Tag: spy

Last Day in Limbo, by Peter O’Donnell

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

Although this is the eighth book in the author’s trail-blazing (at the time it was written, action-oriented heroines were nowhere near as numerous in fiction as they are now) series, it’s the third that I’ve read. (Long story!) It was published in 1976; but in terms of the series’ internal chronology, just a few years have passed since the series opener. So in the book, it would still be the late 1960s, and protagonist Modesty is now about 28 years old. As is often the case, I would advise readers NOT to read the cover blurb. IMO, it discloses way too much information that’s better learned as O’Donnell chooses to gradually unfold it. When the tale opens, we find Modesty and one of her (to use a contemporary term) “friends with benefits,” multimillionaire tycoon John Dall, enjoying a white-water canoeing excursion in the remote wilds of the Rocky Mountains, accompanied only by a 60-year-old Indian guide. It’s indicated that Dall would be glad to have a more committed relationship; but while Modesty has a lot of admirable qualities and makes a devoted friend, her hellish formative years left her with too damaged a psyche for committed romantic love. O’Donnell never made that any part of her character arc, so readers shouldn’t approach the books with that expectation (or hope!). Barely two pages into the story, though, their idyll is rudely interrupted by the appearance, seemingly out of nowhere, of two gun-toting thugs, who take the couple prisoner after brutally murdering their guide. This begins an adventure that will take us to more than one locale, but principally to the dense (and deftly-evoked) jungles of Guatemala, and which will involve mortal danger, intense mental and physical challenges, and a high body count. An obvious question readers might ask is, does reading this out of order result in “spoilers” for the earlier books? I would say no, because Modesty’s adventures are each episodic and self-contained; and she and sidekick Willie don’t significantly change, either in their life circumstances or in terms of character growth. Some characters here do appear in earlier books: Sir Gerald Tarrant, for instance, is already introduced in the first book, and Steve and Dinah Collier are in the story A Perfect Night to Break Your Neck, included in the story collection Pieces of Modesty (which I did read previously), though that’s not their first appearance in the canon. The madman who calls himself (and actually believes that he is!) “Lucifer” is, I’m guessing, the title character of the third novel, I, Lucifer, and both Dall and British spy Maude Tiller have also apparently shown up before. But while having read about them earlier would make them more familiar, all of these were depicted here with enough clarity and depth that I felt I knew them fully well as people. And while occasional references are made to previous adventures, the significance is explained in each case, and for me the effect was simply to whet curiosity, not spoil it. (Of course, it’s clear that Modesty emerged from these triumphant; but that’s a “spoiler” only if you don’t grasp the idea of the word “series….” :-) ) I’d recommend reading the first book before this one, to get a basic idea of who Modesty is, what her early life was like, and the Modesty-Willie dynamic; but otherwise, I don’t think it’s essential to read the earlier books first. In terms of style and literary vision, this book felt, to me, very much of a piece with the two I’d read earlier. While he doesn’t write with the elaborate diction of his 18th-century Romantic predecessors, O’Donnell’s solidly in their literary camp with his use of exotic locales, extreme situations, and above all, frank appeals to the whole range of readers’ emotions. (In one revealing exchange, Dall tells Modesty she’s a “romantic,” whereupon she replies, “Of course I’m a romantic, dum-dum! And proud of it. There’s not enough of it about these days.”) His plotting is taut and well-constructed, with a good deal of suspense, a steady pace interspersed with frequent jeopardies and vivid action scenes. Modesty has to display her planning acuity and ingenuity as well as her fighting skill; and surviving and taking down the baddies here won’t be a cake-walk, since while she’s highly competent and a born leader, she’s not Superwoman. On the contrary, she’s very much a flesh-and-blood woman, who can bleed and cry (though she doesn’t like to do the latter in front of others); and she’ll do both before we close the book. In contrast to the cynicism of much modern literature, despite the gritty milieu we find ourselves in here, O’Donnell’s vision is a solidly moral one. Our heroine (and Modesty is a heroine, not an anti-heroine) is pitted against villains who are radically evil, and while she, Willie and their friends have foibles, they basically have a solid and instinctive orientation towards the good. And O’Donnell knows that the basic dividing line between the two separates those who care about others and try to treat them decently, vs. those who care only about self and consider all other humans as things to be used. The author’s social message here isn’t loudly delivered; but we do get a clear look at both the misery the downtrodden in the Third World have suffered (and still do), and the reality that a fixation on vengeance rather than justice can make the oppressed a mirror image of the oppressors. Content issues here aren’t too problematic, given the literary genre that this is. There’s some swearing and religious profanity (but no obscenity). There are no sex scenes, but there is reference to sexual activity, and it’s made clear that two of the principal villains are into kinky sex that involves inflicting extreme humiliation on women (though O’Donnell spares us any specifics). That such behavior exists in the world should (and does!) offend every decent human; that it’s depicted at all in a book will offend some readers. In the author’s defense on that score, I would say only that a mentality which freaks out on wielding power over other humans is realistically apt to also be reflected in warped sexuality; it warps every aspect of the personality. The language and sexual attitudes/behavior of most of the characters here are what would realistically be expected of secular folk who move in these kinds of circles. Indeed, while some readers would roll their eyes over using the term here, because of the unusual and extreme situation (“unusual,” though, is not the same thing as “impossible!”), I would say that O”Donnell depicts a wide range of life-like characters with very convincing realism, and that his characterizations are a strong point of the series. Again, I’d recommend reading the series opener before reading this installment; but otherwise, I’d have no hesitation in recommending it to any reader who enjoyed the first book. Author: Peter O’Donnell Publisher: Souvenir Press; available through Amazon, currently only as a printed book. A version of this review previously appeared on Goodreads.

The Black Widow

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★★½
“Stay here. And make me a sandwich!”

This is something of a fringe entry, and illustrates a few of the issues with Hollywood of the time. In particular, a severe reluctance to let female characters act with genuine independence. We see this on both side of the story here. The title character is Sombra (Forman), a vaguely Asiatic woman who is engaged in a plot to steal nuclear secrets from the United States. To this end, she has been trying to bribe acquaintances of a notable scientist, but the trail of spider-envenomed corpses resulting from their refusal to help has brought her to the attention of the Daily Clarion and its ace girl reporter, Joyce Winters (Lindley). Which would be fine, if the women were allowed to go head-to-head on their own terms, in the same way as Perils of Nyoka.

Except, neither of them are. Sombra is basically a puppet of her father, King Hitomu, who pops up through a cloud of smoke in a teleportation device, to keep her in line and hand down decrees that must be obeyed. Worse, the newspaper calls in Steve Colt (Edwards), a hard-boiled crime fiction author, to take lead in their investigation. He truly treats Joyce like crap, repeatedly ordering her to stay behind and refusing to let her drive. This unrepentant chauvinist even handcuffs her to the car at one point, to stop her following. Fortunately for him, Joyce is resourceful enough to unbolt herself, and so is able to stop Steve from being gunned down by Sombra’s minions. His gratitude for saving his life is… largely notable by its absence.

In between the blatant sexism, which definitely hampers things, there are some cool elements. I particularly liked the way Sombra is a woman of a thousand faces, able to disguise herself as any other woman perfectly. So we get some scenes where we have Lindley playing Forman as Sombra, pretending to be Joyce, if you see what I mean. It’s fun. There is a fair amount of technobabble here e.g. a sonic disruption device, but occasionally the script does hit on something a little prophetic, e.g. the tracking device Steve uses to locate Sombra’s lair. Though it is rather larger than the modern equivalent, shall we say! I’m also a little concerned about the ease with which he is allowed to gun down unarmed civilians, and his lack of remorse thereof.

I did like the performances of both Lindley and Forman, though one aspect of the latter is a “Yellow Peril”-like portrayal that hasn’t aged well. But as is often the case, being a villainess does give you a bit more independence, and Sombra is clearly the boss when her father isn’t around. However, if you’re not throwing things at the screen when Steve gets all “No, you’re not coming with me, little lady,” then you’re probably on the wrong website. I was wishing throughout for him to have a close encounter of the poisonous kind with Sombra’s arachnid pals.

Dir: Spencer Gordon Bennet and Fred C. Brannon
Star: Bruce Edwards, Virginia Lindley, Carol Forman, Anthony Warde

Okay Madam

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★★★
“Okay enough to work”

This probably falls into the category of lightly amusing, rather than anything more. But I can’t say I was ever bored, and it’s assembled well enough technically that I can’t complain. The heroine is Mi-Young (Uhm), a former North Korean agent, who defected, changed her looks through plastic surgery, and now lives a quiet existence, with a part-time job selling pastries in the local market. She’s married to Seok-Hwan (Park), a computer repairman, and their life is frugal as far as wealth goes. Seok-Hwan, however, is wins a promotion run by a soft-drink company, getting them and their young daughter a trip to Hawaii.

It turns out the North Koreans still have an interest in ‘Magnolia’, as Mi-Young was formerly known, and need her (specifically, her iris) to unlock some nuclear protocols. They learn she will be on the plane to Honolulu, yet are just not sure which passenger she is. So they hatch a plan for former partner Cheol-Seung (Lee) to hijack the craft, identify and abduct Magnolia, and parachute out, blowing up the aircraft in their wake. Mi-Young is fortunate enough to be in the bathroom when things kick off, so is able to avoid immediate detection. On the other hand, she’s now separated from her husband and child. Both she and Seok-Kwan will need to rely on their skills – long-dormant in the case of Magnolia – to defeat the hijacks before they can execute their explosive intentions.

This one initially slid past me entirely; looking at the poster, it’s very easy to overlook the gun held by the heroine. And, to be honest, this is as much a comedy as hard-hitting action. In that mix, it’s a bit reminiscent of My Wife is Gangster [damn, that came out 20 years ago?], with a reliance on culture clashes or inappropriate actions and speech for its humour. However, it did work pretty well, helped by a good number of interesting side characters. For example, there’s a paranoid air steward who wants to be a hero; an irritable congressman; and an actress who is initially suspected of being Magnolia, due in part to her action movie filmography. Though some of the cultural stuff definitely flew above my head, a decent amount is sufficiently global to work.

The cramped surroundings of the aircraft – even if Business Class is like the African savanna in comparison to the economy spaces we occupy – make a interesting setting for hand-to-hand combat, and help excuse the lack of guns. We’ve seen former singer Uhm before here, starring in Princess Aurora, and she acquits herself well in this. While I suspect some doubling for the more athletic moments, it’s done competently enough to pass muster. I would prefer to have seen more action, in fact, and a little less of the dramatic elements, though that’s more likely my problem than that of the intended audience. I will likely never watch it again, yet don’t feel it was a waste of 100 mins.

Dir: Cheol-ha Lee
Star: Uhm Jung-Hwa, Park Sung-Woong, Lee Sang-Yoon, Bae Jeong-Nam 

The 355

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★★★
“Mission reasonably possible”

I went into this preparing to hate it. There had been red flags all over the place, such as star and producer Chastain coming out with comments about her movie like, “It’s very important for society. We’ve moved against the status quo, and we’re creating our own narrative for it. The film is, in some sense, a political act.” Uh-oh. No film is ever “very important for society.” It’s a film. The good news, however, is this is perfectly watchable without worrying about such things. While it may have been created as a female-led story, it’s much more identifiable as a generic spy romp, in which the protagonists roam the world in pursuit of some threatening item, on which the bad guys want to get their hands. Hooray for the equality of mediocrity!

In this case, Item X is a black box that lets its owner do anything at all on the Internet, from hacking emails to crashing planes. It was found in a raid on a Colombian drug lord’s lair, where it came into possession of a soldier who now wants to sell it. Initially, a deal is brokered to sell it to the CIA, and agent “Mace” Browne (Chastain) is sent to Paris to complete the transaction. However, the meeting goes badly wrong, so Browne has to team up with a United Nations of other intelligence operatives, to stop it falling into the wrong hands, which could bring about unspeakable horrors. Such as nobody being able to post their thoughts on Twitter.

It’s all rather predictable, and quite remarkable how, after being cut off by the CIA, Mace is still able to commandeer aircraft and whatever other resources she needs. As the tagline above suggests, it’s all more than a bit evocative of another spy franchise in tone, though in most ways, feels like a Good Value version thereof. Chastain isn’t quite Tom Cruise; Nyong’o isn’t Simon Pegg; and so on. There’s not a great deal of emotion to be found either. The only one who feels properly human is Cruz, and her character is a psychiatrist, unfortunately entangled in the operation, rather than a field agent. The others feel more like high-functioning AIs, programmed to do their jobs.

The action scenes, however, are thoroughly professional and well-staged. There are some early chases around Paris which are approaching top tier, and plenty of bullet-spraying action for the finale. Though Chris has asked me to inform you that, if you have a hand-to-hand fight on a balcony, the rules of action cinema require someone to go over the edge. She was disappointed by the wilful disregard to tradition shown here. In general though, this was acceptable entertainment, and outside of a couple of sentences of dialogue, did not seem obviously preachy. That title, however: painfully obscure, and not explained until far too late. Still, this likely did not deserve the dismal box-office fate which it suffered. Perhaps the audience’s refusal to buy tickets to see it was, in some sense, a political act?

Dir: Simon Kinberg
Star: Jessica Chastain, Penélope Cruz, Diane Kruger, Lupita Nyong’o

36 Husbands

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★
“Save yourself!”

I have so many questions. Not the least of which would be, how the hell is this ranked a 7.3 on the IMDb? I do note a sharp division among the sexes: male voters gave it a 3.3, while women an 8,3. What can I say? I now know the meaning of the phrase, “Bitches be crazy.” It did, however, cause me to consider my opinion on one topic. There is a school of thought which says that films that intentionally try to be bad, cannot succeed. In the past, I’ve tended to disagree: the Sharknado franchise, for example, certainly has its moments. However, this is a good counter-argument; it’s not just trying to be bad, it strains towards its goal like a constipated elephant – and with much the same end result.

The problem here is, the makers seem to think that to make a parody, you simply have to be worse that what you’re parodying, and that’s where their invention stops. “Look at how shitty we are! Isn’t that funny?” No. No, it’s not. The target here appears mostly to be sixties spy-films, with three heroines (Pasch, Bianchini and Nourney) trying to stop – or at least, delay – World War III, through methods that are almost entirely unclear. Yet I’m really not sure tismakers have ever seen an example of what they’re supposed to be parodying. They possibly just suck at film-making, though I’m sure they and their pals had a fine time globe-trotting to make this.

I’m not sure which are the worst elements. A smugly self-indulgent script which is simply too damn meta for its own good. Line delivery from the three leads that could be improved by replacing them with a text-to-speech program. Or the cringeworthy musical numbers which seems to have escaped from open mic night at your local college coffee house. The makers appear to have a group called Bright Blue Gorilla, whose songs are about as terrible as you would imagine a group with that name to be.  Actually, my mistake. It’s the kung-fu. Definitely the kung-fu: feeble wet-noodle limb-waving, which makes Honey West look like like Michelle Yeoh’s greatest hits. And they don’t even have an ocelot here.

My brain shut down after 20 minutes and I had to physically step away. When I resumed, the rest was little improvement though I will say, the use of one actor to play triplets was surprisingly well-done. If only the rest of the film had remotely approached that standard. I gave serious consideration to simply bailing, and pretending the whole thing did not exist. But if the existence of this review manages to save one person from making the same mistake as I did, then my sacrifice will be worthwhile. So, I persisted, right through the eight-minute credit crawl, including what seems like a picture of every single person involved in the production. Further proof, as if any were needed, confirming the largely vanity nature of this project.

Dir: Michael Glover
Star: Christa Pasch, Roberta Bianchini, Nadine Nourney. Dominic Anglim

A Call to Spy

  By

★★★
“Life during wartime”

There’s no denying the extraordinary bravery shown by female agents in Britain’s Special Operations Executive during World War 2. Largely operating in occupied France, they coordinated sabotage activities, ran communications and generally did everything their male counterparts did. The risks they ran were certainly no less, with about one in three not surviving. We’ve previously had a few articles about them, both fictional depictions such as Wish Me Luck, and more factually oriented accounts, like Enemy of the Reich: The Noor Inayat Khan Story. This occupies a middle ground. The characters are real: SOE agents Khan (Apte) and Virginia Hall (Thomas) – an American with, I kid you not, an artificial leg – and Vera Atkins, the woman who recruited and ran them. But it takes a dramatic rather than a documentarian approach. 

I think my knowledge going in probably slightly weakened my appreciation for the film. Knowing the stories of Khan and Hall, and their eventual fates, largely robbed this of much tension. However, there is still a good deal to enjoy. This may run 124 minutes, but it never drags, maintaining a solid pace throughout. Indeed, perhaps too solid; you could argue for a lack of escalation, the film having nothing identifiable as a climax. That doesn’t stop it from being consistently entertaining, anchored by a trio of good performances. Katic, sporting an impressive English accent, is perhaps the stand-out as Atkins. She has to deal not just with the chauvinism inherent in the era, but also having her loyalty questioned due to her background as a Romanian Jew. Anti-semitism at the time was not confined to the continent.

The bulk of the drama comes from the other two, and the contrast in personalities could not be more marked. Khan has the near-perpetual look of a deer caught in headlights, while Hall, in her cover as a journalist, possesses a calm assurance. However, they both prove to be equally good at buckling down and getting the job done, dodging danger and almost certain death, in the form of the Nazis, on an almost daily basis – something the film certainly puts over. Stylistically, in some ways it almost feels like a two-hour long montage; there are not many extended scenes to propel the narrative, with instead, sequences cutting together the two women’s lives in occupied France.

It’s still effective, and may have been needed to work around the need for some tampering with timelines. It’s not obvious that less than four months passed between Khan landing and being captured, while Hall spent more than fifteen months in action, before having to flee over the Pyrenees into Spain (not the easiest of treks, given her disability). These and other cinematic conceits are forgivable, and all told, this is respectable enough, and very respectful of its heroines. I tend to think though, that this may be a case where the facts are more impressive than any fiction could ever be,

Dir: Lydia Dean Pilcher
Star: Sarah Megan Thomas, Stana Katic, Radhika Apte, Linus Roache

Agent Elite

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★★½
“Aus-tomatic weapon.”

When she was very young, the parents of Alex (Karpati) were killed by Lester Casey (Richards), on the orders of the shadowy organization for whom both he and her father worked. She was adopted by them, and brought up, trained in a variety of lethal arts, to become a perfect weapon. However, her mentor, Montgomery Lomax (Grillini), also instilled in her an unwelcome sense of right and wrong, and when he dies, she goes on the run from the organization. After defeating the agents sent to take her out, they use that moral compass to entrap Alex, and bring her back under their control. Brainwashing ensues. Whether it will stick, and the consequences if it doesn’t, are to be determined.

Initially, this isn’t bad. You have to accept the conceit that, having spent so long creating Alex as an operative, a clandestine group would simply write her off on the basis that, and I quote, “Retrieval and debriefing are time consuming.” Oh, like the seventeen years you spend training her weren’t? Similarly, despite knowing what she’s capable of, they waste further time and resources, sending operatives after her, one by one. Still, we’ll take it, since Karpati clearly knows her way around a punch, even if appreciation of her skills is hampered, rather than enhanced, by the over-active camerawork. I’d also have preferred actual blood and head-shots over the dubious, if enthusiastic, CGI we get here.

However, it keeps moving and there’s no shortage of action, so is entertaining enough. I’d not have minded seeing what else Karpati can do, but looks like she hasn’t appeared in any released feature-films over the eight years since this was completed. Seems a bit of a pity. Unfortunately, things get rather derailed after her capture, re-programming and subsequent release. This requires Karpati to act, and it almost feels as if her heart isn’t in it. She is, however, miles better in the drama department than Dane (Matheson), the guy she bumps into at the laundromat, and with whom she begins a relationship. His performance is so bad, it’s positively a distraction during ever scene in which he appears.

The plot somehow ends up with Alex being captured by some Islamic fundamentalists, albeit only temporarily and to their ultimate demise.  Though this comes about so quickly, it feels as if there was a missing reel in the picture. One minute, she’s having a chat with herself in the mirror (a scene which is actually quite nifty, in a Gollum kinda way), about the best way to dispose of someone. The next we see of her, she’s dangling like a piñata in a warehouse, supposedly in the Pakistani province of Waziristan. Wait, what? Naturally, it all ends with her facing off against Casey, after she discovers what he did to her parents. Another problem is, this finale is both obvious and its execution provides no sense of escalation, action-wise. The first half sets relatively high expectations on this front, that the second half all but abandons, and certainly doesn’t match.

Dir: James Richards
Star: Naomi Karpati, James Richards, Mirko Grillini, Chris Matheson
a.k.a. Agent Provocateur

The Spy

  By

★★★½
“Don’t expect any applause. That doesn’t exist in our line of work.”

I guess the moral here is that things aren’t necessarily as they appear, and the truth can take quite some time to come out. After World War II, Norwegian actress Sonja Wigert was largely shunned, her career going downhill because she was seen as having fraternized with the German forces that had occupied Norway. She died in 1980, largely forgotten. But in 2005, it was revealed that Wigert (Berdal) had actually been operating as a spy on behalf of the Swedish government, who were very much concerned the Nazis had their country next on the list for invasion. Her “collaboration” was actually the actress using her fame to get close to high-level officials like Reichskommissar Josef Terboven (Scheer), and get information from them. This film is her story.

However, these already murky matters are complicated by several further factors. There’s an agent, ‘Maria’, working for the Nazis, and passing them information, who must be identified and stopped; Sonja’s “real” relationship, with Hungarian diplomat, Andor Gellért (Chapelle); her father’s incarceration at the hands of the Germans; and, last but not least, Terboven’s request that she become a spy for the Nazis, feeding them information on Sweden. After some early wobbles, the film’s script does a good job of keeping all these elements in play, without collapsing into the over-complex mess sometimes seen in the spy genre. It’s also nicely nuanced, with Wigert initially trying to remain neutral, until circumstances, in the shape of her father’s arrest, force her into getting off the fence.

There begins a very dangerous game – though as an actress, used to playing a role, Sonja seems well-equipped to it. [I was reminded of John Le Carre’s The Little Drummer Girl, which also saw a thespian recruited into becoming a spy] Berndal, who previously made a good impression here as the villainess in Escape (Flukt), does another good job in a rather more sympathetic role as a reluctant secret agent. I’d like to have seen rather more about the tradecraft involved in her work. There are times when her actions seem almost to be too easy, with the security of the Nazis being close to non-existent, as she swans in to offices, and takes snaps of documents. I know a pretty face opens doors, but still…

There are points where it seems to be considerably more concerned with the relationships between the characters: the spy thriller as soap-opera, perhaps? In particular, the Sonja and Andor thread perhaps gets a bit more time than I’d like it to have received. However, it still managed to hold my interest, rather better than those couple of sentences might sound! The performances and period detail both have a ring of authenticity to them, and it’s a sobering reflection of a time where people sometimes had to make sacrifices without recognition. [Sonja’s handler says the lines at the top to her near the end] Sometimes, secrets go to the grave with those who hold them.

Dir: Jens Jonsson
Star: Ingrid Bolsø Berdal, Damien Chapelle, Alexander Scheer, Rolf Lassgård
a.k.a. Spionen

Aesop by Michele Packard

  By

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

Matti Baker has always been… unusual. She was adopted as a child, and subsequently discovered her mother was an FBI special agent who died while giving birth to Matti on a mission. She breezed through high school, and after graduation, began training to become a contractor for a private agency, carrying out “special” tasks, under the (rather vague, and entirely deniable) auspices of the US government. On successful completion of the four-year course, Matti begins missions, such as neutralizing terrorists. She also meets Tom, who becomes her husband and they have three kids – triplets born on September 11, 2001. But, in 2015, the tables are turned, and Matti becomes the target for some highly-motivated and thoroughly unpleasant enemies, who are seeking vials in her possession, and won’t take “No” for an answer.

This is definitely a slog. The vials, for example, are mentioned early on, as having been passed down to Matti by her mother. Yet they are then entirely forgotten for a good twenty-five years. Then, two-thirds of the way into the book, she’s captured and immediately interrogated about their whereabouts. I had, literally, completely forgotten about them by that point, since they were barely mentioned. “We can get to the vials in a sec,” it says on page six. Doesn’t happen. We never do discover what they’re supposed to contain, what their importance is, or why an FBI special agent thought it would be a good idea to bequeath them to her ten-year-old daughter. Given their position at the heart of much of the plot, this seems unforgivable.

The style is equally clunky. It relies heavily on a long series of pop-culture references to music, movies and TV shows. In the course of less than half a page, we get all of the following:

  • I swear I felt like he was thinking about that Nine Inch Nails Closer song as he stared at me.
  • I felt like Olivia Pope in Scandal.
  • Just like in The Italian Job, we had orchestrated every little detail.

These get shoehorned in there, because… Actually, I’m not sure why: we’re not talking obscurist entities that will prove the author’s street-cred. I speak here, as someone who likes Nine Inch Nails. Other sections obsess over interior decor in a way that feels more like house porn. Then again, everything in Matti’s life, for her husband and children through to her pair of impeccably-trained attack dogs, are utterly perfect in every aspect. Why should her living quarters be any different?

The characterizations here, in particular the heroine, all really come over as little more than wish-fulfillment, with a leading lady who appears to possess no weaknesses, flaws or faults – in other words, anything which might make her interesting. The term “Mary Sue” gets bandied about quite a lot with regard to action heroines; probably a little too frequently. However, this may be one of the cases where it deserves to be applied.

Author: Michele Packard
Publisher: Independently published, available through Amazon, both as a paperback and an e-book
1 of 3 in the Aesop series.

Eye for an Eye (2019)

  By

★★
“The little engine that couldn’t.”

Stacey Anderson (Sturman) is an agent for the CIA. When an operation in Tunis goes bad, she is blamed, and the intelligence which was supposed to have been collected – a complete list of Russian assets – goes missing. Stacey is disavowed by the organization, and dumped out, with a new identity. Five years later, she’s a saleswoman for a PR company, and her boyfriend, Ken (Haymes) has just proposed, when Stacey’s old life comes back to haunt her. An assault on her workplace shows that someone clearly believes she knows more about the list than she admitted. She is forced on the run, with Ken, while she tries to figure out whether it’s the Russians, or a rogue faction within her former employers. Fortunately, this wasn’t entirely a surprise, and Stacey is quite well-prepared. Less expected: having to take her new fiance along with her.

The script here is actually quite good, with a number of twists and turns I did not see coming, particularly at the end. However, this is one of the cases where a film has aspirations which are massively beyond what it is capable of delivering. This is clear from the get-go, when the drone strike which almost kills our heroine in Tunis, is depicted with really bad digital effects. Unfortunately, that sets the tone for what is to follow, with the production unable to deliver a convincing version of the explosions, gun-battles or blood squibs necessary to the plot. Even some of the rooms appear to have been done with green-screen work which fails to convince. The non-digital stuff is nothing to write home about either, and the makers perhaps should have gone with a stunt woman for the lead. Sturman gives it her all, bless her heart, but considering the frequent need for physicality in the role, it’s a character which really needs somebody like Amy Johnson or Zara Phythian.

The pacing also seems to lag badly in the middle. The opening set-up is, for all its flaws, put together quite effectively (though do the CIA really have formal “disavowal” speeches?”), and as mentioned, the ending delivered some sharp twists in regard to Stacey, not the least being her background. In between those though, it didn’t seem to know what to do with itself. This is the kind of movie that I really wanted to like, since it seemed a project made with some passion, rather than a by-the-numbers studio product. However, there is only so far that passion and heart can take you. The technical aspects – such as audio in some sequences which sounds like it was recorded underwater – are a very significant distraction from its entertainment value. It may have worked better if they had cut their cloth to fit their resources; sitting on the shelf next to far more polished productions, the comparisons are obvious and not to this movie’s benefit.

Dir: Stephen Lambert
Star: Alex Sturman, Clayton Haymes, David Chattam, Shirley Dalmas
a.k.a. Patriot: A Nation at War