Tag: netflix

True Spirit

  By

★★½
“Plain sailing.”

This blandly inspirational tale from Australia is based on real events. In 2009, sixteen-year-old Jessica Watson (Croft) set sail out of Sydney Harbour, intending to become the youngest person ever to sail around the world solo and unassisted. 210 days later, she returned to Sydney safely. There: I’ve spoiled it for you. Oh, alright: in between departure and arrival, stuff happens. There is also some stuff which happens before she leaves, with certain parties questioning whether she is fit to carry out such a dangerous voyage, citing her lack of age and ocean-going experience. A close encounter between Jessica’s boat the Pink Lady and a freighter, while on a test sailing trip, only seemed to confirm there was good reason for concern.

Still, with the backing of her mom (Paquin) and dad (Lawson), as well as her sailing coach Ben Bryant (Curtis), she intends to prove them wrong. Ben is on a bit of a quest for redemption himself, his reputation as a sailor having been damaged by the death of a crew member on his watch. Just to confuse matters, no such person existed: he’s a composite of various people who helped out, and exaggerated for dramatic purposes. Speaking of facts, while Jessica did go around the world, her journey was not long enough to qualify for the official record (the closer to the poles you go, the less distance is needed). This is something the film effortlessly ignores. I guess being the youngest person to kinda do something is less interesting.

I think my main complaint is how mundane much of the 210-day journey was. A couple of storms, including one on the final leg, along the South of Australia, is about as dramatic as it gets. Otherwise, Jessica gets a bit whiny after the Pink Lady is stuck in the doldrums for a week, and has some encounters with dolphins (though I suspect these might have been digital!). That’s really about it. It’s all reasonably well-handled from a technical perspective (except for some ropey storm CGI), and Croft’s portrayal of the young heroine is decent. She’s not depicted as some kind of saint, and is given a good deal of personality, so you will find yourself rooting for her to succeed.

There just isn’t very much sense of danger here. Part of it may be the factual nature of the store: we know she survives, even subconsciously, negating any genuine feeling of peril on the high seas. But it hardly seems like she was “solo”, being in almost perpetual contact with Ben and her family through a sat-phone, and even posting regular entries to a vlog online of her trip. Obviously, having her sitting around on a yacht by herself might have been more challenging from the film’s perspective, but as is, this feels more like a slight challenge, akin to going on holiday by yourself for the first time, rather than the life-threatening endeavour it actually was.

Dir: Sarah Spillane
Star: Teagan Croft, Cliff Curtis, Anna Paquin, Josh Lawson

The Mother

  By

★★★
“Jenny from the Glock.”

It has been a very quiet year for big-budget action heroine movies so far. Here we are, more than one-third of the way through 2023, and this Netflix Original is likely the highest profile entry to date. There is a certain pedigree here, albeit of the direct-to-streaming variety, with director Caro having also helmed the (considerably more expensive) live-action remake of Mulan, which went straight to Disney+. Lopez has dabbled in the action field before, including the likes of Anaconda and Enough, but this is certainly her first full-on entry into our field. The results are workmanlike, and occasionally reasonably impressive, but there’s nothing outstanding or original enough here to make much impression.

Lopez plays an unnamed former soldier – “The Mother” is all even the credits call her – who gets involved with a pair of arms dealers, then betrays them to authorities. In revenge, one of them, Adrian Lovell (Fiennes) finds her and stabs her heavily pregnant belly. The resulting baby daughter survives, but the mother is convinced to give her child up for adoption, and vanishes off the grid herself. 12 years later, she’s told by FBI agent William Cruise (Hardwick), whose life she previously saved, of am impending kidnap attempt on her daughter, Zoe (Paez). The mother comes out of hiding to protect Zoe, though re-establishing any kind of relationship proves difficult. Not least, because Lovell is still intent on getting his revenge. Still, bonding over wilderness survival training salves all emotional wounds, apparently.

It’s all fairly straightforward, and you can likely predict where the film is going to head, at any given point. At 117 minutes, it feels somewhat too long, and there’s a split in focus as far as the antagonist goes, with Gael García Bernal playing arms dealer Héctor Álvarez. I wonder if merging his character with Lovell would have made more sense. There’s also too much time spent on the relationship between Zoe and her mother, along with a painfully obvious metaphor in the shape of a wolf bitch and her offspring, which teeters perilously close to dead horse territory much of the time. It doesn’t help that Paez has a severe case of Resting Teenager Face, and I found it almost impossible to care about her.

The film is considerably better when the characters stop speaking and begin chasing, stabbing and shooting each other instead. Even if the action sequences are sometimes over-edited, they are decently staged, I particularly enjoyed a chase, involving the Mother using her feet, a motor-cycle and a car, through the streets of “Havana” (actually Las Palmas in the Canaries). Now and again I could believe that Lopez was not just sitting in her trailer, letting her stunt double do all the work. Like most Netflix Originals e.g. The Old Guard, this will pass muster as entertainment, before vanishing off the front page of the streaming service, and heading into long-term obscurity, forgotten by most who saw it.

Dir: Niki Caro
Star: Jennifer Lopez, Lucy Paez, Omari Hardwick, Joseph Fiennes

Enola Holmes 2

  By

★★★½
“The fair sex is your department.”

I had forgotten how much I really did not like the original movie. It’s particularly hard to believe, because this sequel is a significant improvement in just about every way. Most of my criticisms from the review seem to have been addressed. For example, the most annoying character, Enola’s mother, played by Helena Bonham-Carter, is all but absent, and the second most useless role, aristocrat Lord Tewkesbury (Partridge), is considerably less irritating, serving an actual purpose. Sherlock Holmes (Cavill) is shown to be the great detective, familiar from Conan Doyle’s stories. Last but not least, Enola (Brown) is a more mature, less precocious character, and even her fourth-wall breaking seems more natural and less an affectation. 

The story is better too. It begins with Enola, now trying to make her own way as a detective, is engaged to look for a missing young woman, who has vanished from her match factory job, after purloining some documents from the owner’s office. Digging into this brings Enola into a web of corruption extending high up in the government, and eventually overlaps with Sherlock’s investigation into financial irregularities in the Treasury department. Enola finds herself framed for murder by the shadowy Superintendent Grail (Thewlis) of Scotland Yard, and has to avoid the authorities’ grasp, while working with her brother to untangle the web of intrigue. It doesn’t quite all work – the overlap with Sherlock’s case is never well explained – yet it is almost always interesting and entertaining. 

The biggest step up is likely Brown’s portrayal of the heroine. Two years is a long time for a teenager: we saw our own daughter go from a problematic 16-year-old to an 18-year-old human being, and much the same transformation has occurred here. Similarly, Enola now seems like an actual person, not the artificial character created for a book. Her relationships – especially with her brother, though also with Tewkesbury – reflect this, and seem like the kind real people would have. The near-absence of showboating feminist Eudoria Holmes helps, though there are still moments that may provoke slight to moderate eye-rolling. I’d say the finale at the match factory falls into this category, and is certainly unnecessary. 

The action feels at a slightly lower, or at least, less frenetic level. The main set-piece is Enola’s breakout from prison (this is also where her mum shows up, along with her martial arts teacher sidekick). It’s not bad, though does feel more like a duty, and an add-on instead of an organic part of the movie. The incorporation into the plot of an actual event, the matchgirl strike of 1888, is a nice idea, grounding the plot, though does become a vehicle for some obvious soap-boxing. “Radical” maybe isn’t quite the compliment the film thinks. In the main, however, this was a very pleasant and unexpected surprise, whose 130 minutes seemed considerably shorter. Bring on a third installment, and hopefully sooner rather than later. 

Dir: Harry Bradbeer
Star: Millie Bobby Brown, Henry Cavill, Louis Partridge, David Thewlis

Borrego

  By

★½
“Borrego? BORE-rego, more like…”

Sorry, couldn’t resist it. For the recent string of suboptimal Netflix movies continues with this tedious bit of work, which feels like the first journey across the South Californian desert filmed in real time. It begins with Ellie (Hale), a botanist carrying out a survey near the Mexican border. She meets a teenage girl, Alex (Trujillo), who is skipping school and the two have an awkward conversation. I initially thought its stilted nature was intended to tell us something about the two characters, but nope. All the conversations here are awkward. Writer-director Harris just has no ear for dialogue, which may explain why so much of this is people wandering about instead.

Anyway, the plot proper kicks off when Ellie witnesses a plane crash nearby. Rushing to the scene, without any attempt to call for help, she finds the pilot, Tomas (Gomez) crawling from the wreckage with his cargo of drugs. At gunpoint, she is coerced into helping him carry what remains of the merchandise to its delivery point, where the intended recipient is growing increasingly antsy. Meanwhile, the only local cop (Gonzalez) is on the hunt, both for the missing botanist, and Alex, who is his daughter. All these plot threads lead to the copious trudging across the terrain mentioned above. Though people also bump into each other with the frequency required by the plot, so that the desert appears to be the size of your local convenience store.

Things unfold with the predictability of the sun in this arid corner of the country. Tomas and Ellie bond over their campfire, Tomas’s grasp of English waxing and waning as necessary. Turns out he was only involved in this sordid business to help his family, a casual excuse used by criminals since time immemorial, which cuts no ice with me. Hell, even antsy intended recipient says the same thing. We can clearly end the War On Drugs, by killing every drug dealer’s family, to remove their motivation! The movie opens and closes with po-faced captions about the societal problem of drug abuse, both prescribed and otherwise. I think if you need a Netflix original movie to tell you, “Drugs are bad, m’kay?”, there are bigger problems.

You will get an hour and a half of the various parties, showcasing some rather pretty locations, in lieu of anything approaching genuine tension or action: a car hitting a cactus is as close as we get. The photography is easily the best thing about this, with some excellent aerial footage that brings home the scope of where the participants roam. However, I did not sign up to watch “Drones Above the South-West”, and any goodwill generated falls into a canyon, as a result of the poor excuse for a climax. I’d not blame you for tuning out well before that point, however. I can’t believe I’m saying this, but it’s all almost enough to make me wish for the ludicrous stupidity of Interceptor. 

Almost…

Dir: Jesse Harris
Star: Lucy Hale, Nicholas Gonzalez, Leynar Gomez, Olivia Trujillo

Lou

  By

★★½
“The family that slays together, stays together.”

A Netflix original movie, the first thing to say is: thankfully, this is not as bad as Interceptor. Mind you, few films with budgets measured in the millions are as bad as Interceptor. It did more damage to my perception of the Netflix brand than any other, to the point I was genuinely concerned about having to watch this, fearing it would be down at the same level. Certain elements are, most likely the script. But the presence of Alison Janney, single-handedly prevents the film from sinking, effectively acting as a life-belt for the less successful elements. It’s a shame the makers apparently didn’t realize what they had, and used the strength of its star better.

She plays Lou, a near-retiree who lives quietly on an island near Seattle. She has a tenant, Hannah Dawson (Smollett), a single mother of Vee (Bateman). But Lou is ready to check out of life entirely. She has a gun pointed at her own head, when Hannah rushes in, begging for help, because her husband Philip (Marshall-Green) – supposedly dead – has shown up and kidnapped Vee, in the middle of a ferocious storm. Fortunately, Lou has a history, which has given her the ideal set of special skills for the circumstances. She and Hannah set out through the rain in pursuit of Philip. Yet there’s more going on, with Lou’s history catching up with her, as well as the truth about her relationship to Hannah and Philip. 

The idea of Lou is a strong one, playing roughly along the lines of Liam Neeson in the Taken franchise, with a hint of John Wick. A grizzled veteran, who just wants to be left alone, who is dragged back into a life of violence: only, this time, it’s a woman, Lou being a CIA field agent, with 26 years experience, before leaving under murky circumstances. The rest of the story though? Oh, dear. The film staggers from ineptly-staged scenes of family bonding, to revelations that are more likely to provoke a snort of derision than a gasp of surprise. Lou vanishes entirely for much of the second half, and Hannah is simply not interesting enough to hold the movie together.

The action is fairly well-staged, though they don’t put enough effort into equalizing the fights. Lou’s opponents are all bigger and stronger than her, and there are times where the movie forgets this. However, Janney sells her persona so well, I was inclined to cut this the necessary slack. Director Foerster’s previous feature was Underworld: Blood Wars, and there’s a definite sense at the ending they want to turn this into a similar franchise. Despite the mediocre overall rating, there is plenty of potential in the lead character, and I would not be averse to more of her story. Let’s just hope they keep writers Maggie Cohn and Jack Stanley in a remote cabin on an island in the Pacific Northwest, and well away from any sequel’s script. 

Dir: Anna Foerster
Star: Allison Janney, Jurnee Smollett, Logan Marshall-Green, Ridley Asha Bateman

Never Back Down: Revolt

  By

★★★½
“The women are revolting!”

The “underground fighting” subgenre is among the most macho of action films, so it’s interesting that this entry doesn’t just feature a female protagonist. It’s also written and directed by women, with the lead villain also from that gender. It’s a particularly novel twist, considering the previous three installments in the Never Back Down franchise were, by most accounts, competent yet entirely generic, male-dominated movies. I say “by most accounts,” since I’ll confess to not having seen them. This is both a positive and a negative, I think. It means I can go into this with no preconceptions or expectations. On the other hand, it also means I can’t compare it to the rest of the series.

The latter is perhaps less important since it seems to be a sequel in name only, without any characters or story-line carrying forward. The heroine is Anya (Popica), a Chechen refugee now living in London with her brother, Aslan (Bastow), who takes part in those underground fights. After failing to throw a fight, he finds himself thirty grand in debt to some very nasty people. But Anya, who’s no novice with her own fists, gets an offer from swanky promoter Mariah (Johnston) to help pay off the arrears with a trip to Italy. Naturally, it turns out to be a front for “fight trafficking”, with the female participants held against their will, and shipped off to Albanian brothels, when they can no longer battle for the amusement of rich patrons. The title tells you the rest of the plot.

Madison isn’t without an action pedigree, having directed rather good short, The Gate, starring site favourite Amy Johnston. That’s currently being shopped around to become a feature; fingers crossed that happens. In the meantime, this would appear to match its predecessors in being competent, yet entirely generic. Everything unfolds exactly as you would expect, if you’re at all familiar with this kind of thing. It’s the kind of film where you can pop into the kitchen for 10 minutes without pausing it, make a sandwich and a cup of coffee, and return, safe in the knowledge that you’ll still be able to follow the plot perfectly well. I can neither confirm nor deny having done exactly that.

While predictable, it’s never dull though. Popica doesn’t appear to have any particular martial arts background, yet is decent enough to pass muster (even if you wonder what someone like Amy Johnston might have done in the part). There’s a laudable and complete lack of romance here, just the sibling relationship. I could probably have used some more action, even if the quality of what there is, is decent. I particularly liked the fate meted out to the chief guard. The size issue, inevitably present in mixed-gender fights, is overcome by having him held down by two women in a bath, while a third shanks him very enthusiastically. In comparison, Ghislaine Maxwell Mariah seems to get off easy, just when I was looking forward to her getting her just deserts. Still, solid enough to leave me anticipating what The Gate feature might be like.

Dir: Kellie Madison
Star: Olivia Popica, Tommy Bastow, Brooke Johnston, Nitu Chandra

Seventh Son

  By

★★★
“Son of a witch…”

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

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

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

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

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

Interceptor

  By

★½
“Why Netflix is a joke.”

Two minutes in, Chris turned to me and said, “Is this an Asylum movie?” Oh, that she had been right, for the net results might have been more entertaining. This is truly the dumbest film I have seen in a very long time. It feels like a throwback in content to about thirty years ago, except with a script that makes your average Cannon product look like Citizen Kane. It’s set on a missile interceptor station in the middle of the Pacific, to which Captain J. J. Collins (Pataky) has just been assigned again. Barely has she dropped her bags off in her cabin, when word comes that their sister base in Alaska has gone dark, and terrorists have stolen 16 Russian ICBMs. Before you can say “shitty Die Hard knockoff”, trust-fund kid Alexander Kessel (Bracey) shows up, intent on removing America’s last line of defense. It’s up to J.J. and plucky SigInt guy Rahul Shah (Mehta) to prevent them – or the terrorists will have won, literally. 

Writer-director Reilly is, I believe, a popular author of thrillers. I say that, because there’s no evidence here he could write his way out of a paper-bag, with so many, painfully obvious plot-holes. The way the terrorists pointlessly go public with their theft. Kessel and his minions kill everyone on the platform except J.J. and Shahul, keeping them alive for no reason. The villain has codes which will sink the base, yet doesn’t use them until only 30 minutes are left. I could go on. It’s a parade of eye-rolling inanity, made worse by cringeworthy dialogue, such as the line shoehorned in to explain the lead actress’s heavy Spanish accent. The final nail is the irrelevant wokeness, from J.J’s sexual harassment past, through the redneck henchmen and her Muslim sidekick, to the female US President (who is completely useless, incidentally). If only Reilly had put as much thought into his script, as his virtue signalling. 

To be fair, I didn’t mind Pataky as a heroine, and the action is occasionally up to what I wanted. There’s a decent brawl with the female terrorist (played by stuntwoman Ingrid Kleinig), and a couple of imaginative deaths, including the novel use of a firearm. However, the rest of the performances are almost uniformly terrible, and the story had lost me entirely, well before the ridiculous finale. While Netflix Originals come in for a lot of criticism, I’ve enjoyed my fair share: The Old Guard was decent, and Extraction (starring Mr. Elsa Pataky, Chris Hemsworth, who cameos here) was as good as any action movie of 2020. Hell, I even enjoyed 6 Underground. So I’m no snob. This, however, was bad enough to have us reconsidering our subscription to the streaming service, once we polish off watching Stranger Things. With the price also increasing sharply, the reality is that you can find considerably better movies than this for free. Certainly, I’ve better things to do with my time and money. 

Dir: Matthew Reilly
Star: Elsa Pataky, Luke Bracey, Aaron Glenane, Mayen Mehta

Senora Acero: Season three

  By

★★
“Third time’s the harm”

Halfway through the final installment, Chris came in. She paused, watching for a moment, then said, “They spend far too much time talking, and not enough time killing.” Just a shame she waited 93 episodes to express so succinctly one of the main problems with the series. For, even if the final arc had its share of bloodshed, if you average it out per show, it’s about the level of a mid-strength nosebleed. It certainly put the novela into narconovela. Though the problems began at the start – or, rather, the end of the second series where heroine Sara Aguilar was apparently gunned down. This being a show where escape from death was common, I spent the first 20 episodes waiting for her to return. Spoiler: she doesn’t.

Instead, attention turns to Vicenta “La Coyote” Rigores (Miranda), who turns out to be part of the Acero family. This brings her into conflict with all the Acero enemies, including Indio (Zárate), and Governor of Chihuahua, Chucho Casares (Goyri), who also runs an arms trafficking group. But she has allies on her side, including ICE agent Daniel Phillips (Franco), and some familiar faces from the first two seasons. That’s a very high overview. As you can imagine, with about 62 hours of episodes in this season to fill, there are a lot of threads being weaved (So. Many, Pregnancies) and chit-chat necessary to explain them all, as loyalties shift with the breeze.

Part of the problem is, how little of it has any impact. Another part is, as a legal immigrant to America, I am fiercely resistant to a heroine who smuggles people across the border – and that was even before the not-so veiled references to American politics. The two main ICE characters, Phillips and his boss Indio Cardena, are both depicted as corrupt – even if, in the former’s case, it’s a “good” kind of corruption, becoming sympathetic to migrants and their plight. Though on the evidence of this show, based on who’s crossing the border illegally, Trump may have had a point when he said Mexico weren’t sending their best… Say what you like about Sara Aguilar, she at least largely operated in her own country.

Another problem. Writing about the second series, I described supporting character Tuti as “our most “love to hate” character. Not just in the show, or narconovelas generally, but perhaps the history of our TV viewing.” Guess who gets an expanded role in season three? Nails on glass, people. There are some new characters I liked – hell, Cardena, until she went rogue – but it wasn’t enough. I was amused by how narconovela weddings go wrong with about the inevitability of pro wrestling weddings. Whether raided by ICE or the bride getting gunned down in her dress, while her groom is involved in a fist-fight, they never take place as intended.

With about 20 episodes to go, I came to the conclusion this would be the last season I would watch. While the action component did ramp up somewhat down the stretch, it wasn’t enough to make me second-guess my decision. With a further two seasons, totalling 146 more episodes, I was hard-pushed to see the show coming back, and so am content to draw a line under the Acero dynasty after this series.

Creator: Roberto Stopello
Star: Carolina Miranda, Luis Ernesto Franco, Jorge Zárate, Sergio Goyri

The Girl and the Gun

  By

★★★
“The equalizer”

The protagonist is a young woman (Gutierrez), who works in a department store in Quezon City, the largest city in the Philippines. Her life is one of constant drudgery, with what income not spent on her tiny, shared apartment, being sent home to her mother in the countryside. She can’t afford to buy new stockings to replace her torn ones – a fact which brings her into conflict with her manager – or even go out with colleagues for drinks after work. She has a lecherous landlord, and is treated by everyone as the perpetual doormat she is.

Then she finds a gun.

She initially does nothing with the weapon, discarded in the alley by her apartment building. But after being sexually assaulted, she picks it up, and everything changes – it gives her a voice, both literally and psychologically. The key trigger (pun intentionally) is using it to rescue her flat-mate from being assaulted by her boyfriend. She then suddenly realizes she doesn’t need to take it anymore: whether “it” is her boss harassing her about the stockings, or simply a shop worker being rude to her. Having the weapon gives her the confidence to stand up for herself, a surprisingly radical concept. Perhaps a variant of “An armed society is a polite society,” as Robert A. Heinlein once said.

Then she offers to help her flat-mate handle the abusive boyfriend permanently… But will she take the final step and go through with it? Hold that thought though, because the film then takes a left turn, diverting to tell the story of the weapon, and how it ended up in the alley. This is, unfortunately, a misstep in cinematic terms, with a segment which does not travel anywhere nearly as well as the first half. It’s a rather impenetrable story of death squads, corrupt cops, drug dealers and familes, which I can only presume, reflects life in the underbelly of urban life in the Philippines. It seemed, to me, like a pointless diversion that didn’t say much of interest about anything, and when the film eventually returns to the “girl” part of the equation, any forward momentum had been lost.

That’s a pity, as there were points when it seemed like an Asian take on Ms. 45, with its heroine almost mute until the point at which she powers up with a fire-arm. This heroine is considerably more sympathetic, in part because she shows considerably more restraint. While she fantasizes about killing her rapist, for example. she doesn’t actually pull the trigger on him. However, as well as the unwanted diversion into the history of her weapon, the ending is less polished. It’s one of those open ones, where the audience has to decide what happens. These tend to feel like a cop-out, as if the writer couldn’t come up with a proper way to finish the film. Still, the first fifty minutes do enough, to make this worth a watch.

Dir: Rae Red
Star: Janine Gutierrez, Felix Roco, JC Santos, Elijah Canlas
a.k.a. Babae at baril