Tag: kung-fu

Firecracker

  By

★★★
“Less a damp squib than expected.”

Admittedly, I did have to pause this five minutes in, because I had a strong sense that I’d seen it before. Turns out that wasn’t the case, I was just confusing it with another Cirio Santiago movie. There are quite a few candidates, but I think it was most likely Angel Fist. For both films feature blonde Americans, going to the Philippines in search of an errant sister, and have a kung-fu scene in which the heroine’s clothing proves optional, if you know what I mean and I think you do. So confusion is understandable.

The heroine here is Susanne Carter (Kesner, who ended up becoming well-known as an Orson Welles historian!), whose sister has vanished after getting too close to a criminal gang run by Erik (Metcalfe). They are nothing if not broad in their empire, which as well as the usual drugs, prostitution and gambling, also include martial arts death matches, put on in what appears to be a supper club. Dinner and a show, as they say. This is convenient, since whaddya know, Susanne has a sixth dan black belt in such things. She uses her skills to impress Erik’s similarly kung-fu able henchman, Chuck Donner (Hinton) and get close to the operation, seeking the truth about her sibling’s fate. However, turns out there is already a police operation investigating the gang, and Susanne’s presence puts that undercover case at risk.

The martial arts here are… not great. Kesner just about reaches decent on occasion, although there seems to be clear doubling going on for the more athletic moments. However, the film certainly has no shortage of action, and some of the supporting cast are good enough that the film passes muster as overall entertainment. Easily the greatest sequence is the one where Susanne is pursued on her way home by two street thugs, and through a series of misadventures, her costume is steadily reduced, going from an evening dress and high heels to, by the end of the fight, just a pair of panties. I can honestly say I have never previously seen anyone’s bra be cut open with a scythe in the middle of a fight.

That sequence, along with the villain’s demise – bamboo stakes get shoved into both his eyes simultaneously! – and the quite glorious poster (click on the image to see it full size), are sufficient to make me willing to overlook most of the film’s obvious flaws. This is very much the kind of thing  meant, when people talk about the eighties being a golden age of action movies on VHS. This is certainly not a good movie, fun though it is to see the likes of Diaz – an almost ever-present sidekick, who was to the Philippino film industry, what Michael Ripper was to Hammer Films. Yet if I’d stumbled across this for one of my all-night video sessions during the decade, it would have left me thoroughly satisfied, having given me everything I was looking for.

Dir: Cirio H. Santiago
Star: Jillian Kesner, Darby Hinton, Ken Metcalfe, Vic Diaz

Six Hot Chicks in a Warehouse

  By

★★
“#TechnicallyTheTruth”

There are indeed, six reasonably attractive ladies here, and they do indeed spend most of the film in a warehouse. Can’t argue about that. The problems, unfortunately, are numerous, and start with the fact that 6HCiaW is not, in itself, a concept sufficient to sustain a feature. The half-dozen women in question are models, hired by moderately creepy photographer Adrian (Malam), for what he announces will be his final photoshoot before retiring. Which is a bit odd, since he looks no older than thirty. Whatevs. Unfortunately, after he overhears the models making fun of him, Ade goes a bit loopy – a situation not helped by the steroid-like substance “Pump ‘n’ Gro'” which he has been ingesting. So he locks the models up in cages, injects them with the same stuff, and makes them fight each other inside an electrified cage. As you do.

It’s a concept with appeal, especially for this site, and more or less as soon as I saw the cover, this went right into our “pending” pile. However, there was still caution. I’ve been burned on multiple occasions by films with great titles which fail to live up them. For every one that does, e.g. Hobo With a Shotgun, there are ten Assault of the Killer Bimbos. This, sadly, falls much closer to the latter, not least because it takes for-freakin’-ever to get to the stuff we want to see. We’re half way through the movie before anything of action substance happens, save for lead model Mira (Messenger) getting accosted on the way to the shoot. To get to that point, you have to sit through not one, but two interminable sequences of Adrian taking photos. Maybe when I was 12, that slice of cheesecake might have been of interest. But now, even 12-year-olds have Internet access, and this can only be called weak sauce, and tedious padding.

When the fights eventually break out… Well, credit editor Justin Black for doing the heavy lifting, because it’s largely only through his talents that the action has any significant impact. Messenger and her tattoos kinda look the part, and veteran model Ana (Crossen) has an attitude which passes muster. But I’d be hard pushed to say any of the actresses here had actual combat experience or skills. It’s much the same problem which sank Kiss Kiss, and is where Raze worked so well. If you’re going to focus so much of your film’s energy and running-time on hand-to-hand battles, you had better make damn sure those involved can deliver. Here, they really can’t, and outside of one rather nice impalement, there isn’t enough gore or nudity to justify your interest on a purely exploitational level. There certainly isn’t the plethora of guns depicted on the cover. I think there might be one. And it shoots someone only by accident. [Hey, it’s British. We don’t do firearms.] There is, however, a cricket-bat, in what I’d like to think was a loving nod to Shaun of the Dead…

Dir: Simon Edwards
Star: Jessica Messenger, Oliver Malam, Sabine Crossen, Jade Wallis

10: The Secret Mission

  By

★★★
“A video-game, trying to get out.”

The daughter of the American ambassador is kidnapped, and is being held on an island off the Indonesian coast. Conventional attempts to stage a rescue mission end badly, and pressure from the US mounts on the government to do something. Colonel John (Thomas) is in charge, and comes up with a daring plan. Well, to be honest, the word “ludicrous” might be more appropriate, or perhaps that’s just me. He recruits ten models with a range of martial arts talents – silat, wushu, archery, etc. – and in five days, his tough-as-nails second in command, Major Cathy (Anderson) will lick them into a cohesive unit, which can infiltrate the island and mount a daring rescue. “Why do they have to be models?”, I hear you asking. Again, to be honest, this is never exactly explained. Still, for cinematic purposes, we’ll let it slide, since the intent is clear: it lets them kick ass, while looking good doing so.

Any other questions? No? It’s for the best, trust me.

You should probably think of this as an Indonesian equivalent to DOA: Dead or Alive: cheesecake flavoured action, not to be taken seriously in the slightest. There are basically two section to this. The first is the group’s “boot camp,” which mostly consists of Major Cathy putting them through physical and psychological torment. There is a lot of yelling; I don’t know about you, but she certainly put the fear of God into me. Yet it’s also quite impressive, to have someone on the side of the heroines, who clearly doesn’t give a damn about being nice. There’s something almost admirable about her focus on the #SquadGoals, to the exclusion of everything else. Just don’t expect anything in the slightest as far as characterization of the “10” goes. For the vast majority, you’ll get a caption describing their skills, and that’s it.

The second half is almost one extended action sequence, depicting their rescue mission. It does slow down in the middle for a bit, after some of the team get captured. However, it then kicks back into gear for the final 15 minutes, and probably wisely, it saves the best for last. There’s a barn-storming battle, in an increasingly-flooded warehouse, pitting the best of the government forces against the best of the terrorist. The latter include their leader – technically called Paul, but whom should really be called Mr. Shouty, for his habit of YELLING EVERY LINE HE HAS TO DELIVER – and his sidekick, the tall, blonde Jane (Zavialova), whose skills are quite impressive.

As the tag-line at the top suggests, this feels more like an adaptation of a console beat-em-up. In it, you would be able to select one of the ten trainees, taking them through a series of missions under Major Cathy, which let you earn skill points which can be applied to your abilities. You then get to use these as you land on the island, battle your way across, and finally, defeat Jane and Paul to rescue the ambassador’s daughter. I can feel my thumbs twitching. But as a movie? It’s a rather imperfect 10.

Dir: Helfi C.H. Kardit
Star: Karenina Maria Anderson, Jeremy Thomas, Roy Marten, Svitlana Zavialova

Kung Fu Femmes

  By

★★½
“What happens in Vegas…”

It’s weird what you stumble across on Amazon Prime. This is the feature-length version of a web series, originally made in 10 episodes. Just based on the title and description – “Delinquent girls are trained to perform risque but dangerous kung fu fight shows in a Las Vegas now owned and operated by the Chinese Mafia.” – I thought it best to wait until Chris was not around. Mostly because I’m not sure I could have stood the dripping sarcasm. Turns out, I needn’t have worried. Everyone remains attached to their clothes, and it’s resolutely PG-13 rated. Indeed, we actually see very little of the “risque” shows mentioned, which is a bit of a shame: the fragments we see, along with the training clips, suggest it’s something I’d love to attend in Vegas.

The story is mostly about Tyler (Tomlinson), who runs the troupe mentioned for casino magnate Michael Shang (Wong). He has taken over almost all the top locations there, for example, Caesar’s Palace is now Shang’s Palace. However, you don’t get to do that without some very shady business practice. Tyler is funneling information back to the FBI, in particular Agent Cook (Lorien), with the aim eventually being to take Shang down. It’s a perilous game for Tyler to be playing, and she also has to keep up appearances, finding and training girls for the show, which Shang wants to expand to a second venue. Not helping matters is the high mortality rate among the performers, apparently.due to in-show accidents.

The good news is, the actual fight scenes are pretty good. Not necessarily Tomlinson so much, but there are plenty of other actresses who know their way around a punch. Rising star Amy Johnston (Lady Bloodfight) shows up, briefly, as one of two girls who have a brawl… over a bag of chips! There are plenty of other good examples of fight choreography to be seen, sometimes for more justifiable reasons… The bad news? The video quality flat-out sucks. I’m hard pushed to believe this was shot in the late 2000’s, because it is horribly grainy and atrociously badly colour-balanced. Skin tones are particularly notable: there are times when people look badly sun-burned and suffering from jaundice at the same time. That’s quite some feat.

It’s so blatantly nauseating that it manages to distract badly from the other aspects, which are generally okay. [There are some gaffes, such as a scene supposedly taking place in Vegas, where a building in the background sports a 213 area code phone number. Uh, that’s Los Angeles…] The pacing is a bit off, as you’d partly expect from its origins as a web series. In particular, it feels like it ends, then suddenly we get a tacked on coda that bounces to San Diego, before returning to Vegas for a finale. Still, aside from the video, it wasn’t so bad. Creator Laudati has a bunch more short little films on Prime, and I might check a few out. Let’s just hope someone bought him a new camera…

Dir: Tony Laudati
Star: Michelle Tomlinson, Phoenix Wong. Serena Lorien, Anna Yosin

Matchless Mulan

  By

★★★
“The needs of the many outweigh the needs of the few.”

I suppose this could be claimed to be a “mockbuster”, not so different from the sound-alike films released by The Asylum, e.g. Snakes on a Train. There’s no doubt this was made to ride the coat-tails of its far larger and better advertised big sister. And it’s not alone, with at least two other Chinese films apparently in production, one animated and the other live-action. But it’s a Chinese telling of a Chinese story, and as such, could also be considered as cultural reappropriation. We can’t really complain about them taking their legends back from the House of Mouse.

Even in comparison to the tone of Disney’s live-action version, this plays as rather dark. There are throat-slittings, impalements and considerable quantities of arterial spray, certainly more brutal than the PG-13 violence in Mulan. However, Mulan (Xu) starts off as a bit of a pacifist. Her first encounter with the invading Rouran forces, comes when they’re out on patrol and suddenly stumble across the site of a massacre – it’s not unlike the similar scene in the animated version. When they come under attack by barbarian soldiers, she snaps off the head of her spear, so as to be able to engage them in non-lethal combat. Mulan later explains, “I came here to replace my father, not to take the lives of others. I don’t harm others and others don’t harm me.” Needless to say, this doesn’t quite sustain, and by the end, she’s impaling with the best of them.

Another difference is that two of her fellow villagers are assigned to the same post as Mulan – they know her secret, but respect it. This helps address one of the weaknesses in the live-action version, the lack of any real relationships for the heroine, because she’s forced to keep people at arm’s length. Instead, we get a real sense of her becoming part of a cohesive unit, such as her genuine distress when one of her brothers-in-arms is captured by the Rouran. That’s a contrast to the individual-first approach of Mulan, and there’s no magic to be found either, except for the wire fu used in the battle

Which actually brings me to my main complaint, the lack of interest the film has in these action sequences. While this is in line with the original story, which didn’t go into any great detail about her military exploits, it’s something we have come to expect. On occasion, things just kinda… drift off and fade to black, while the second half, which should build to a rousing finale, contains rather too much sitting about on the battlements of a lightly besieged fort, awaiting reinforcements. On the other hand, credit for not bothering to pussyfoot around the quagmire of politics. “The film is dedicated to the People’s Liberation Army of China”, boldly states the first end credit, clearly not giving a damn for Western (or Hong Kong) sensitivities on such topics. And that’s exactly how it should be.

Dir: Yi Lin
Star: Hu Xue Er, Wei Wei, Wu Jian Fei, Shang Tie Long

Mulan (2020)

  By

★★★
“The most expensive straight-to-video release ever.”

Okay, that’s perhaps a little unfair. When this began filming, back in August 2018, who could have predicted that the summer this year would be all but wiped out [seriously: the second quarter in North America, the total box-office was $4.8 million. Last year, the same period brought in $3.3 billion] As films scrambled to re-establish themselves, finding new slots for hopeful release, post-pandemic, there were inevitable casualties, as some were left without seats when the music stopped. Probably the biggest loser was the latest of Disney’s live-action adaptations, based on the beloved animated feature of 1998.

Despite a budget estimated at $200 million, it had the misfortune to be originally scheduled just before everything went to hell. Indeed, it even had its world premiere on March 9th, but the broader release was bumped, first to July, then August, before it was cancelled as a theatrical release in the United States, instead being used as a pay-per-view title on Disney’s streaming service, Disney+. Matters were likely not helped by online comments made by the film’s star against the anti-Chinese protests in Hong Kong, which triggered calls for a boycott of the film. It was notable, even before the film was commercially available, that the Google ratings of the film were largely 1/5 or 5/5, as competing armies of review bombers sought to skew the results to their desired outcome.

As with most things which provoke extreme reactions, the reality sits somewhere in the middle. This isn’t the first live-action adaptation of the legend I’ve seen. There was previously a 2009 adaptation from Hong Kong, starring Wei Zhao as Hua Mulan. Our review of it concluded, “There’s a nice balance between the action and emotional aspects… Heavy is the head that wears the general’s helmet is the moral here, and it’s driven home effectively enough, thanks mostly to Zhao’s solid performance.” It merited 3½ stars, a little above this, though that may simply be due to the newest version being more directly compared to the animated version. That’s inevitable, especially when Disney have sampled songs from it into the new soundtrack.

And make no mistake: I love the animated version: to me, it’s the best of the “new wave” of Disney features which began with Beauty and the Beast. It has a huge emotional range, perhaps more than any other Disney film outside Pixar, and can switch on a dime, going from cheerful song to grim destruction without jarring. I will also say, this is the first I’ve seen in Disney’s live-action adaptations of their animated catalog. All the others seemed entirely redundant, but this one seemed to offer scope for a different take on the subject. It does deliver on this expectation, but I can’t help feeling that, overall, more was lost here than gained.

The live-action version certainly doesn’t manage the same breadth of emotion. For example, there are moments here which feel like they should be comic – except they’re just not funny. It’s a Very Serious tale [capitals used advisedly], almost to the point of solemn, with this Mulan at times feeling like a duty-driven automaton. It’s a thoroughly different portrayal, considering the story is almost identical. When the Chinese empire is threatened by Mongolians, under Böri Khan (Lee), the Emperor requires each family to provide one man to the army. Rather than succumb to an arranged marriage, Mulan (Liu) takes the place of her father in the draft. Though her ruse is eventually discovered, Mulan proves key to the defeat of the invaders.

This edition, however, has no musical numbers, no comic relief sidekick dragon and no romantic interest for Mulan in the shape of her commander [this was apparently excised for #MeToo reasons, but doing so ended up angering some in the GLBTQ community. Yes, apparently, Mulan/Li Shang gay ‘shipping is a thing. Who knew?] Instead, it adds Xianniang (Li), a sorceress who assists Khan, but who sees in Mulan a younger version of herself – someone forced to repress their abilities and true nature, in compliance with social norms. Their scenes have some potential in terms of dramatic conflict, but there just isn’t enough screen time for their relationship to have much impact.

It’s something the film needs, to overcome what it otherwise a distinct lack of emotion. Crouching Tiger showed a martial arts film can still connect to the viewer’s heart, and this never comes particularly close to doing so. The heroine here largely operates in a vacuum, as far as relationships go, even after her true identity is revealed. This may have been an issue recognized by the makers of the animated version. The presence of Eddie Murphy’s Mushu there now makes a great deal of sense, providing that necessary outlet, and acting as a foil for the heroine throughout her journey.

Yet, boy (or rather, girl), does it look nice. Outside of a couple of moments of slightly flaky CGI early on, such as the young Mulan jumping from a roof, this is a beautiful spectacle, clearly influenced by the likes of Hero in its use of colour. The action is well-choreographed; having Yen as leader of the Imperial army doesn’t exactly hurt, even if you wonder why he can’t defeat the invaders single-handed. After all, I’ve seen Ip Man… [Also in supporting roles, Jet Li plays the Emperor, and the matchmaker is Cheng Pei Pei, of Crouching Tiger, Hidden Dragon fame, but more relevantly here, was one of the first Hong Kong action heroines, in 1966’s Come Drink with Me] I’m definitely sorry we were robbed of the chance to see this on a big screen, as that’s the scale it deserves.

Most of the above was written within 24 hours of watching it, but now, with less than 72 hours having passed, I am seriously struggling to recall many particularly memorable moments. Overall, I can’t say I felt like the two hours were wasted, and it’s perfectly adequate as a big-budget, epic bit of wire-fu. Although, “perfectly adequate” feels like a disappointment, considering what I was hoping for, and this is not going to replace the 1998 film among my favorites, songs or no songs. 

Dir: Niki Caro
Star: Yifei Liu, Li Gong, Jason Scott Lee, Donnie Yen

Vixen

  By

★★
“Die Hardly”

This is a painfully lazy knock-off of a certain, well-known action film, in which terrorists take hostages in a multi-storey building over the festive season. This action is as cover for their actual goal, which is the robbery of a well-secured vault. But one of the inhabitants evades the initial surge, and begins to run interference. They get help and moral support over the airwaves by someone on the outside, and use the air-ducts in the building to avoid detection. Yeah. It’s like that, and you’ll probably understand why my eyes were rolling when we get the line, “Ho-ho-ho, motherfucker.” Now, there’s no doubt the makers openly acknowledge their inspiration. But pleading guilty doesn’t get you out of the crime. At least other, similarly inspired movies, e.g. No Contest  – hell, even Skyscraper – took the idea and added some of their own thoughts. This? Make the central character a woman who knows martial arts. That’s it.

That’s not necessarily a bad thing, of course. But if you’re going to get away with such glaringly obvious plagiarism, you need to be top-notch in other areas. Because this inevitably invites comparison with that certain, well-known action movie, and to put it mildly, Vixen comes out behind, in virtually every aspect. The paucity of the resources is the most obvious one. This supposedly takes place at a top-tier security conference, yet is apparently attended by a total of eight people, and takes place in a corner of a hotel ballroom, screened off by drapes. Do not expect giant fireballs, folks. Or destruction of any significant kind, since they needed their security deposit back. While Chen does her best, she is not Bruce Willis, as she goes from attendee to ass-kicker. And Bendza is certainly not Alan Rickman as the leader of the terrorists. It doesn’t help that there seems to be far too much acting in a second language going on here, particularly obvious when Chen has to use her English. Imagine Willis trying to speak Mandarin, and you’ll be in the right area.

She’s on stronger dramatic ground when speaking on the phone to her ex-boyfriend (Yang), who is her liaison on the outside, and tries unsuccessfully to convince the cops there’s a problem, and he’s not pranking them [As depicted here, Chinese police are, apparently really lazy: the investigation consists of calling up the location and asking if there’s a hostage situation. “No,” says the terrorist manning the switchboard, unsurprisingly] I also quite enjoyed Larkin as the acerbic Scottish organizer of the conference: he comes over as a low-rent version of Gerard Butler. He’s about the only person here who seems to be having fun with his role, embracing the necessary larger-than-life spirit. Otherwise, with fights that are merely okay, and take too long to show up, this feels like a poor imitation of little or no point – something even The Asylum might be a bit embarrassed to have their name on.

Dir: Ross W. Clarkson
Star: Lie-ri Chen, Luc Bendza, Byran Larkin, Yang Yang

Tribal: Get Out Alive

  By

★★★½
“You had me at homeless cannibals.”

The IMDb omits the colon from the title, making rather less sense. Though it’s not inappropriate, because sense is likely not this film’s strongest suit. Indeed, I’d be hard-pushed to call it a “good” film. It is, however, consistently entertaining, and a fine piece of B-movie making. Ex-soldiers Caitlin (Phythian) and Brad (O’Hennessy) are bailiffs… Wait, is that a thing outside the UK? Just in case it’s not, let me quickly explain: they are not quite cops, but are still legal officials who can, for example, impose evictions or collect debts.

In this case, they and their team are sent to clear a farm which was used as a camp by homeless people, with the permission of the former owner. He has now died, and his son, Richard Kenning (Dodd), wants them chucked off the land. Except, turns out dear old dead Dad was more than a bit of a mad scientist, and was using the tenants for his experiments to create a serum that would enhance human strength and speed – though reducing them to little more than animals. Caitlin, Brad and their colleagues are about to discover that, since his death, the subjects have escaped and have formed a brutal community in the tunnels below the farm. And they have no intention of leaving peaceably – or letting the bailiffs leave at all.

It’s great to see Phythian get the lead in a feature; we’ve been a fan ever since Kung Fu Darling, back in 2016. If the material here is a little basic, it does eventually give her the ability to show what she can do, albeit after a bit too much creeping around dimly-lit tunnels in the first half. Still, there’s a certain British sensibility on view here, which comes over in characters behaving more intelligently than is typical for the horror genre, and also in an unexpectedly pleasant volume of sarcasm. O’Hennessy, whom you may recognize from Game of Thrones, provides solid support, and overall, the film feels like a decent copy of Dog Soldiers. There’s the same plot core of a force finding themselves trapped and out of their depth, though Routledge isn’t able to manipulate the tension as expertly as Neil Marshall did there.

Britain also seems to be putting out some decent martial arts movies of late; perhaps the lack of guns there makes such things more plausible. Scott Adkins, probably the best screen fighter you’ve never heard of, is leading the way, but on the evidence here, Phythian and her trademark cheek-bones may become Britain’s answer to Zoe Bell. The tone is set early, after she and her partner stumble across a drug deal, and the second half has plenty of good action, building up to her confrontation with a serum-enhanced Kenning. There is a plot thread about her suffering from PTSD, though this can safely be ignored as irrelevant. Just crack open an alcoholic beverage or six, ready the popcorn, and sit back to watch Phythian kick arse.

Dir: Matt Routledge
Star: Zara Phythian, Ross O’Hennessy, Rachel Warren, Thomas Dodd

The Empty Hands

  By

★★½
“Hands of fate”

The title is the English translation of “karate,” yet seems oddly appropriate for a film which barely clears the necessary quota of action to qualify for this site. I can’t say I felt my time was wasted, as such. Yet if you’re looking for a plethora of martial arts, you’ll be disappointed, despite the poster and a story which certainly could have gone in a much more action-oriented direction.

Mari Hirakawa (Tang) is the daughter of a Japanese karate teacher (Yasuaki): she had been taught by him while growing up, but quit the sport at age ten, after an incident at a competition, and now loathes it. When her father dies, she returns to claim the dojo as her inheritance, intending to turn it into apartments and become a landlord. Only, he bequeathed 51% of it to a former student, Chan Keung (To), who plans to keep running the place, helped by the late master’s faithful henchman, the aptly-named Mute Dog (Au). After much crossing of swords between Mari and Chan, he makes her an offer. Take up the sport again, enter a karate competition and simply survive – not even win – the opening match on her own two feet. He’ll then hand over his share to Mari, to do with it as she pleases.

It’s certainly a cliched plot, yet I’d have been fine with it, providing the end result contained a good volume of high-octane action sequences. That’s not the case: there’s really only one, the first-round contest. To the director’s credit, it’s not the point in his telling of the story. Chan’s offer, for example, doesn’t even turn up until after the half-way mark. He’s much more interested in a character study of a disaffected young woman, who is unhappy with her current situation, yet isn’t sure of what she wants from life. Mari isn’t even a very nice character, not least for her affair with a married man which ends up becoming more than slightly stalker-ish. Though Tang’s performance is good enough to keep her sympathetic, if not likeable, and I found myself rooting for her to find her direction.

The ending probably becomes semi-inevitable, after we learn that Mari’s recollection of past events is not necessarily an accurate reflection of what happened. Even there, however, the script manages to subvert expectations, and it turns out that her father was clearly considerably smarter than it seemed. There are some moments which perhaps make more sense to local viewers, such as elderly people doing keep-fit, to a jaunty Cantonese pop-song whose lyrics go – and I wrote them down, they were so bizarre – “If I do not love the motherland, the sun will explode!” On the whole, it’s not a film I would recommend to site visitors, unless they are also open to art-house drama and character studies, and the score above reflects that. On purely cinematic terms, you can certainly add a half-star, possibly a full one.

Dir: Chapman To
Star: Stephy Tang, Chapman To, Kurata Yasuaki, Stephen Au

Warigami

  By

★★★½
“Card sharks”

This feature-length entity is the omnibus edition of a series created for Canadian streaming service, CBC Gem. Originally 10 x ten-minute episodes, they’ve been combined into one entity, though the joins are still pretty visible. It is, however, a brisk and generally entertaining work, with a good twist to the usual martial-arts shenanigans.

Wendy Ohata (Piggford) lives with her grandfather, a martial-arts master who is the guardian of a scroll that potentially will confer great power on its owner. Wendy has never been able to tap into her talents, until one day she meets Vincent (Bradbury) and his pal Mark (Julien) – while they are burgling her house. Their choice was not a random one: Vincent felt a strong pull towards the house, and it turns out he and Wendy are long-lost siblings. More significantly, when they are within 50 feet of each other, they both become kami-jin. Those are people who are able to manipulate the density of paper at will, turn it into a lethal weapon in their hands.

Unfortunately, when these talents are used, they attract the attention of the villainous Teramoto clan, who want to use the scroll to return Japan to a more pastoral state, blaming technology for the evils of modern life. Their leading agent is another kami-jin, Sadako (Suzuki). She kidnaps Wendy’s grandfather and holds him hostage, demanding the scroll for his release. Can she, along with her new-found brother and his pal, locate the Teramoto lair, and rescue Gramps?

The show got my attention with an opening scene where Sadako is detained at the airport – it doesn’t end well for the agents trying to hold her – and didn’t let go for much of the way thereafter. This does a good job of balancing between the serious and the silly, no small task given the potentially ludicrous nature of the skill at its heart. About the only moment where it descends into full-on silliness is when Vincent dons a complete outfit of samurai armour made from paper – and even there, you can only admire the effort involved from the costume department. Wendy and Sadako make for a solid yin and yang at the center of things, with both acquitting themselves well on the martial-arts front. Director Lapeyre also deserves credit for not letting their talents be obscured by frenetic editing.

There are a couple of plot moments which have questionable plausibility: both the Teramoto lair and its underground entrance are discovered way too easily. And the ending is rather obviously pointing towards a sequel, though it’s one I’d be interested in seeing, and hopefully the makers are given the chance to deliver it. For, given its origins, this was better than I expected from a web series. That’s especially true for the way the talents of the kami-jin are portrayed, which varies from okay to flat-out impressive, on occasion. I was left with a strong urge to find a pack of playing cards and start working on my wrist strength.

Dir: Jason Lapeyre
Star: Emily Piggford, Kai Bradbury, Miho Suzuki, Akiel Julien.