawrence) was attacked by brainwashed ally Peeta (Hutcherson). Meanwhile, the rebellion gains momentum and territory, as they head towards the Capitol. Katniss’s role is now as a ‘Joan of Arc’, a rally point, and she is sent into the Capitol as part of a propaganda squad. However, she subverts the mission, claiming secret orders to assassinate President Snow, although it becomes clear that the lines between “good” rebels and “evil” establishment are increasingly vague.

Perhaps more than in the other installments, it’s apparent here how good an actress Lawrence is, and how much this helps. Some of the scenes are extraordinarily impressive, such as her quietly talking to a loyalist soldier who has his gun jammed up underneath her chin. There are also some impressive moments of spectacle, such as her squad’s entrapment by a massive, rising flood of tar. Two hours of that, ending in Katniss delivering a monologue and shish-kebabbing President Snow, would I think, have been superior to the rather bloated two-parter we were given – even if it’s not as gratuitously over-stretched as The Hobbit. Still, even looking strictly at this final part, the last third (and given the film runs almost 140 minutes, that’s a fair amount of screen time)  feels more like reading the Very Deep political thoughts of a somewhat paranoid teenage boy. Virtually all nuance is replaced with the movie’s largely unsubtle whacking on the audience’s head with a copy of the script, when not tying up a love triangle, which has been an irritant for the entire series.

Even if none of the four entries managed to achieve our seal of approval (this one likely came the closest), you can’t argue with the success of a franchise which earned almost three billion dollars at the box-office worldwide, and countless more on DVD, etc. Depending on your definition, no action heroine film before this had taken even $140 million at the North American box-office; the lowest figure achieved here was more than double that. It has, unquestionably redefined the landscape and shown that, yes, girls with guns bows can hold their own in purely commercial terms. We can but hope that its success will open the door for other ventures, whether based on existing properties or fully-original ones. Though those will probably have to overcome the significant difficulty, of not having an Oscar-winner like Lawrence to anchor them. At least going by her ongoing work as Mystique in the X-Men universe, it doesn’t seem our genre’s biggest star now considers action to be beneath her – hopefully, that will continue. For there can be no question that throughout this, she was The Hunger Games’s biggest strength, and whatever its flaws overall, she gave us a Katniss Everdeen the character deserved.

Dir: Francis Lawrence
Star: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson

Hard Bounty

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★★★
“Nobody dressed like that in those days.”

hardbountyI can’t believe an IMDb reviewer wrote the above, with an apparently straight face, because it’s severely missing the point of this nudie-cutie Western. The women are certainly packing, but the large-caliber weapons on display are not restricted to six-shooters, if you know what I mean, and I think you do…  That said, I reviewed this as a girls with guns flick a long time ago, back when this site was not even a gleam in my eye. But watching it again, I was beginning to wonder if I’d seen a different movie, as the first half is entirely action-heroine free.

It focuses more on bounty hunter Kanning (McCoy), whose life is disturbed when his former partner shows up, the murderous Carver (Terlesky, whom we’ll always remember fondly for his role in another Wynorski film, the brilliantly tongue-in-cheek Deathstalker II). The tension of unresolved issues runs high between them, in and out of the saloon/brother where Kanning’s girlfriend, Donna (LeBrock sporting a British accent for some ill-explained reason) is the head girl. There’s no shortage of nudity, certainly, but that’s the only action in which the ladies take part. Then, Carver – again, for ill-explained reasons – strangles one of the saloon ladies, and high-tails it off back to the land baron who employs him. Donna and her colleagues decide to head after him and take revenge for their fallen comrade, and Kanning, fearing the worst, tails along to help them out as they go in with guns a-blazing. Ah, so that’s why I reviewed this.

It certainly isn’t saying much, but this is far better than Gang of Roses II, and arguably more entertaining than the similarly-themed Bad Girls [which I probably should review here at some point, though that would mean having to watch it again]. The players are easy on the eye, though who knew breast implants were so prevalent in the Old West, and the dialogue could certainly have used an additional polish. For example, just before heading off on her mission, Donna is told by Kanning, “You can’t do this!”, to which she replies with the immortal (for all the wrong reasons) line: “There’s only two things I can’t do. One is make love to a woman, the other one is piss up a wall. And right now, there’s only one of those I regret not being able to do.” Er… what?

The action is about what you’d expect from a modest genre entry, with a moderate amount of blood-free gun-fighting. The ease with which the whores become stone-cold killers is quite surprising, given the complete lack of any fondness for guns shown previously. However, I was just happy to see it at all, having started to question my memories from two decades previously. You need to be able to handle that this almost feels like two different films joined in the middle, with the first being a lightly-amusing excuse for lingerie and less, and the second a revenge-driven thriller. Still, I can’t say I minded either too much, and as long as you manage your expectations, you probably won’t either.

Dir: Jim Wynorski
Star: Matt McCoy, Kelly LeBrock, John Terlesky, Rochelle Swanson

Haphead

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★½
“Virtually worthless.haphead“

A good idea goes entirely to waste in this woefully-executed cyberpunk webseries, with the episodes now combined back into something more or less feature-length. The heroine is Maisie (White), who gets an entry-level job working in an electronics factory belonging to the murky Asteri*k corporation. They’re making “haptic” cables which allow computers to interface directly with the brain; the potential in this idea is massive, but here, it’s explored only in a few scenes of Maisie playing a VR game in which she controls a rabbit with ninja skills. There’s some kind of rumblings that the skills learned stick in your brain, so as you become good at fighting in the virtual world, you become good in the real world. Except, this doesn’t go anywhere either – although this is probably wise, considering White’s fighting abilities, charitably described as wobbly. Instead, the film diverts in its second half into her investigation of the mysterious death of her father (Strauss), a security guard who took an unwanted promotion so she wouldn’t have to work in the factory, only to be killed by a “haphead”. Maisie investigates this, and soon discovers things are not quite what they seemed.

The problems here mostly stem from the script which comes up with any number of initially interesting concepts, including the positive and negative uses of technology, through corrupt practices of big business… and then discards them without doing anything significantly more than bringing them up (never mind even scratching the surface), instead scurrying on to the next one. The end result is less a frothy cybernetic souffle, and more a leaden lump of undercooked plot elements strapped together with old USB cables, like the parkour which shows up for no apparent reason, other than someone thought it would be cool. Or, equally likely, the film-makers’ mates wanted to be in the film.

You don’t even need big-budgets or incredible effects to do something like this justice. The makers could, and should, have learned a great deal from something like David Cronenberg’s eXistenZ, which covered a fair amount of the same ground, but did so with a script which truly explored the possibilities of virtual reality – and saved a lot of money, because the VR world was very, very similar to our own one. Of course, no doubt it helped to have Jennifer Jason Leigh, Jude Law, Willem Dafoe, etc. However, a low budget is no excuse for a bad script: indeed, the reverse is true, if your means are limited, you’d better be damn sure your script is engaging and well-written. Throwing a bunch of semi-“edgy” cyberpunk elements on top of a story painfully ill-suited to handle them, is not an acceptable substitute.

Dir: Tate Young
Star: Elysia White, David Strauss, Joanne Jansen, Kwame Kyei-Boateng

Hellions

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★★★½
“More than a trick, yet just short of a treat.”

hellionsJust in time for Halloween comes this atmospherically and spooky tale, in which teenager Dora (Rose) has a day – and a night – to remember. It begins with her discovering that she’s pregnant, news which initially causes her to stay home and brood over her future. She changes her mind and texts her boyfriend to come pick her up; he never shows, and instead she finds herself increasingly tormented by young, masked figures, who repeatedly knock on her door. The doctor (Sutherland) makes a house call, only to discover Dora has gone from four weeks to four months pregnant in just a few hours. Dora is also being plagued by nightmarish visions sacrifice, and it becomes clear that those little figures have some very unpleasant plans for our heroine and her baby-to-be.

The religious symbolism here is not exactly subtle: Dora’s Halloween costume is that of an angel, and once you see one of the creatures dissolve when accidentally exposed to salt, it’s clear they’re from down below (well, clear if you’ve ever watched Supernatural, at least!). It’s an angle I’d like to have seen better explored. The script perhaps needs a Peter Cushing type, to pop up as Reverend Exposition and lay some groundwork, instead of forcing the audience to figure everything out on the fly, such as the rules to the occult universe this inhabity. What it does deliver, is atmosphere by the bucketload, with McDonald drenching the screen in every kind of filter imaginable, creating a world where you’re never sure what’s real, and what’s a product of Dora’s escalating and deranged imagination. It’s helped by a very creepy score from Todor Kobakov and Ian LeFeuvre, which takes the first four notes of Silent Night, and riffs on them to impressively unsettling Carpenter-esque effect.

There’s also something thoroughly striking about the image of a shotgun-wielding angel (as shown), even if the cartridges have been re-loaded with salt, and Rose makes for an engaging heroine, who manages to be smart, without toppling over into Juno-esque slappability. McDonald was also responsible for the off-kilter zombie film, Pontypool, and the film is at is best when Dora is engaged in an Assault on Precinct 13-style – again, more Carpenter – battle against the ongoing siege of the hellions, with the help (or is it?) of a local cop (Patrick). Unfortunately, the story can’t quite sustain that pace, and runs out of steam notably in the final reel, which brings us round to where the film started, with Dora waking up in hospital. You could do worse in terms of a choice for your own Halloween viewing than this; if not quite a full-size chocolate bar, it’s definitely better than a stale Tootsie Roll.

Dir: Bruce McDonald
Star: Chloe Rose, Robert Patrick, Rossif Sutherland, Rachel Wilson

Hot Pursuit

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★★½
“Colombia 1, America 1.”

Your tolerance for this may well depend on your fondness for Modern Family, in which Vergara plays Gloria, who is much the same character: a Colombian spitfire trophy-wife. It works rather better there, as part of the broad palette of distinct individuals, and in an episode that lasts 30 minutes, including commercials. You get the sense she might not be too easy to live with, and the 85 minutes here does sometimes become more a slog than a pleasure, and we speak as big fans of Family. Here, rather than the wife of a closet magnate, Daniella Riva (Vergara) is married to the henchman of a drug lord, who gets gunned down after agreeing to testify against his employer  (Cosio), just as the straight-laced Officer Cooper (Witherspoon) arrives to escort them to court. When it becomes clear some corrupt cops are in on the action, Cooper and Riva are forced to strike out on their own, making for an unlikely odd couple, whose spiky relationship grows over the course of their unscheduled road-trip.

It’s certainly far from novel, and the whole concept is so well-worn and utterly predictable, the script might as well have grooves and be mounted on rails. This is not a film to watch if you want to be surprised, in any shape or form; it’s more like a comfy jersey, that you pull on, knowing exactly what to expect. As such, there are some moments which are genuinely amusing, such as when Cooper ends up coked-up by (literal) accident, chattering away like a highly-caffeinated dolphin. It’s not Witherspoon’s first entry here either; back in her early days, Freeway won our Seal of Approval, and more recently, we also reviewed Wild, which had her stepping out into the wilderness. This is a more obvious role, in more ways than one; like the story, Cooper is over-familiar from a hundred other comedies, and making her a woman isn’t sufficient deviation to create interest. Witherspoon certainly tries, and the effort is palpable; however, there’s only so far effort can take you, given such lazy writing.

With Vergara, the problem is almost the reverse; Riva certainly has more of an arc than Cooper, and is given some genuine motivation for her actions, rather than existing purely because the plot demands it. However, if you’ve caught one episode of Modern Family, you’ve already seen all this performance has to offer. It probably says a lot, that Vergara’s turn in Machete Kills offered a more highly-nuanced approach to acting. I’m thinking this is probably the first time Machete Kills and “highly-nuanced” have ever been used in the same sentence. The end result just about manages to skate by on the charisma of its two leads, and I can’t say we were ever bored; that hardly counts as anything even approaching a glowing recommendation, however, and you should be in a thoroughly undemanding mood before approaching this one.

Dir: Anne Fletcher
Star: Reese Witherspoon, Sofia Vergara, Robert Kazinsky, Joaquín Cosio,

The Hunger Games: Mockingjay – Part 1

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★★★
“The beginning of the end.”

mockingjay1The makers go the Twilight and Harry Potter route here, dividing up the final entry of the series into two parts – presumably so as to maximize revenue. I can’t say how justifiable that is, or how this entry relates to its inspiration, because unlike the other two films. I have not yet read the last book. With this being a “half adaptation”, I didn’t want to end up getting ahead of myself, though I’ll probably end up doing so between now and when the second half comes out, in November. What was notable – and somewhat disappointing – is how passive heroine Katniss Everdeen (Lawrence) had become. After spending the first two movies taking the battle to those who sought to repress her, albeit more by accident after her sister was unfortunately selected for the Hunger Games, we left her having escaped the system’s clutches and flying to the legendary District 13, not quite as destroyed as she thought. Here, we discover they had retreated underground, and were now continuing to foment revolt against Panem. They want Katniss to be the figurehead for their rebellion.

And that’s the key word here: figurehead. Outside of a morale-boosting trip to a hospital, which goes horribly wrong, she doesn’t do much [as an aside, I was left wondering if those running the rebels knew or expected the trip’s repercussions, but did so deliberately that they could exploit the consequences for their own ends]. For instance, there’s a rescue mission sent into the capital to retrieve Peeta (Hutcherson), but Katniss stays at home – instead, it’s led by the other corner of that love triangle, Gale (Hemsworth). About the only sequence with any protracted sense of danger is when she’s running around the rebels’ complex, trying to find her little sister and their cat, before a government bombing raid reduces everything outside the deepest levels to rubble. While somewhat reminiscent of Ripley going off to look for Newt at the end of Aliens, it really isn’t anything like a substitute for the linear and more effective approach taken in the first two films. As noted, however, it’s probably unfair to judge this as a standalone film, and it should really be seen as the first half of a single, four-hour epic. I trust the remainder will take care of the action shortcomings here.

What works well, is the increasing awareness of, for want of a better phrase, shit getting real. This isn’t a televised spectacle any more, whose impact is limited to those about whom Katniss cares: it’s much broader in scope, and you can see the weight hanging on our heroine’s shoulders. Credit also due here to Julianne Moore as President of the rebels, Alma Coin, who has an over-arching world view that Katniss can’t quite see initially. But by the end of it, you get the sense she has become rather more pragmatic and realistic about the situation. Later this year, we’ll see how the whole saga wraps up, and I’m just hoping it’s more Lord of the Rings than The Matrix in terms of series finales. It has already reconstructed the landscape for action heroines, showing they can hold their own and appeal to a broad audience. But we still need the last installment to be a rousing success, both financially and critically, to keep pushing the genre forward into 2016, and beyond.

Dir: Francis Lawrence
Star: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson

Heavenly Sword

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★★
“Not even deserving a console-ation prize.”

heavenlyswordI wasn’t aware this was based on a video-game, until I started watching it and saw a Sony Playstation credit. In fact, I wasn’t particularly aware that it was animated. Neither would necessarily have made much difference, I guess, but forewarned is forearmed. Maybe knowing the game would make this better? Or maybe not, since that wouldn’t address either of the two main problems here: a storyline crafted entirely from bad pulp fantasy, and animation that works very nicely for action scenes, but is useless at portraying any kind of emotion. To start with the former, there’s a drinking game to be played here: take a swig every time a clichéd story element shows up. On second thoughts, I like my readers unencumbered by alcohol poisoning.

There’s an all-powerful sword, which is guarded by a tribe. Evil king Bohan (Molina) wants the sword, because it, in the hands of the ‘Chosen One’, is prophesied to be the only thing that can destroy him. He attacks the tribe, scattering them to the winds: Noriko (Torv) is given the task of protecting the sword, and bringing it to her half-brother, Loki (Jane) who is the intended bearer. Except, of course, he isn’t where he’s supposed to be, having left his village to become – oh, the irony – a blacksmith in the massive fortress complex belonging to Bohan. So, Noriko, along with sister Kai (Ball), who refers to herself in an irritating third-person way like Gollum with cat-ears, have to head into the heart of enemy territory, with Bohan in hot lukewarm pursuit. However, the ‘Chosen One’ turns out not to be who we’ve been told at all.

This is my unsurprised face.

I don’t like the CGI style here: for too much of the time, this like watching a cut scene from a video game. There are occasional interludes of more-traditional animation and this works rather better: I’d prefer to have seen the whole thing done that way, to be honest. However, I will admit that, when in motion, the flaws are much less obvious, and the final battle, pitting Noriko against an army is impressive; it’s actually credible that she could kick their ass, more or less by herself. The ending does go in a different direction from what was expected, and has a certain poignancy, albeit spoiled by an unnecessary sequel-generating scene during the end titles. Torv and the other voice actors do what they can, but that isn’t much, given their characters’ faces express about as much emotion as an anaesthetized Shaolin monk. The late Roger Ebert once famously said that video games “can never be art.” While I disagree with him, for a number of reasons not relevant here, watching this, I can kinda see from where he was coming.

Dir: Gun Ho Jang
Star (voice): Anna Torv, Alfred Molina, Ashleigh Ball, Thomas Jane

The Huntresses

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★★★
“Charlie’s Korean, Medieval Angels”

During the Joseon era in Korea, a trio of bounty hunters, Jin-Ok (Ha Ji-Won), Hong-Dan (Gang Ye-Won) and Ga-Bi (Son Ga-In), work with their agent, Moo-Myung (Ko Chang-Seok), capturing wanted bandits. But they get a different task, after a King’s envoy carrying an encoded message is the latest courier to go missing, and are charged with bringing him in. Needless to say, it’s not a simple task, and they find themselves facing a host of players opposed to the King receiving the message, which would threaten the fragile relationship with the Chinese emperor. But there’s also a personal angle, as Jin-Ok finds herself face-to-face with the man she remembers as having killed her father.

Huntresses-Poster-5Huntresses-Poster-1Huntresses-Poster-4

Early on, it becomes abundantly clear that this is not intended to be taken entirely seriously, probably from the time one of the heroines whips out her yo-yo, and takes out an entire platoon of enemies, Sukeban Deka style. Indeed, it’s probably the comedic elements that work best, such as the constable who follows him around, convinced his camo skills will stop him being seen – in a rarity for the humour often seen in Eastern films, it’s a joke which could have been used more, rather than being driven into the ground as normal. However, it feels that this lack of seriousness was taken by the makers as a reason to slap together the story, which lurches from set-piece to set-piece without any sense of logic or narrative flow – and don’t even get me started on the whole “dramatic amnesia” suffered by Jin-Ok.

It’s also fairly obvious the actresses aren’t doing very much of their own action, putting them behind Drew Barrymore et al, and in another galaxy, far, far away, from the participants in another cinematic cousin, The Heroic Trio. Ha probably comes off the best of the three, but there’s an awful lot of scenes which consist largely of close-ups of the actresses flailing wildly, intercut with wide shots from behind of someone competent. However, it still passes the time easily, particularly after all the parties involved end up in the port city of Byeokrando – or, at least, a convincing CGI imitation thereof. This allows plenty of scope for some impressive bits of combat, regardless of who’s actually doing them, as well as exploding pagodas, and other chunks of mass destruction. It also helps that the performances are solid from just about everyone concerned, which shores up the flimsy constructs of the storyline.  I’m informed that the Korean title translates as “Three Beautiful Musketeers of Joseon,” and that’s probably an accurate an overall summary as the preceding 400 words.

Dir: Park Je-Hyun
Star: Ha Ji-Won, Gang Ye-Won, Son Ga-In, Ko Chang-Seok

How I Live Now

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★★★
“My Sweet Sixteen Teenage Armageddon.”

howilivenowThe extraordinarily surly teenager Elizabeth (Ronan), who loudly insists on being known by everyone as “Daisy,” is sent from American to spend the summer in rural Britain with relatives. Unsurprisingly, she hates it – at least, until she meets Eddie (MacKay), a local brooding hunk for whom she falls. Fate throws a spanner in the works, however, as escalating tensions eventually lead to a nuclear attack on London and the outbreak of World War 3, against an un-named foe. The kids try to fend for themselves, but the boys and girls are forcibly separated, with Daisy having to take care of young cousin Piper (Bird). Turning her willpower to topic other than, as she says, not eating chocolate, she and Piper escape the camp where they are being used as forced labour, and begin the hazardous trek back to where Daisy is sure Eddie is waiting.

The best thing here by far is the heroine’s character arc. In the first two minutes, it’s established what a totally unlikeable bitch Daisy is: she has clearly made up her mind to hate the trip and everything about it, and the audience hates her for the obvious narcissism. But by the end, she has been forged in the fire of adversity and completely transformed in just about all aspects of personality, to someone who has learned that it’s much better to live your life for others than for yourself. As Chris noted, it’d be funny if the whole thing had just been a set-up by her (unseen) father, just to teach his whiny daughter a good lesson. That isn’t the case: what it is, is another powerhouse performance by Ronan, backed by solid work from the rest of the young cast, particularly Piper, who could gives the likes of Abigail Breslin and Dakota Fanning a run for their money in the Adorability Stakes.

Probably the main weakness is the abruptness of the relationship between Daisy and Eddie. It probably needed more time taken to develop it, because as things stand, it seems Daisy falls head over heels for him at about the second glance. On the other hand, I’m quite glad it didn’t because it’s the kind of standard, young adult cliché which we’ve seen far too often before [this was based on a book from the genre by Meg Rosoff]. Much more satisfying is the second half, when Daisy is forced entirely into relying on her own skills, and becomes a much more interesting character as a result. Director Macdonald got his start in documentary film-making and brings much of the same urgency to proceedings here, not soft-pedalling the brutality and violence of armed conflict. Like a more contemporary version of The Hunger Games, it shows how inner strength can be found in the most surprising of places, and Ronan cements her position as one of the leading young action heroines in Hollywood.

Dir: Kevin Macdonald
Star: Saoirse Ronan, George MacKay, Harley Bird, Tom Holland