Tag: south africa

Hunting Jessica Brok

  By

★★★★
“What a silly hunt.”

This is a rough, to the point of savage, piece of cinema. If you do not like seeing people get their head blown apart, you should stay away, because that happens more then once here. The provider thereof is Jessica Brok (Jones), who was once part of a black ops operation which went across the border from South Africa into Angola, in search of a poaching ring, only to find far worse. The subsequent ambush wiped out most of her team, though she was able to kill the brother of the poacher’s leader. Over a decade later, she is finished with the business, and living quietly with her young daughter, under a new identity. The business, however, is not finished with her. 

For the leader, Lazar Ipacs (Lukunku), has been harbouring a grudge against Jessica, and has finally tracked her down. With the help of a former colleague, Daniel (Berning), he lures her into a trap and prepares to make her regret… Absolutely everything. But Daniel has second thoughts, throwing Jessica a lifeline which lets her escape. The hunt is on. The only question is, who is the hunter and who is the hunted? After a few lower-tier henchmen are taken out, Lazar’s wife Sherri (Mboya) discovers Jessica has a daughter, and Lazar kidnaps her, intending to use the child as leverage. If you’re thinking that might be a bit of a poor decision, give yourself two points. 

The best thing I can say about this is, while running comfortably over two hours, it doesn’t feel like it at all. There’s not much of a lull: a brief period of peace depicting Jessica’s new life working on a wildlife sanctuary is as quiet as things get. Once she is kidnapped, there is little pause for breath thereafter. It is fair to say that the action here is more inclined towards the comic-book, rather than the realistic. Jessica, for example, takes more damage than any normal human could be expected to survive. She takes an arrow right through the thigh, and basically shrugs it off, while stepping on a grenade booby-trap leaves her with little more than slight tinnitus. However, the same goes for Lazar and Daniel. 

Taken in that spirit, I enjoyed this a great deal, and it’s the first film I’ve watched in 2026 to merit our Seal of Approval. The characters here are broadly-drawn, yet no less effective for it. Credit especially to Lukunku and Mboya, who make a spousal pair who are the stuff of your worst nightmares. The script doesn’t do anything particularly new – especially obvious, the way Lazar and his men spurn opportunity after opportunity to kill Jessica, to the point it begins to feel like a deliberate running joke. Yet it feels like its simplicity leaves the film stripped-down and lean, rather than underwritten. I suspect director/co-writer Orr might be a big fan of Revenge. I am too: there’s much worse from which to take inspiration.

Dir: Alastair Orr
Star: Danica De La Rey Jones, Richard Lukunku, Clyde Berning, Hlubi Mboya

Rogue

  By

★★★
“Because females are the true killers.”

Megan Fox may not exactly be the first name which comes to mind when you think “battle-hardened mercenary leader.” But if you can get past your preconceptions, she’s definitely not the worst thing about this. We’ll get to what is, a little later. She plays Samantha O’Hara, leader of a group or mercs who have been hired by the governor of an African province to rescue his daughter from the Muslim group who kidnapped her. The mission initially goes well, but problems arise. First, the daughter isn’t the only woman kidnapped, forcing Sam to take along multiple civilians. Then, their evac chopper is shot down. Finally, the abandoned house in which they hole up while awaiting extraction turns out to be home to some large, toothy predators of the feline variety, leading to the quote above. Between fending off them and the pursuing kidnappers, Sam and her crew have their work cut out to survive the night until rescue arrives.

I was reminded of the series Strike Back in a number of ways, and it’s no coincidence. Director Bassett worked on the show and Winchester was one of the stars. But there’s also a similarly frantic pace and exotic location, as well as a love of giant fireballs. I’m down with all of those, even if the characterizations here are definitely on the shallow side; the film clearly feels this would be time wasted, which could be better spent on those giant fireballs. Fox is fine, though I’d say definitely should have been made to look less glamorous. There’s barely a shot here, where she doesn’t look as if she wandered onto the African veldt, right off a fashion runway: perfect hair and make-up, with not evern a smudge of dirt on those cheek-bones. However, she hurls herself about with some abandon, and I can’t fault her willingness to go outside the comfort zone of her usual roles.

No, a far bigger problem here is the CGI used for the lions, which is flat-out terrible. I don’t know what the hell happened, but any time it’s properly seen, the flaws are glaringly obvious, and severely detract from proceedings. Which is a shame, because they’re used quite well. We get an attack seen through night-vision goggles that is genuinely chilling, and there’s also the best “out of nowhere” moment since Samuel L. Jackson got sharked in Deep Blue Sea. I suggest looking at the big cats out of the corner of the eye, and they might pass muster. The film ends with an explicit pro-conservation message from the director, which seems a bit odd, given they’ve spent the previous hour and three-quarters showing us what terrifying beasts lions are. But it’s apparently okay, because they had reasons. I don’t see many people sticking around for the morality show: you’re here for Fox in khaki and the maulings. Providing you can get past the ropey CGI, this delivers adequately enough on both counts.

Dir: M.J. Bassett
Star: Megan Fox, Philip Winchester, Greg Kriek, Brandon Auret

The Furnace

  By

★★★
“Run Mary Run”

Two days after getting married, Mary Harris (Bernadette) is involved in a car accident which kills her new husband and leaves her barely able to walk. But she has one goal: to compete in the Furnace, an ultra-marathon race through the African wilderness, in which she and her late husband had been planning to take part. This aim goes strongly against the desires of her mother, but Mary won’t be deterred. With the help of her mentor (Dlamini, looking like a younger version of Morgan Freeman), nicknamed “Coffin” due to his day-job as a gravedigger, she claws her way back to fitness, and to the start-line. But is she prepared for everything the environment can throw at her, and make it to the finish? To do so, she’ll have to overcome not just the lethal heat, but also predators for whom she’d be a tasty snack, and poisonous scorpions whose venom induces disorienting hallucinations.

It’s certainly a change of pace for Bernadette, who has previously been seen on this site in Killing Joan and All Girls Weekend, as well as the largely woeful I Spit On Your Grave reboot, Deja Vu, not reviewed here. This is a film heavy on the F-word – by which I mean “faith”. Its religious overtones may be enough to write it off for many, but even as someone who possesses no real commitment there, it still worked well enough as a story about fighting through and triumphing over adversity. The race itself is the most effective section, with a constant stream of problems to overcome, and fortunately that does represent the majority of the film’s running-time. I must admit, I guessed the truth about her running companion, Raphaella (Linn) well before the film revealed it, and that angle is perhaps one where the faith-based elements become more than a little overwhelming.

Exhaustive research i.e. five minutes of Googling, couldn’t locate any race comparable with the Furnace, and it does seem a highly perilous endeavour, even with a GPS attached to participants. “If you’re stationary for more than seven hours, you’re disqualified, and we come pick you up,” says the organizer. Shouldn’t that be “If you’re stationary for more than seven hours, you’ve been eaten by hyenas, and we come pick up whatever is left in a bucket”? It’s certainly not my idea of a challenge to which I aspire, but there are people like Mary who seek to push their limits, so it’s not that far-fetched. Throw in decent cinematography and animal work and you’ve got something that  entertained me rather more than I perhaps expected, though Coffin’s voice-over does become a little superfluous in places. It’s not a film which an atheist is likely going to be able to appreciate, yet dammit, even I found myself getting fractionally emotional for the final scene. I’d probably be more inclined to credit Peters’s performance for that, rather than any kind of divine intervention.

Dir: Darrell Roodt
Star: Jamie Bernadette, Luthuli Dlamini, Laura Linn, Thandi Puren

Sumuru

  By

★★
“Queen of Outer Space”

A spaceship piloted by Adam Wade (Shanks) and Jake Carpenter (Bridgett) crashes on a planet at the far end of our galaxy. They’re searching for a colony which had landed there almost a millennium previously, only to find things not as expected. Somehow, over the centuries since, women have taken absolute control of society, relegating men to literal slaves, and worshipping a giant serpent as their deity. However, the men discover the planet is about to shake itself to pieces, and the residents need to be evacuated. Adam makes an ally of the current queen, Sumuru (Kamp), but that alone makes an enemy of high-priestess Taxan (Levin). She has held a grudge ever since the women elected Sumuru leader, and is intent on taking her place, by any means necessary.

This was (very loosely) based on a character created by pulp writer Sax Rohmer, best known as the creator of Fu Manchu. Less renowned is his character Sumuru, originally invented by Rohmer for a BBC radio series just after the war. She then became the villainess in five books published during the fifties. There were two previous movie adaptations in the sixties, also with Harry Alan Towers involved as producer. Shirley Eaton – best known for her painted death in Goldfinger – played Sumuru in The Million Eyes of Sumuru and The Girl From Rio. I’ve seen the first, and it doesn’t qualify for inclusion here; though if you’re interested, here’s my review elsewhere.

I mention all this, largely because it means I have about a hundred words less to write in regard to this. It’s a thoroughly forgettable South African film, which plays somewhere between an old-school episode of Doctor Who (the last time I saw so many scenes apparently set in a gravel-pit) and The Perils of Gwendolyn. It is at least slightly closer to the first novel than the previous movies; the book did have Sumuru plotting to create a “new world order,” ruled by women, but here it’s more a result of unfortunate circumstance, centuries ago, than any kind of deliberate plan. And given how quickly society unravels after the arrival of Adam and Jake, I’m uncertain how it lasted 900 years.

This really needs to have done more with the concept of a gynocentric civilization, and pitting warrior priestess against technocrat is an interesting idea. However, the film just doesn’t have the resources to construct anything close to what’s needed, with little more than 20 actors of either sex. There are too many missteps, such as the way the women speak exactly the same language as the spacemen [compare 12th-century English to what we have now, as a yardstick], or the remarkably well-preserved “ancient” technology. Adam occasionally provides a nicely sardonic commentary on the silliness of it all, and we do eventually get the hoped-for face-off between Taxan and Sumuru. It’s precious little return, and you’ve got to endure far too much running around rocky terrain, for even these small pleasures.

Dir: Darrell Roodt
Star: Michael Shanks, Alexandra Kamp, Simona Levin, Terence Bridgett –

Hunting Emma

  By

★★★½
“The Revenge knock-offs start here…”

Actually, that’s unfair. For this was released in its home country of South Africa in March 2017, six months before Revenge had its world premiere. But the timing of its US release, less than two weeks after Revenge, is… let’s say, “interesting”, given the strong similarities between the two films. While there are significant differences, which we’ll get to shortly, both depict the pursuit of a lone woman across a desert landscape, by a pack of men intent on making sure she doesn’t get out alive. She has to turn the tables on them, pushing past societal norms in the name of self-preservation.

Indeed, if I was the makers of Jagveld, I might be a bit miffed that they’re now faced to play catch-up in the US market. Revenge has swept in and grabbed all the plaudits, leaving their film feeling (even if it isn’t) like a mockbuster. It inevitably suffers from being second. If I hadn’t seen Revenge, this might well have got our seal of approval. Instead, it no longer feels as fresh, even if it’s by no means bad. It doesn’t have quite the same feminist subtext, bypassing the sexual assault angle. Instead, the trigger for the hunt is a car breaking down in the veldt, and while Emma (du Randt) is looking for help, she stumbles across Bosman (van Jaarsveld) and his gang, just as they’re shooting a policeman. This not being something to which they want a witness, the chase is on.

This is rather more restrained than Revenge: something of a double-edged sword, as its sibling’s excess was part of the gonzo charm. Most obviously, it’s far less gory, and also has a more prosaic explanation for the heroine’s savagery. Rather than peyote triggering a pharmacological resurrection, Emma’s dad (Meintjes) was a special forces soldier. His cynical view about the savagery of the world led him to train her in survival skills, an upbringing she rejects in favour of a career as a teacher and fervent pacifism – there’s a rather clunky subplot about her breaking up with a boyfriend because he defended himself in a fight. The lessons still stuck, and just as there are no atheists in fox-holes, there are no pacifists in desert warfare.

There’s something of the young Uma Thurman about du Randt, and the gang members offer an interesting range of characters, from the hardcore Bosman through to some of his minions, who would clearly rather be somewhere else. While they’re all meat for Emma’s grinder, some of the wounds are rather self-inflicted [even I know better than to drink untreated wilderness water, and I do not camp well…] The main flaw is its lack of a sense of escalation, something Revenge had by the crimson-coloured bucket. When I saw Bosman picking up his F-sized rifle, I was eagerly anticipating the moment it would be turned against him. At close range. By a thoroughly pissed Emma. No such luck, but I did appreciate what might be a nod to Ms. 45 in the use of an iron as a deadly weapon. Instead, it plateaus some time before the end, finishing on an “All right, I suppose” note rather than the necessary crescendo. Worth a look though. Especially if you haven’t seen Revenge yet.

Dir: Byron Davis
Star: Leandie du Randt, Neels van Jaarsveld, Tim Theron, Tertius Meintjes
a.k.a. Jagveld

Momentum

  By

★★★
“Momentum runs out.”

momentumAlex Farraday (Kurylenko) is part of a gang of jewel thieves, who have just pulled off a very successful heist in South Africa. Unfortunately, along with the diamonds, they have also acquired a flash drive which contains the plans of a rogue Senator (Freeman), to stage another 9/11 in order to generate wealth for him and his buddies. Needless to say, he’s not happy about it, and sends his minion, Mr. Washington (Purefoy), to retrieve the incriminating hardware and tidy up the loose ends – consisting of Alex and her associates.

That’s certainly a terser synopsis than usual, yet it’s more than enough, because this is a film that does not care too much for complexities of plot. It is a cinematic shark, in that whenever it stops moving, the audience’s interest dies. The good news is, particularly in the first half, that never happens, with Alex being pursued and harried by Washington and his minions [sub-henchmen?] from hotel room to the house of her former boyfriend and not-so-former partner, where a disgruntled wife is most unhappy by Alex’s unexpected phone-call, and on from there to an abandoned warehouse. This section is thoroughly entertaining, unfolding at a breathless and non-stop pace, and Kurylenko lives up to the action potential she showed in The Assassin Next Door, surviving on pure adrenaline, as well as her smarts and combat skills – for, it turns out, she has a long, shadowy past of such things.

The problems are much more in the second half, when Campanelli abandons a shamelessly breathless and kinetic approach, replacing it mostly with scenes in which heroine and villain banter awkwardly, while the latter threatens to inflict unspeakable tortures on her. This, needless to say, is rather less interesting and the film dissolves into a disappointing series of expected shenanigans, for which the drive is a MacGuffin. It doesn’t help that the whole “Senator” subplot is so woefully under-developed – I believe Freeman took on the role as a favour to the director – they really shouldn’t have bothered, instead just leaving both the contents and the shadowy owner unspecified.

I did enjoy Kurylenko, who also handles her action sequences creditably, with occasional upticks into impressive, though just about everyone else in the cast is more or less forgettable, and there isn’t enough new in the script to make it worthy of note. Campanelli is a long time cameraman, known in particular for his work with Clint Eastwood, and he apparently had to quit American Sniper to make this, his directorial debut. If the early going shows a great deal of promise, it appears he ran out of steam and ideas thereafter. Rather than building on its solid foundation, this is a film that seems content to stop any ascent there, admire the view for a bit, and coast downhill thereafter without expending significant further effort.

Dir: Stephen Campanelli
Star: Olga Kurylenko, James Purefoy, Morgan Freeman, Jenna Saras

Africa

  By

★★½
“Supermodel goes wild.”

africaKinda dumb, to say the least, yet not entirely reprehensible. Supermodel Victoria Young (Potgieter) is under a lot of stress, having just signed a huge new contract, and to clear her head decides to take a drive across the South African veldt. A close encounter with a truck propels her car off the road, and the dazed Vicky wanders off in the wrong direction, away into the bush. Her manager/boyfriend Josh Sinclair (Wise) is left to co-ordinate search and rescue, though the police seem to think it’s just some kind of publicity stunt, and in the cut-throat world of modelling, there is no shortage of those seeking to exploit Vicky’s absence for their own ends. Meanwhile, by the time she regains her full faculties, she has no clue how to get back to civilization, and has to figure out how to survive a hostile environment. Plus, as time goes on, fend for herself, finding food – as well as avoiding becoming food for the local fauna.

I could certainly have done without the entire urban shenanigans, which appears to have strayed in from a bad 90’s Lifetime TV movie. Much more interesting is watching Vicky disintegrate from a pristine beauty, into someone who has to rip the leg off a half-scavenged carcass in order to eat, in between bouts of hiding up trees while a pride of lions takes a nap below. Some of the early sequences border on supermodel torture-porn, for example, as she agonizingly pulls a thorn from her foot, even though it is kinda obvious that the actress was never in the same scene with anything larger than a monkey. Similarly, the sequence where she pulls a grub out of a rotten tree, and cooks it on a stick like a disgusting living S’more, would have been more impactful had it then continued, unflinchingly to show Vicky chowing down on it. Though I did kinda snigger at the cut instead, to a rival model throwing up in the bathroom.

I’m not sure how realistic it is intended to be: I suspect that drinking raw water from a water-hole, in which various wild animals have been trampling [and, likely doing other things], would be a fast way to the emergency room. It might have been nice had they provided some rationale for her survival skills, even a token one such as her growing up on a farm; if you actually dumped Kate Moss into the middle of Africa, the real outcome is likely going to be a bit different. I did like how Vicky’s survival was entirely dependent on her own actions – there was no helicopter flying in at the end, as a deus ex machina. However, it would have been greatly improved by having the courage to focus purely on the “Woman vs. Wild” aspect, as the rest of it is mostly nonsense, which adds very little to proceedings.

Dir: Paul Matthews
Star: Dorette Potgieter, Greg Wise, Patrick Bergin, Elizabeth Berkley

Kite (live action)

  By

★★
“A two-dimensional adaptation of two-dimensional animation”

kite_ver3_xlgLoosely based on the notorious anime, this relocates things to South Africa, after a financial crash has turned everything into a giant slum, and human trafficking gangs operate with impunity. Sawa (Eisley) is on a mission, searching for the Emir, the leaders of one such network, whom she blames for the death of both her mother and policeman father. She’s helped, as she works her way up the chain of command, by her father’s colleague, Karl Aker (Jackson). He provides her with some literally whizz-bang equipment, in the form of bullets that explode a few seconds after they’ve embedded themselves in you, and also keeps her dosed with “Amp”, a drug that lets her forget all her killing, but at the cost, eventually, of also making her forget the parents for whom she is seeking revenge.  Throwing another spanner in the works is Oburi (McAuliffe), a young man Sawa encounters, who seems to want to help her, yet also knows more about her parents’ deaths than he initially lets on.

One wonders if this might have been better served under original director, David R. Ellis, who died in South Africa during pre-production – this would have re-united him with Jackson, since Ellis also directed Snakes on a Plane. Certainly, Jackson seems to be phoning his performance in – though better that, I suppose, than the yelling which characterizes many of his recent roles, and it’s still above the 100% forgettable McAuliffe. Ziman’s pedigree is… Well, almost non-existent, with Gangster’s Paradise: Jerusalema his sole directing credit in the dozen years before Kite. This feels largely like someone tried to make a Hit-Girl movie, but based on third-hand descriptions of the character. Though Christopher Tookey, the now-unemployed (hoorah!) critic who whined about Kick-Ass fetishizing paedophilia, would have had his head explode during the scene where Eisley (19 during filming, but playing way younger) grinds in her underwear on top of a middle-aged man. Watching it uncomfortably, I kept expecting Chris Hansen to come out of my kitchen and say, “Why don’t you have a seat over here?”

There are some moments of visual style, with good use of aerial cameras, and the action is decent to solid, being well-constructed and executed. If you’ve seen the clips we have previously posted, then you’ll understand why they chose to feature them, because it’s the stuff between the action which is the problem here. You’re always skating on thin ice when you’re using amnesia as a key plot point in your movie, especially when it’s the particularly cinematic form seen in this case, where memory inevitably returns at the most dramatically convenient moments. It has to be that way, because if Sawa remembered at any other time, the entire story would collapse in on itself, long before you reach the “surprise” revelation, which will still come as a shock to absolutely no-one. Eisley, whom you may recognize from Underworld: Awakening, does okay, but compared to, say, Chloe Moretz, makes almost no impression at all. Much the same is true of the film as a whole.

Dir: Ralph Ziman
Star: India Eisley, Samuel L. Jackson, Callan McAuliffe, Carl Beukes

KITE-6