Tag: netflix

Dangal

  By

★★★½
“Wrestling with the truth.”

Mahavir Singh Phogat (Khan) is a former Indian national wrestling champion, who dearly wants to pass his skills on to a son, and make him an even more renowned sportsman. Fate, however, has different plans and deals him nothing but daughters as his children. After two of them, Geeta (Shaikh) and Babita (Malhotra) beat up a local kid who was taunting them, Mahavir takes it upon himself to coach the girls in wrestling – despite the doubts of many, including his wife and, not least, the daughters. Geeta, in particular, proves to have the talent necessary to become, first a local and then a national champion. However, success at international level proves elusive, and her father butts heads with national coach, Pramod Kadam (Kulkarni), over training methods. Geeta has to decide who to believe, as she faces her greatest challenge ever, representing the hopes of her nation at the 2010 Commonwealth Games, held in Delhi, in front of a partisan home crowd.

This is basically Sports Movie 1.0.1, with tons of training montages (a way of getting in those musical numbers required by Bollywood), and Geeta overcoming obstacle after obstacle on her way to winning the gold medal in dramatic, last-second fashion. That’s not really a spoiler, since this is based on a true story, Geeta having been the first Indian women to win a wrestling medal in international competition. However, that’s about the extent of the truth here. Rather than having to mount comeback wins in all her bouts, as depicted here, she actually outscored her opponents over the course of the contest by a 15-1 margin. When the facts and the drama are incompatible, the former must be disposed of, clearly. I’m also not quite so sure her father actually was locked in a closet by the Indian wrestling board during her gold medal bout…

Still, it’s impressive that this own the biggest worldwide box-office of any Indian movie ever, mostly due to it becoming an unexpected breakout hit in China. I can see why though, since it’s the kind of plucky underdog story which has almost universal appeal, and despite qualms about its accuracy (to put it mildly), director Tiwari does it justice. While you can certainly argue this is a well-worn path, it’s done with enough energy to make it seem fresh, and the performances are all very solid [additional credit to Zaira Wasim and Suhani Bhatnagar, who play the younger versions of Geeta and Babita. Shaikh, in particular, really seems to get to grips (hohoho!) with the wrestling sequences, where she is shot in a way that’s clean, rather than hyper-edited.

The results prove reliably dramatic and do as good a job of selling events as they unfold – in addition to amateur wrestling as a spectator sport. If it’s as exciting as here, I’m in [this is, clearly, not to be confused with professional wrestling]. At a whopping 161 minutes in length, there may well have been room to trim some of the extraneous details, or even some of the bouts; we probably don’t need to see every minute of every round of every match in her journey towards the podium. However, I was never bored, and the moments that resonate across cultures more than make up for any slack.

Dir: Nitesh Tiwari
Star: Fatima Sana Shaikh, Aamir Khan, Sanya Malhotra, Girish Kulkarni 

Senora Acero: Season two

  By

★★★½
“Sex ‘n’ drugs ‘n’ cartels rule.”

There are more famous narconovelas, such as La Reina Del Sur, but you can’t argue with the success of Senora Acero. Surviving for five seasons and a startling 387 episodes in the cut-throat world of Mexican television is no mean feat. Admittedly, there were hardly any characters who lasted the entirety of the show. But such is the nature of organized crime, especially in a show like this. Compared to the first season, it seems like the second helping significantly ramps up the action quotient. It feels like a single episode could not pass, without a car-chase, shoot-out, or at least guns being pointed at each other.

It begins with Sara Aguilar (Soto), a.k.a. “Senora Acero”, the woman of steel, sitting in prison, where she has been stuck for five years, awaiting formal sentencing [Mexican justice moves slowly, it would appear]. After her son is attacked, she escapes prison in order to help him, but gets caught and ends up back in jail, having been sentenced to a punitive 25 years. This is in part due to the interference of her estranged sister, Berta, who is now the private secretary to the Mexican President, and wields her influence maliciously to punish her sibling. But her best friend, Aracely (Litzy), finds the key to getting Sara’s sentence revoked, and her out of jail.

Life doesn’t exactly become much easier thereafter, as there’s still a state of near-war between the two main drug gangs. There’s the Jalisco cartel, led by Miguel Quintanilla, and Acasio “El Teca” Martínez, of the Tijuana cartel. Sara ends up taking the Jalisco side, stoked largely by her hatred of El Teca, and his chief henchman, “El Indio”, with whom Sara crossed paths in season one.  However, that only fuels the fire as Martinez has long held a burning obsession with Sara. His guiding principal appears to be that if he can’t have Sara, nobody can. Sara has no problems using that obsession against him, but it’s a very dangerous game, especially when El Teca realizes he is being manipulated by her.

It also seems to delve significantly deeper into the relationship between the cartels and ‘legitimate’ business and political interests; quotes used advisedly. In this case, the corruption goes right up to the top, with the Mexican president very much in bed with the leader of one group of drug traffickers. Evidence of this connection is a powerful tool, though for obvious reasons, highly dangerous to anyone who possesses it. There is also the head of a major pharmaceutical company, who is using his company’s resources for less legal product; he thinks he can come up with a new drug that will give the high without the dangerous side effects.

The international aspect is well represented too, with another strong female character in Colombian drug lord (drug lady?) Briceida Montero, who seems fairly obviously inspired by Griselda Blanco, about whom we have written previously. There is an effort to involve Chinese traffickers at one point, though this doesn’t go far. On the other side, the DEA are involved. Though their gringo boss is most notable for Chris turning to me and expressing a fervent hope that, as I continue to learn Spanish, I do not sound like him when I speak the language. Mind you, she’s not exactly impressed with the gangster slang used by the likes of El Teca either. I’m clearly going to have to find posher series from which to pick up my diction…

The show does have one particularly memorable supporting character – though not in a good way. Marta Mónica Restrepo, a.k.a. ‘La Tuti’, is a sometime small scale drug dealer, sometime psychic, and always a slut, who also collects dolls. She ends up getting involved with… just about every male character who crosses her path, which makes her subsequent pregnancy resemble a daytime talk-show episode. Manipulative and fickle, she is easily our most “love to hate” character. Not just in the show, or narconovelas generally, but perhaps the history of our TV viewing. I suspect it’s entirely deliberate, so much credit to the writers, and actress Ana Lucía Domínguez, for making it so.

There’s another aspect we found more genuinely enjoyable. El Teca finds himself a doppelganger, in the form of an immigrant worker from Colombia. Also kidnapping the man’s wife and daughter for leverage, his double is used to fool both the authorities in the Jalisco cartel. While the technical aspects for the depiction of El Teca and his twin are primitive – it’s mostly shooting from behind the shoulder, with an obvious stand-in – the characters are so utterly different, it’s often difficult to believe the same actor is playing both parts. Again, credit where it’s due, to José Luis Reséndez, for bringing both men to life with his performance.

It is, however, Sara Aguilar’s show, and she is the Sun around which all the other bodies revolve, in their elliptical subplots (some of which I could have done without, such as that about one character’s dreams of musical stardom). Much like Teresa Mendoza in Queen of the South, it’s Sara’s fierce loyalty to those on her side which is her most defining characteristic. She’ll got through hell for them, including her son, even after he has been turned into a junkie by her enemies. Needless to say, that’s an act which will not go unpunished. The ending proves quite satisfactory in this area, although also has the kind of cliffhanger, with Sara apparently badly wounded, that will only be resolved in series three.

Despite the tease at the end of the opening credits, with Sara wielding a large, automatic weapon, and quite a lot of heavily-armed arguments, she isn’t quite as personally involved as I might have hoped. Still, I guess delegation is a significant part of being a good leader, isn’t it? This was certainly enjoyed, and became a staple of morning entertainment for me, over several months. I think Chris was even getting into it more than she’d admit, as she drifted through and got ready for work. It may be a while before I have the stamina to start the next season, however. For there’s ninety-three episodes in that…

Creator: Roberto Stopello
Star:  Blanca Soto, Litzy, José Luis Reséndez, Lincoln Palomeque

Sentinelle

  By

★★★★
“Jane Wick, but it’s complicated.”

Klara (Kurylenko) is a French soldier who returns home after a tour of duty in the Middle East. But the homeland security mission to which she’s assigned – basically, patrolling sea-fronts and shopping malls – hardly seems like a credible use of her talents. However, she’s also suffering from PTSD, and it’s easy to see why the authorities decided she was better off kept away from the front lines. Then Klara’s sister, Tania (Lima), is found on the beach in a coma after having been raped. The evidence points to Yvan, the son of prominent Russian businessman, Leonod Kadnikov (Nabokoff). But the cops can do nothing, as the Kadnikov’s have diplomatic passports. Klara, needless to say, operates under no such restrictions and vows that if the justice system won’t make the perpetrator pay, then she will.

On the one hand, this is a straightforward revenge flick, though it’s revenge by proxy, with Klara not directly the victim. However, what I liked is that, while she obviously has the skill-set to pull off her mission, she’s far from invincible, even if the Kadnikov’s need to fire their security advisor. Indeed, there are points at which Karla’s straight-line approach to the problem, causes more problems than it solves. For instance, contrast the nightclub fight in John Wick with the one here. John breezed through the scenario virtually unscathed, dispatching victims with ease, in a plethora of headshots. Klara spends what seems like an eternity brawling against two opponents, and never even gets out of the bathroom. That said, the violence here packs a genuine wallop, with some startling moments which left me feeling certain someone was going home with a concussion that day. It’s definitely quality over quantity.

Former Bond girl Kurylenko has graced these pages before, in The Courier and The Assassin Next Door, but this is probably her best effort yet. She is in almost every scene, and does a solid job of holding the audience’s attention, with a sympathetic portrayal of a damaged, yet still extremely dangerous, heroine. She also demonstrates her flair for language, switching effortlessly between French, Russian and Arabic. In real life, she speaks English and Spanish too, as well as bits of others. In 2013 on Twitter, she said, “I want to speak ALL the languages.” [She also knows how to say “I love squirrels” in many of them…]

Coming in at a brisk 80 minutes, it does still take a little while to reach the meat of its topic, The assault at the core of the film (which, incidentally, we don’t see – and nor do we need to) takes place not far short of half-way in, though the pace never feels as if it’s dragging. I also have some questions about the ending, which out of nowhere seems to suggest a Nikita-like program of black ops assassins, created by the government out of captured murderers. Though to be honest, I’d not mind seeing such a sequel, and definitely would not want to be the one on whom Klara was unleashed.

Dir: Julien Leclercq
Star: Olga Kurylenko, Marilyn Lima, Michel Nabokoff, Carole Weyers

Knock Knock

  By

★★★½
“I can only apologize, darling…”

This is the kind of film which makes for very uncomfortable date night viewing, simply because the situation presented is likely to lead to awkward conversations. Happily married architect Evan Webber (Reeves) has the house to himself for the weekend, his wife having gone with their two kids to the seaside, leaving him free to work on a project. A stormy night ensues, until a knock at the door, and he finds two lost young women, Genesis (Izzo) and Bel (de Armas), shivering on the doorstep. He can hardly make them stay there, so lets them in. Almost immediately, something is wrong, though initially this falls into the “Too good to be true” category. For they are nymphomaniac flight attendants, and inevitably – though after a credible struggle – Evan succumbs to their relentless charms.

The next morning, however, the reality proves less pleasant, and it’s all downhill from there. For the pair are avenging angels, honey-trapping married men, then savagely punishing them for their infidelity, and Evan is not their first victim. This development should be no real surprise if you’ve seen Roth’s other films, where bad things almost inevitably tend to result from good. A nice trip to Europe became kidnapping, torture and murder in Hostel. Social activism turned into cannibalistic dismemberment in Green Inferno. So the first half of this was largely an exercise in waiting for things to go wrong, along with strenuously assuring Chris that, in similar circumstances, my assistance would strictly be limited to passing them towels through the letter-box. I highly recommend not deviating from this answer, under any circumstances. For she was firmly convinced, whatever happened to Evan in the second half was well-deserved.

The resulting punishment is certainly not pleasant, with his home-life wrecked, both literally and figuratively. Though there were a couple of ways it could have been improved. Firstly, even with some straggly facial hair, he’s still Keanu Reeves, not exactly your average guy. He likely has to beat off real nymphomaniac flight attendants with a stick, on an everyday basis. It’d have been more effective with a more homely leading man, to whom the audience could relate. And I’d rather have seen Genesis and Bel evaporate like smoke in the night, leaving no evidence of their presence, save their impact on Evan. A little more subtlety, and less scrawling of “DADDY’S LITTLE WHORE” on the family portraits would have gone a long way here, I feel.

Still, Roth is not exactly known for his delicate approach to cinema, and as a blunt instrument illustrating in female form the perils of infidelity, this works well enough. It’s also a rare entry in the “home invasion” field where the invaders are entirely women. À l’interieur (Inside) is one of the few predecessors there, and it’s no shame this doesn’t quite reach the same heights of sheer insanity – very few movies do. It’s still a cautionary tale which had me shifting uncomfortably in my seat often enough to justify its existence, as well as casting wary glances over at Chris.

Dir: Eli Roth
Star: Keanu Reeves, Ana de Armas, Lorenza Izzo, Aaron Burns

Mrs. Serial Killer

  By

★★★
“The anti-Dexter.”

This is the kind of film which I’d say was enjoyable, rather than being good. Indeed, if you want an illustration of the difference between the two, this movie is a good example. Sona Mukherjee (Fernandez) is the wife of respected doctor, Mrityunjoy Mukherjee (Bajpayee). But their life is upended when the bodies of six, formerly pregnant, unmarried women are found on their property. Sona believes her husband was framed – possibly by police inspector and former boyfriend Imran Shahid, (Raina). She takes the advice of a dubious lawyer, who suggests that if the serial killer was shown to be still active, that would prove her husband’s innocence. So Sona kidnaps another expectant young woman, Anushka Tiwari (Khan) to provide a seventh victim. Only… well, Sona is a bit crap as a serial killer, and Anushka is a feisty little thing with a black-belt in taekwondo, pregnancy be damned.

I’m tagging this as horror and comedy, on the basis that it shouldn’t be taken seriously in the slightest. I’m fairly sure this approach is quite intentional, though with Bollywood, it’s rarely possible to be entirely certain. But there are just so many ludicrous elements, not least the central premise, that it definitely works best as a parody of lurid potboilers. For example, Indian police have apparently never heard of DNA testing, and feel that one body is pretty much as good as another. It’s also possible to trigger an immediate, devastating asthma attack, by crushing up flowers in your hands, and then blowing them in your target’s face. I thought that kind of thing only ever worked in a professional wrestling ring.

That all said, I still enjoyed it, not least for the way everyone takes it Very Seriously. It’s at its best when Sona and Anushka are facing off, the “killer” initially trying to convince her victim she has been captured by a man – an aspect as poorly considered as the rest of her plan. The contrast between the two make for amusing confrontations, such as Anushka spitting back, mockingly, “Trying to scare me with your psycho stare? I can do better. Here!” I was disappointed that they ended up taking a back-seat during the final act [for if her husband was not responsible for the six corpses… who was?] It’s still no less lurid, combining operatic music and disco lighting, in a basement festooned with a plethora of IV drips, for no reason beyond it looking cool.

It all ends in a final twist which makes about as much sense as the rest of it i.e. not very much. I won’t spoil it, but will tell you, it does not provide what I actually wanted to see, which was Sona and Anushka teaming up to go all Natural Born Killers on the real perpetrators. That would have been too much to hope for. Yet I can’t deny I was still amused enough, and wished Lifetime TVM were more like their South Asian counterparts.

Dir: Shirish Kunder
Star: Jacqueline Fernandez, Manoj Bajpayee, Mohit Raina, Zayn Marie Khan

Locked Up (TV)

  By

★★★
“Back behind bars.”

While this Spanish series started off back in 2015, it perhaps suffers through not having been watched until recently – in the wake of shows like Wentworth and The Yard. There are too many elements which left me feeling “Hang on: haven’t I seen that somewhere before?” For instance, the thread where a motherly inmate gets Alzheimer’s and pleads with her cell-mates to kill her before it destroys her mind entirely? Liz Birdsworth, in seasons six and seven of Wentworth. So, I guess your opinion on this may vary, depending on your familiarity with the genre. Also like Wentworth, the main protagonist is someone who is not a hardened criminal – but ends up becoming one, over the course of the show. 

In this case, that is Macarena Ferreiro (Civantos). She gets seven years after becoming the patsy for her boss’s fraud. She stumbles across the location of a robbery haul, which brings her into conflict with… Well, just about everyone, but the key persona is Zulema Zahir (Lobato), the top dog of the prison. The five seasons (40 episodes in total) revolve around their love-hate relationship, though as usual, there are a good number of side stories and supporting characters, on both sides of the bars. Again, some of these may feel rather familiar, with the show going through the usual tropes of power struggles, warders good and bad, and criminal activities. It’s solid enough (and offers more nudity than the other shows, if that’s of interest!), just all too familiar at this point.

The show was originally cancelled after the second series, but after a significant pause was then revived for a third and fourth season. That delay required significant cast changes, due to the cast having moved on – Civantos’s other commitments meant Macarena became a secondary character. They also had to “transfer” to a new prison, as their existing sets had been taken over by another show (Money Heist, also on Netflix). But the real weirdness begins after the end of Season 4, which has an air of absolute finality to it. But, wait! There’s more! For Vis a vis: El oasis, followed. Set a decade later, Macarena and Zulema have teamed up, to become an armed robbery duo. 

They recruit some of their old pals to pull off the dreaded ‘one last heist’, robbing the wedding of a cartel boss’s daughter. Needless to say, it goes about as well as ‘one last heists’ always do. Initially, it feels a bit like an unwanted supplement. But it ends up as probably the most relevant to this site, with the women holed up in a motel, in the middle of the desert, and under siege by the boss’s army. By going outside the prison walls, this offers most scope for genuine invention, and it’s likely why I felt this to be the strongest season. I just wish I hadn’t had to go through four series of generic prison drama to reach it.

Created by:  Iván Escobar, Esther Martínez Lobato, Álex Pina, Daniel Écija
Star: Maggie Civantos, Najwa Nimri, Carlos Hipólito, Roberto Enríquez
a.k.a. Vis A Vis (Face to Face)

Enola Holmes

  By

★★
“Puts the ‘no’ in Enola.”

Complete ranking of Enolas

  1. Enola Gay
  2. Enola Holmes
  3. That’s it.

I’m probably not the only one who spent much of the film humming OMD’s classic Enola Gay to themselves – released 40 years ago this month, coincidentally. And, sadly, it remains my favourite Enola, by quite some distance. This was more annoying than anything else, though I’ve never been on the Millie Bobby Brown hype-train. I didn’t think much of Stranger Things, and her performance in Godzilla: King of the Monsters, interfered with what I want to see i.e. monsters fighting. Here, I found her more irritating than engaging, though in her defense, she wasn’t helped by some poor directorial choices.

This get off on the wrong foot at the very start, Enola (Brown), Sherlock Holmes’ sixteen-year-old sister, breaking the fourth wall and addressing the audience, something she does frequently. Director Bradbeer used this technique in TV series Fleabag, but I’m not a fan: it takes me out of proceedings, reminding me I’m watching a film. What follows is less a convincing evocation of 1900 England, than contemporary America playing girl power dress-up, with “nasty women” blowing things up as they seek to defeat the evil patriarchy. One of these is Enola’s mother (Bonham-Carter), whose vanishing without warning starts things off, causing Enola to begin searching for her, based on coded clues left behind. It escapes me quite why the missing parent couldn’t simply write, “Dear Enola, Gone off to be a suffragette. Love, Mum.”

Not that it matters, because Enola rapidly abandons this quest entirely, in favour of a case involving the young, attractive and entirely personality-free aristocrat, Viscount Tewkesbury (Partridge), whose vote is crucial to get a reform bull passed, expanding the ability to vote [in reality, no such change took place until almost twenty years later – but hey, why let facts stop you from twisting history for your political points?]. On his trail is a mysterious and ill-intentioned man (Gorman), with whom Enola crosses paths. She also has to fend off attempts by her other brother, Mycroft, to have her consigned to a very Handmaid’s Tale-looking boarding school. This is intended to have Enola brainwashed into being the quiet and submissive woman society expects.

The politics on view here are cringeworthy, particularly from Mrs. Holmes, who speaks almost entirely in feminist fortune-cookies, such as “Don’t be thrown off course by other people. Especially men.” It’s one of those cases where merely leading by example isn’t enough: you have to virtue-signal your morality by announcing it, explicitly and repeatedly, which I find immensely off-putting. Hence, we get gobbets of political sermonizing, such as Sherlock (Cavill) being told, by a black, female martial-arts teacher – something I’m fairly sure wasn’t common enough  in the Victorian era to pass without comment: “You don’t know what it is to be without power. Politics doesn’t interest you… because you have no interest in changing a world that suits you so well.” You go, sister!

Speaking of which, the portrayal of the great detective is no more accurate than the other element. “Sherlock Holmes always works alone!” proclaims Inspector Lestrade. Uh, I guess the creators never heard of Dr. Watson, an intrinsic character, from the very first Conan Doyle story? You just never get any sense of keen intellect from Cavill’s performance. Guess they didn’t want to overshadow Enola and her Big Brain. Yet, under all these flaws, is a decent movie, trying to get out. The look of things is lovely, and some of the action sequences are well-handled, even if a slip of a girl like Enola hardly seems equipped to trade blows with grown men.

Maybe they could have made more use of her archery skills (above), which are set-up, then entirely forgotten. Like so much else, that gets lost in the rush to cram an “uplifting” message into the movie, rather than letting one flow organically from it.

Dir: Harry Bradbeer
Star: Millie Bobby Brown, Louis Partridge, Henry Cavill, Burn Gorman

 

Ek Hasina Thi

  By

★★★
“Hell hath no fury…”

A somewhat cheesy melodrama, this throws together elements from Western pot-boilers Double Jeopardy and If Tomorrow Comes, adds a handful of Bollywood spice, and to be honest, probably overcooks the whole thing a bit. The title translates as “There Was a Beautiful Woman”, presumably referring to the heroine of the piece, travel agent Sarika (Matondkar). Into her office one day comes hunky businessman Karan Singh Rathod (Khan), and after some reluctance, she begins a relationship with him. However, it turns out he is actually a mobster, and manipulates her into taking a fall rather than incriminating him, which nets Sarika a seven-year prison sentence. Escaping from jail, she vows to destroy her former lover, and in turn, works on framing Karan with his criminal pals, by making it look like he murdered a colleague and stole money.

The most fun part for me, was the section in the middle where it turns into a Bollywood women-in-prison movie. I’d have watched an entire movie about that, as Sarika – wholly unprepared for the experience – gets dropped into the literal hell-hole which is an Indian jail. [Seriously: I don’t want to hear any complaints about Western prison conditions ever again] This is what transitions her into being the bad-ass she needs to be, to be able to take down Karan, and is where the melodrama reached its peak, right from the get-go. Her cellmate offers Sarika a biscuit, then warns her, “There’s a woman here named Dolly. Beware of her. She’s crazy. She’s a real wretch. She has committed four murders.” Of course, the cellmate is Dolly. It’s like watching an entire season of The Yard, condensed into thirty minutes.

The strong female characters aren’t limited to the heroine. There’s also the prison matriarch, Pramila (Kazmi), who takes Sarika under her wing. And on the other side, is ACP Malti Vaidya – she is portrayed by Biswas, who played the title role in Bandit Queen. Vaidya is the no-nonsense policewoman who gets the heroine convicted (what’s a little finger violence between cops and criminals?), yet also wants to work her way up the chain and catch Karan as well. I’d not have minded seeing either of them get more screen-time, perhaps at the cost of the early scenes depicting the growth of the relationship between Sarika and Karan.

For at 137 minutes, it does meander a bit much, especially when its story should be accelerating forward. I have some questions about the final act, after the heroine escapes from jail during a fire. Firstly, whoever is in charge of security for Karan’s mob friends is in for a really poor performance review this quarter. And the eventual revenge taken, would have made more sense if we’d seen Karan suffer from musophobia, rather than Sarika. Overall, however, it’s an entertaining piece of nonsense, which even got Chris off her mobile phone for its duration. If you’re averse to the Bollywood standard dance routines, you’ll be pleased to learn they don’t show up here at all.

Dir: Sriram Raghavan
Star: Urmila Matondkar, Saif Ali Khan, Seema Biswas, Pratima Kazmi

Warrior Nun

  By

★★
“Nun-descript.”

There’s probably a decent movie in here. An interesting premise, occupying the nexus where religion and science cross, and some very effective hand-to-hand action sequences, would potentially have made for a decent 90 minutes of fun. The problem is, this actually runs for 10 x forty-minute episodes, and the result is stuffed so full of padding, that it could be used as a sofa. The nuns of the title are members of the Order of the Cruciform Sword, a group which has been fighting demonic entities for centuries. Chief among them is the bearer of the Halo, a divine relic which bestows its owner with great powers, including rapid healing and the ability to phase through solid objects.

When the current bearer of the Halo is killed in battle, it is embedded into another host. This is the corpse of Ava (Silva), a quadriplegic orphan who just happens to be in the wrong (or right, depending on your point of view) place at the wrong (or right, again) time. The Halo resurrects Ava and fixes her up, physically; but she’s certainly not mentally or spiritually prepared initially to become a nun and join the sisters of the OCS. However, her wants and needs are secondary to those of the Catholic Church, and there’s also high-tech company ARQ-Tech. Its CEO, Jillian Salvius. has built a trans-dimensional portal, using “divinium”, a mystical substance that can also be used to create weapons and armour for use by the OCS.

The above isn’t the problem. The issue is all the other stuff which gets added to it. For example, after her resurrection, Ava ends up becoming part of some kind of upper-class squatters’ movement, who jet-set around Europe, staying in unoccupied houses. I have no clue what the purpose of this was supposed to be. And, worse, neither does the show. The young, homeless hipsters basically vanish without trace in the second half, as if the writers realized it was a bad idea to begin with. Similarly, there’s an entire episode in which Ava and OCS colleague Shotgun Mary faff around the Spanish countryside for the duration. Really, after episode 1, you could skip the next five, while we go through the whole “reluctant heroine” thing we’ve seen all too often before.

We could have done with much less of all that, and more… Oh, I dunno: fighting demons, maybe? The action aspects generally seem underplayed, until a final mission where Ava and a small team break into the vaults beneath the Vatican, seeking a relic that… Well, let’s just say, doesn’t turn out to be quite what they expected. But until this gets under way, you might as well have it on in the background, and only pay attention when you hear the sound of fighting [here’s an example of the impressive quality I mean there]. And do not expect anything like a tidy ending either, the show instead delivering the most brutally abrupt of cliffhangers. But it probably says a lot that my reaction to it was mostly apathy.

Creator: Simon Barry
Star:  Alba Baptista, Toya Turner, Thekla Reuten, Lorena Andrea

The Yard: seasons 1 + 2

  By

★★★½
“Have you ever been in a Turkish prison?”

I really must get round to reviewing Wentworth. The Australian women-in-prison drama certainly deserves coverage here, and has provided some of the best television we’ve enjoyed in the 2010’s. I keep intending to do so, but suspect that will now likely have to wait until after the show comes to a conclusion, following its ninth and final season in 2021. In the meantime, however, I do get to review the Turkish remake of the show. If you’ve seen Wentworth, this version is perhaps as unnecessary as any Hollywood remake of a familiar foreign film. Yet there are enough differences – both in story and culture – that I didn’t mind too much.

The central character is Deniz Demir, a married woman whose husband is shot in murky circumstances, and is sent to prison while the investigation proceeds. There, she falls in with one of the jail’s two “queen bees”, long-term inmate Azra Kaya (Moray). Azra is engaged in a power struggle with her rival, Kudret Ozturk (Kose), the matriarch of a criminal family on the outside. Initially, Deniz is simply trying to keep her nose clean and her head down, while waiting for resolution to her case. However, it’s never as simple as that, and she soon finds herself in deep trouble, especially after being found standing over the corpse of the facility’s warden, holding the apparent murder weapon. Meanwhile, things on the outside are equally troublesome, as Deniz’s teenage daughter, Ecem (Akar) has started a relationship with Alp – who just happens to be the son of Kudret.

When compared to Wentworth, there are some interesting differences, both in content and style. The melodrama here is definitely cranked up several notches: after one tragic moment, it feels like Deniz spends the next six episodes weeping in her cell. However, what you won’t see here is any lesbian canoodling, or even insinuations of such things, I imagine in deference to the still fairly religious nature of Turkey. What this version does, and particularly well, is use music as background to the drama as it plays out. This begins with the domestic clash which opens proceedings, and draws out of a broad tonal range, from 17th-century classical (Henry Purcell’s Dido’s Lament gets used to great effect in the final episode) through to Turkish contemporary pop songs.

I read that, apparently, it aired in Turkey in 2½ hour chunks. Netflix has, wisely, cut these up into 45-minute episodes. It also managed to ruffle the feathers of some authorities, who proclaimed – before it was shown, naturally – that the show would “Feed into public perceptions that prisons impose torture [on inmates]… The promotion of such perceptions of prisons serve the purposes of some terror organizations.” I wouldn’t say it was as good as that… But it’s certainly not bad at all, and if I weren’t aware of its inspiration, this could well be looking at a seal of approval. As is, I do have to ding it slightly for familiarity, and would still point you in the direction of the original instead.

Dir: Yüksel Aksu, Hülya Gezer and Safak Bal 
Star: Demet Evgar, Ceren Moray, Nursel Kose, Eslem Akar
a.k.a. Avlu