Tag: soldier

Seven Snipers

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★★½
“Firing mostly blanks.”

I’m not normally a stickler for accuracy in movies. My disbelief gets suspended so easily, there’s a hook for it beside the TV set. But I have to say, this provided a parade of occasions where it didn’t exactly feel like the characters were elite snipers. Indeed, at points, it seemed like this was the first time certain actors had held a gun, since they were pretending to be soldiers in the school playground, with a stick. In particular, they appear woefully unaware of the idea of concealment. I was painfully reminded of the Monty Python sketch, “How Not to be Seen”. Also, if you’re going to call in your old military pals, I’d go with a range of skills, not just snipers.

That’s probably just me though, and is getting ahead of ourselves here. This unfolds in the Australian outback where former soldier Chris Hendrix (Mitchell, sporting her natural Aussie accent, which confused the heck out of my wife) is living the quiet life with her teenage daughter, Anja (Wolfe). Dad isn’t in the picture. Naturally, the quiet life doesn’t last, with her past catching up with her, in no uncertain fashion, and in the shape of a grudge-bearing former colleague known as The Dragon (Roth). So she sends up a call for help, and her old buddies show up, only to start getting picked off rather quickly. Maybe leaving their heads above the window-sill isn’t exactly the best survival tactic. 

All this comes as quite a surprise to Anja, who just wants to bunk off school and hang with her boyfriend. Needless to say, The Dragon has other ideas. I quite liked the set-up here, with the relationship between Chris and her daughter credibly spiky. However, once the snipers show up, the film largely grinds to a halt, losing all momentum. It doesn’t help that, of all the forms of combat, sniping might be the least cinematic. One second you’re there, the next, your head explodes in a cloud of red mist. Kinda dull, really. Of course, we learn the “shocking” truth about Anja’s absent father, which should be absolutely no surprise, providing you have seen any films in the Star Wars universe, shall we say.

That the movie thinks this is a twist gives you some idea of the low ambitions here. It would have been more entertaining had the seven snipers turned up on the side of The Dragon, and Chris has to figure out how to defeat them. I mean, she does calmly tell her daughter about her 116 kills, a number at which Lyudmila Pavlichenko would nod approvingly,. Perhaps Chris could have used the help of Anje, whose archery skills are showcased early, only subsequently not reaching the level of importance I expected. Instead, things proceed to the highly predictable face-off between Chris and The Dragon. All that’s lacking is any particular reason to care much. Nicely shot, making effective use of the locations, yet underwhelming almost everywhere else. 

Dir: Sandra Sciberras
Star: Radha Mitchell, Tim Roth, Annabel Wolfe, Ioan Gruffudd

Rogue Angel

  By

★★
“Time is not on its side.”

There is certainly something laudable taking on the challenge of making a feature film in seven days, and on a budget of seven thousand dollars. Doing so, and coming out the far end with anything remotely watchable, requires discipline and commitment. However, it also comes with certain penalties. The end consumer isn’t going to care about any of those constraints. They’re going to look at the screen and see takes which are “good enough,” rather than good, and particularly among the supporting cast, performances by people selected more for availability than talent. I tend to suggest it might be better to put the time and resources into making the best movie you can, rather than the cheapest and/or quickest one. 

Here, we have Angie Baker (Gerhardy), former member of an all-women platoon in the Middle East, who has returned to the town where she was brought up, as her grandmother nears death. There’s a lot of baggage here, including the younger sister she left behind, Lexi (Krause), and the family mine, owned by the grandmother and coveted by certain other relations. Most significantly though, is her fraught to the point of non-existent relationship with her father, Jake (Woodman). There was an incident – we find out the details right at the end – which is why Angie left. And is why Jake ends up buried alive in the woods. Hey, his coffin does have a breathing tube: Angie is not a monster… 

This was Daly’s first feature, according to the IndieGoGo page, and while I have certainly seen a lot worse, you can tell that’s the case, along with the limitations of the schedule and budget. The highly unconvincing attempt to be Afghanistan should have been canned, for instance, and there is an inconsistency of tone in Angie’s character. Particularly at the end, she goes full Rambo, gouging out eyes and slicing off body parts, in a way that seems out of place. Admittedly, at that point we aren’t aware of the full truth – which may or may not justify such nastiness: I’d have preferred to know from the start, bringing us along on her journey of revenge. Trimming 15-20 minutes would have made for a tighter and leaner product too.

It’s interesting to note this was written and directed by a woman: not often the case in the movies we review. Although it’s not often the case in action film-making generally: without being prejudiced, the fact is that women tend to gravitate to other genres. Perhaps as a result, Daly does bring a different perspective to this, though it’s one which paints with a broad brush: about the only man here who isn’t a Neanderthal is the local sheriff (Fowlks). As a starting point, this is okay – it is obviously a start, however, and is likely more successful as a learning experience than as a feature, only occasionally achieving any genuine emotional connection. I would be curious to see what Daly could do, when she takes her time. 

Dir: Brenda Daly
Star: Jackie Gerhardy, Sheila Krause, Dan Fowlks, Allen Woodman

Burial

  By

★★★
“Werwolfs, not werewolves…”

There’s an interesting idea here, which somewhat works. But it’s perhaps a little too grounded for its own good.  It starts in a London flat, where senior citizen Anna Marshall (Walter) ambushes an intruder, handcuffing him to a radiator. Turns out he’s not just a burglar. He knows about her past, and wants the truth. So she tells him a story… At the very end of World War II, her identity was Brana Brodskaya (Vega). She was one member in a small group of Russian soldiers, who have been given a very important task: transport a box back from Berlin to Moscow. Oh, and bury it every night. Inevitably, their curiosity overcomes them, and the box is opened, to reveal Hitler’s corpse inside. 

Naturally, the remaining German forces are very keen to re-capture the Fuhrer’s body, to preserve the myth of his escape and survival. The group become bogged down in a Polish village, under attack from Nazi Werwolfs. Not, please note, actual werewolves. Though I have to say, that would have been pretty damn cool [I’m a big fan of Dog Soldiers, which does pit British soldiers against actual werewolves] The Werwolfs were resistance forces, left behind by the Nazis behind Allied enemy lines, as they advanced towards Germany. This is fact. As depicted here, they wear animals pelts when they attack, while burning mushrooms and lichen which cause their target to hallucinate. This is… rather less certain, albeit also kinda cool. 

Brodskaya is, clearly, the moral compass of the group, who tries to keep her comrades on task too – neither of which prove easy. When half of them split off seeking the “spoils of war”, she goes after them to stop them from committing war crimes on the civilian population. The locals are just tired of the conflict, and have little patience for either occupiers or liberators, not trusting either side. Parker does a good job of depicting the murkiness of a situation like this, where the lines of morality aren’t as clear-cut as you would initially expect. But the heroine is mission-oriented as well, and when control of the cargo is lost, she leads the charge to recover it, knowing the threat its loss would pose. 

Unfortunately, I found there to be significant issues with pacing, especially in the middle third which seems to contain several too many underlit action scenes in the woods. I’ve read multiple complaints about it being marketed as a horror movie, and certainly, if that’s what you are expecting, you will be severely disappointed. I had no such prejudices and so didn’t mind too much. Though I would have extended the flashback further, since there seems to be a lot of interesting material covered at the end, in a bit of an info-dump by Marshall. Between that and the non-lycanthropic werewolves, this is why I reckon there’s a lot of potential left unexplored here. An excellent concept, let down by only average execution.

Dir: Ben Parker
Star: Charlotte Vega, Tom Felton, Barry Ward, Harriet Walter

 

Arisen: Operators, Volume I – The Fall of the Third Temple, by Michael Stephen Fuchs

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Literary rating: ★★★★½
Kick-butt quotient: ☆☆☆☆☆

From what I can tell, Arisen is a massive zombie apocalypse saga, with a heavy military focus, by Fuchs and Glyn James. There are fourteen books in the main series, but Fuchs has also spun off related sets to tell other stores set in the same universe, such as Arisen: Raiders. The Operators series appears to be another. It looks to be intended as a trilogy: at the time of writing (March), part one is out, with part two next month and the finale in 2026. It feels like subsequent installments might be more team-oriented, but part one? Hoo-boy.

Yeah, this is the first book to ever get a five-star action rating from me. It just doesn’t stop. There’s a sub-genre called “hard SF,” which according to Wikipedia, is “characterized by concern for scientific accuracy and logic.” I suggest this could be labelled as hard action, with a great deal of information about hardware, like guns and vehicles. Here’s a sample paragraph: “The boat itself is a low-observable, reconfigurable, multi-mission surface tactical mobility craft with a primary role to insert and extract SOF in high-threat environments, but can also be used for fire support, maritime interdiction, and VBSS missions, as well as CT and FID ops.” I’m not sure what much of that means. Though I suddenly have a strong urge for a glass of whisky and a cigar.

The heroine here is Yaël Sion, an Israeli special forces soldier, who lost her parents in a terrorist attack when she was young, and has become utterly self-reliant as a result. We begin with her part of an operation against Palestinian terrorists on the West Bank. But it’s not long before the pandemic strikes, and political concerns become irrelevant, as the world turns into a hellhole. Every hour brings a new, ferocious battle for survival, and any sanctuary can suddenly become a deathtrap. It’s positively relentless, Yaël needing to fight not the infected, but the living. Things perhaps peak in an ocean-side fire-fight simultaneously involving the Israeli military, Hamas terrorists, civilians desperate to escape, and the undead. And Yaël, who just wants the boat described above.

While the open water is relatively safe, it’s hardly the end of her problems, as she encounters survivors, good and bad. It’s a chilling realization that survival means suppressing the natural human desire to help, even when this means condemning them to death. Yaël is utterly ruthless when she needs to be, and certainly has the skills to handle the situation. I’d love to see a movie made of this, though to some extent we already did: World War Z is a clear touchstone, with other genre classics also referenced, such as Aliens. The action here is almost non-stop, very well written, and considering the book is 573 pages, I raced through it. If any of the other entries are GWG-oriented, I’m certainly going to check them out. Just as soon as my heart-rate returns to normal.

Author: Michael Stephen Fuchs
Publisher: PF Publishing, available through Amazon, both as a paperback and an e-book
Book 1 of 1 (for now) in Arisen: Operators. But as discussed above – it’s complicated…

Imani

  By

★★½
“The Long Goodnight Kiss”

I’m not sure whether this is too long or too short for its own good. Could be a little bit of both. As the tag-line for this review suggests, it bears more than a superficial resemblance to a certain other action heroine film. Faith Newford (Hall) is your everyday, upper middle-class woman: married to a loving husband, physician Bryce (Shipp), with a young daughter, and running a shoe store on the side. Let’s not trouble ourselves about the mysterious amnesia, which leaves a large chunk of her past a blank slate. The problem is, Faith – or Imani, as she was previously known when she was a special ops soldier, is not supposed to be alive at all.

A blow to the head suffered during an abduction attempt triggers the return of her old skills, albeit at the cost of sending her on the run. Turns out she was in possession of information which could prove seriously detrimental to the political ambitions of General Michelle Dupree (Mirto). It’s why Imani and the rest of her squad were supposed to have been eliminated. If dodging Dupree’s goons wasn’t enough, there is another shadowy yet powerful group, who have an interest in Imani from the other direction, intending to use what she knows against Dupree. It’s all rather too over-complex, and I suspect they’d have been better off either simplifying the plot, or making it a mini-series. Hence my opening sentence.

The makers do get some things right, not least there has clearly been a decent amount of resources put into this. It doesn’t look cheap, and they also largely avoid most cliches of black action cinema. Though, inevitably, you still get drug dealers, rap music and The Man – or, in this case, The Woman – they are more incidental, and not the focus. Hall is okay as the heroine. If no Geena Davis, she generally acquits herself adequately in most of the action scenes, at least when she’s not trying to go toe-to-toe with obviously far larger and stronger opponents. For example, Raymond ‘Supreme’ Avant Jr (Lofton), who looks like he could eat Imani for breakfast, and pick his teeth clean with her spine. Yeah, their fight was a tad cringe.

At least the cinematic amnesia wasn’t too grating. For the movie simply has someone sit the heroine down and explain the past, rather than relying on the contrivance of her remembering it when convenient. Sometimes, simple is better. However, the film isn’t good at managing all the threads in the plot carpet, and it proved too much for my poor little mind to handle. I think my brain threw up a blue screen of death somewhere in the middle, during one of the more expository sections, about who was doing what to whom and why: my interest and attention never fully recovered thereafter. I did find the ending satisfyingly bleak – there’s always someone more shadowy and powerful than you – but I’d not call this more than adequate.

Dir: Mike Ho
Star: Brittany S. Hall, Demetrius Shipp Jr., Kris D. Lofton, Elyse Mirto

Our Girl, seasons one and two

  By

★★★
“Too much soap, rather than opera.”

Having very much enjoyed the Our Girl movie, I was interested in checking out the TV series version, which ran for four seasons from 2013 through 2020. You’ll notice, however, that only two are being covered here. Part of the reason for that is logistical: only seasons 1-2 are available on any of our current streaming services. That wouldn’t necessarily be an absolute show-stopper. But there were also reasons why we – mostly Chris – opted to draw a line under the second season. Each series tells the story of a different nurse in the British army. The first is about teenager Molly Dawes (Turner), who joins to escape a dead-end life in East London. The second follows established soldier Georgie Lane (Keegan).

The first is considerably more successful, with a better character arc for the lead – it’s basically an extended remake of the film, with all its strengths, including a fine performance from Turner. It goes further into her career, going through her first tour in Afghanistan, where Molly’s relationship with a local girl opens a whole can of worms. There is some soap opera stuff, in a love triangle between her, commanding officer Captain Charles James (Aldridge) and fellow soldier Dylan Smith (Iwan Rheon), but it’s not overpowering. The action side of things is well-handled – South Africa stands in for the Middle East – with the tension of patrols in a hostile environment, where even a child is a potential threat, being particularly apparent.

In the second season, however, the balance tips. Lane has a mission in Ethiopia, where she draws the ire of British jihadist Abu Jasser (Michael James), which continues to imperil her after she returns to Britain. While this strand, as well as the kidnapping and rescue of Georgie which precedes it, is fine, there’s another love-triangle, and this one is much more annoying. Georgie was previously stood up at the altar by a comrade, Elvis Harte (Pasqualino), and is now engaged to Dr. Jamie Cole (Royce Pierreson). However, while in Ethiopia, Harte shows up and begins to work his way back into her affections. It’s this element which caused Chris to lose both sympathy for and interest in the lead character, and eventually, the show.

I can see where’s she’s coming from, because it’s hard to empathize with a heroine whose sense of loyalty appears to be so weak. I get that this angle was injected to add dramatic tension. But Georgie’s eventual, not unreasonable, realization that she’s not the marrying kind, didn’t require her to (and I quote) “slut around.” On the heels of a not dissimilar situation in season 1, the implication is that women in the armed forces will inevitably end up getting romantically involved with their fellow soldiers, which I suspect is not the intended message. Discovering the two further seasons continue to follow Georgie, rather than a new character, was enough to get us to pull the plug prematurely, and move on.

Creator: Tony Grounds
Star: Lacey Turner, Michelle Keegan, Ben Aldridge, Luke Pasqualino

The Gorge

  By

★★★½
“Falling – in love again.”

This was more entertaining than I expected, and managed in a number of ways to overcome its limitations. From reviews, I was expecting it to be more a romance with occasional monsters. In reality though, it’s more a monster movie with occasional romance. The set-up revolves around a canyon in a remote area, of uncertain location and provenance. Since the end of World War II, the East and West have tacitly co-operated, in a project even their leaders don’t know about, to ensure that what’s in there, doesn’t get out. To this end, automated defense systems have been set up, monitored by one person from each side, on each side of the chasm, and replaced annually.

The latest pair are former US sniper Levi Kane (Teller) and Lithuanian counterpart, Drasa (Taylor-Joy). In what’s probably an accidentally damning indictment about the perils of putting women in front-line situations, Levi ends up zip-lining across the gorge, for a slice of her rabbit pie (if you know what I mean, and I think you do… but also for literal rabbit pie). Heading back, his line snaps, plummeting him into the danger zone below. Drasa immediately goes after him. They subsequently find out what’s in there, the truth about where it came from, and why they are guarding it. It’s not fun. The fate of the man Levi relieved (Dirisu) points towards that, and the presence of Sigourney Weaver as his boss is nicely ironic.

To be honest, the specifics are perhaps a little disappointing, being the kind of human malfeasance we’ve seen in SF/horror too often. After the ominous suggestion it’s a literal gate to hell, the actual answer left me a bit, “Is that it?” However, the makers have done a really nice job of creating the location, which is entirely convincing. The creatures crawling out of it are imaginative and icky too, although I would have like to see some more of the non-humanoid ones. There’s a point where I thought it was going to become that scene in Peter Jackson’s King Kong, which would have been nice. Still, there’s no shortage of mayhem once things kick off, and the 127 mins gallop past.

You could argue Teller is the lead, but I would say they are genuine co-stars: the film needs both of them in order to function. After her turn in Furiosa: A Mad Max Saga, Taylor-Joy definitely seems to be positioning herself as an action heroine. She does well here, although her Lithuanianicity (is that a word?) is a little in question, and overall I still put Samara Weaving ahead of Taylor-Joy. It is a bit of a shame this went straight to streaming, since it has more big-screen presence than many theatrical releases. You’ll perhaps have questions about some aspects, but if you’re like me, you won’t think of these until after the final credits have rolled – a good sign that the film has kept you engaged.

Dir: Scott Derrickson
Star: Anya Taylor-Joy, Miles Teller, Sigourney Weaver, Sope Dirisu 

Black Day

  By

★½
“Too little, and much too late.”

I feel the need to start with the IMDb synopsis, because it explains things considerably better than the film. “The Story of two former military criminals turned special sleeper cell Soldiers of Fortune by a secret agency called “The Order of the Black Box”. While agent Sage Martinez is undercover as a low level drug dealer’s wife her more volatile and violent sister Jay Bird is A.W.O.L that’s until they get orders for a special mission (their last kill mission to buy their freedom).” This bears so marginal relationship to what I just watched, if it weren’t for the characters’ names matching, I’d be wondering if it came from a completely different film. Little beyond the names is recognizable.

Here’s what I have. Two women: one strangles her demanding husband, the other kills a pair of security guards who attempt to sexually assault her. There’s something about a mysterious black box left on the former’s doorstep. The pair then meet and team up to take on a cannibalistic family who have been abducting and eating babies. The end. On the copy I saw, the entire film (which runs not much over forty minutes) then repeats in a “Director’s Cut” version. I guess this is slightly more coherently assembled, but is almost exactly the same footage, broken into chapters. It comes no closer to covering the points in the synopsis above.

This is, according to the credits, “Raphael Robinson’s Black Day.” On the one hand, it demonstrates a chunky ego. Usually, you become known first, then get to attach your name to your films, e.g. John Carpenter’s Vampires. Who the hell is Raphael Robinson? According to the IMDb, he had one (1) feature before this, which had no votes, critic or user reviews. Bit early to be going Francis Ford Coppola. On the other hand, if Black Day is anyone’s, it would be Robinson’s, since he wrote, produced, directed, edited and did the cinematography on it. He is literally the only crew member mentioned on the film’s IMDb page. The charitable reaction is: very gracious of him to shoulder responsibility and accept all the blame. 

Because simple coherence is missing here. The synopsis is intriguing. It’s just present in the film at “may contain traces of” level. If it had been laid out correctly, I’d have tolerated this much better, because as a low-budget tale of two heroines going after cannibals, it has some energy. Jordan as Jay and Kay as Sage possess presence. Watching them chew up and spit out the members of the Darkwell clan, working their way up to patriarch Creed (Kenney) made for slightly amusing in-flight entertainment (god knows what my fellow passengers thought!). There are occasional moments where Robinson seems to have a clue what he’s doing behind the camera. But it doesn’t appear he read his own film’s synopsis, and the whole thing feels painfully like it was made up as he went along.

Dir: Rapheal Robinson
Star: Krissy Kay, Llola Jordan, Bill K. Kenney, Ella Rose Henning

Dirty Angels

  By

★★★½
“Dirty deeds, done dirt cheap.”

It’s important to realize that this is a throwback to movies from an earlier, simpler time. One when action movies could consist largely of a red-blooded American hero, killing evil furreners in spectacularly violent ways. And it didn’t matter much whether the person playing the hero was actually a foreigner themselves i.e. Arnold Schwarzenegger. Thirty years later, we are supposed to be more tolerant, and watch films where nuance has replaced shallow stereotypes. We have met the enemy and he is us, or some similar guff. Dirty Angels cares not one whit for such niceties. Its sole concession to ‘progress’, is a hero with a vagina. Who is still actually a foreigner, Eva Green being French. 

She plays Jake, a hard-ass soldier who has been causing trouble for the military brass, since an incident in Afghanistan where the rest of her team was killed. She gets a chance to put things right after ISIS kidnap a batch of girls from a school in Pakistan and take them back over the border. It needs to be a majority female team because reasons, and so we get minions referred to only by their skill-set, e.g. The Bomb (Bakalova) or Medic (Rose). I was a little worried by the latter’s presence: going by her recent films, she should have been called The Bomb. However, she’s a minor presence compared to Green, whose irresistible force beats the immovable object of Rose.

Adding to Jake’s enthusiasm, the ISIS leader behind the kidnapping is Amir (Iskander), the same man responsible for killing her comrades. However, they can’t cross the border armed, so before launching an assault on Amir’s compound, they first need to liberate the necessary weaponry. This all provides Campbell, recently seen here with The Protégé (and he has Daisy Ridley’s The Cleaner out early next year), with plenty of opportunities for some seriously messy violence, and a high body-count on both sides. Throat slitting, head shots and some severe stabbing ensue, though there is some dodgy CGI. An exploding helicopter at the beginning is shockingly bad. Fortunately, it is not a portent of what’s to come, with a lot of good, practical effects work instead. 

In other reviews, I’ve seen a lot of predictable whining from predictable whiners, but the bottom line is, I was entertained. A very significant portion of that is down to Green, whose intensity fuels the whole movie. [This represents a reunion with Campbell, who directed Green for her breakout role in Casino Royale] With someone less effective in the lead role – coughRubyRosecough – this could potentially have been a whole star lower. Again, it is a throwback to times where a crap action film could work, given a star with enough charisma, and once more I’m thinking of Arnie. There’s nothing new or innovative here, certainly. I was not looking for such, just a cacophony of giant fireballs and mild to moderate xenophobia. Sometimes, that really is all you want. It’s the simple things which matter…

Dir: Martin Campbell 
Star: Eva Green, George Iskander, Maria Bakalova, Ruby Rose

Lioness, season two

  By

★★★½
“Hold the lion…”

Interesting the title dropped the “Special Ops” prefix from the title for this series, necessitating a bit of a retro-fix on our season one review for consistency. The sophomore run is another solid television show. Between this and Yellowstone, it feels like Sheridan is the macho version of Shonda Rimes, creating television series that have a recognizable auteur feel to them. In Sheridan’s case, that means two-fisted tales,cbest enjoyed with a cigar and a glass of whiskey. That, in this case, it’s largely focused on female characters, does not make proceedings any less macho or two-fisted. This season certainly left me with a new, deeply held respect for attack helicopters. M134 Minigun go brrrrrr…

It’s the pilot of one such, Josie Carrillo (Rodriguez) who is recruited as this season’s Lioness. The reason is her family are deeply embedded in one of the Mexican cartels; in particular, her father is the chief accountant to the Los Tigres cartel, and her uncle is its leader. A dishonourable discharge is fabricated, and she’s sent back to her family. However, in a sharp change from season one, this is only a minor thread. Indeed, it’s only a few hours after her return that her father figures out what’s going on, and the surveillance team have to go in, guns blazing, to rescue Carrillo. It’s all painfully messy, and if there’s an overall theme in season 2, it’s that anything which can go wrong, will.

As a result, Joe McNamara (Saldaña), the CIA officer in charge of the Lioness program, and her boss Kaitlyn Meade (Kidman), spend much of the series trying to fight the resulting fires. The instigating event is the kidnapping of an American congresswoman by Los Tigres, whom Joe and her team have to rescue from over the border in Mexico. Though Meade and her ultimate boss, Secretary of State Edwin Mullins (Freeman), detect the hand of foreign powers behind the cartel’s actions. Which is why, eight episodes later, Joe and her team are sent to Iran, to stop two Chinese nuclear scientists from joining their weapons program. The message is clear. You think you can cross our border with impunity? That belief operates in both directions.

In between though, a lot of stuff goes bad, as Los Tigres are targeted. Not all the opposition is external either, with inter-agency cooperation notable by its absence, and a shady DEA agent whose loyalties are seriously in question. There’s bad intel thrown in too: what is supposed to be a cartel drug stash house ends up containing children, and a well-meaning attempt to rescue them fails spectacularly. The action scenes may be among the best on TV, especially the sequences book-ending this season. However, I felt there was rather too much political intrigue. I wouldn’t mind it in another show: you get a real sense of how different government departments fight each other, rather than working together. But it’s all time when we should be watching M134 Miniguns go brrrrrr.

Creator: Taylor Sheridan
Star: Zoe Saldaña, Nicole Kidman, Genesis Rodriguez, Morgan Freeman