Tag: spy

Spies

  By

★★★★
“Red spies delight.”

I stumbled across this Russian TV series on Amazon Prime during our annual freebie month, but not until the final weekend, so wasn’t able to watch it there. Happily, I discovered the entire show has been uploaded to YouTube – embedded below, complete with English subtitles – and it’s well worth a watch. It’s set during World War II, and tells the story of two young women, from diverging backgrounds, both of whom are recruited in 1941, somewhat unwillingly. to act as intelligence operatives, during the early day

The first is Arina Prozorovskaya (Ivanova), a party girl – as in Communist Party, being a true believer whose idealism is tested after her father is accused of activities against the state. Then there’s Zoya Velichko (Ustinova), a criminal who is Nikita‘d out of prison by the spy group’s commander, Major Egorievich Vorotynnikov (Vdovichenkov). Adding to the tension between them: Zoya was involved in a robbery that went wrong, leading to the death of Arina’s mother at the hands of Zoya’s then-boyfriend. The pair end up being the top students in the class, even though training is cut short due to the German invasion. When Vorotynnikov needs two women for a mission, it’s therefore Arina and Zoya who are dispatched to risk everything, on the first of a number of dangerous jobs behind enemy lines.

Once we got past a weirdness about its presentation (we’ll get to this in a moment), both Chris and I thoroughly enjoyed this. The two Svetlanas make their heroines multi-faceted characters, who have fascinating arcs over the dozen 50-minute episodes. Arina becomes far more cynical, largely due to the treatment she and her husband, a member of the Red Army, suffer at the hands of authorities. Conversely, Zoya’s hard exterior, where the only person that matters is her young daughter, gradually softens. She falls for Vorotynnikov’s deputy, Captain Nikolay Petrov (Pronin) – really the first person to have shown genuine affection in her adult life – which helps her become a strong, loyal and fearless agent. Credit is also due to a solid supporting cast:  Vdovichenkov is outstanding as a man forced to navigate between his loyalty to the state and to those under his command, as well as Irina Apeksimova in the role of spy teacher Matilda, a role apparently influenced by Jeanne Moreau’s in Nikita.

It is a little fragmented in the early going, and not initially clear where the focus of the show will lie. However, once it settles on Arina and Zoya, it gets into a very good rhythm. Each mission takes place over a couple of episodes, allowing them to develop without feeling rushed. They’re varied enough to avoid repetition, showcasing different facets of espionage, from reconnaissance and infiltration, through to Arina becoming a “red sparrow”, and having to overcome qualms about being faithful to her husband.  There’s a sense of danger almost every moment (enhanced by my experience of Russian novels, where everyone usually dies tragically!).

This is most apparent in an episode where Zoya helps a badly-injured Petrov through a forest, only for a dramatic reversal at the end, which ranks among the most impactful “bait and switches” in our TV viewing history. This is just one of the memorable moments that will stick in our mind. Another is Arina’s “honey-pot” target, who initially seems decent enough… until he describes to her an incident where his Luftwaffe squadron attacked a civilian target, killing Russian women and children, after he over-rode the objections of his men. The expressions that flicker across Arina’s face as he tells the story, and she is clearly struggling to suppress the urge to stab him repeatedly on her throat, are quite awesome.

In the YouTube version at least (I can’t speak for the Amazon Prime edition), there is an oddity whenever characters speak any language but Russian – mostly German, as in the scene mentioned above. As well as the English subs, that dialogue is also over-dubbed into Russian, and all characters, male or female, get the same male voice. While I believe this is standard practice in that country, it takes a bit of getting used to, especially when it’s two women who are conversing! However, it certainly didn’t significantly interfere with our entertainment.

By the end, Chris and I were completely engrossed and on the edge of our seats as to whether Arina and Zoya would make it out alive. I won’t spoil that, though have to say we felt it was entirely appropriate, and left us emotionally satisfied. If this is in any way typical of Russian television, we’ll have to see what other hidden gems might be out there for us to find.

Dir: Felix Gertskhikov
Star: Svetlana Ivanova, Svetlana Ustinova, Vladimir Vdovichenkov, Evgeny Pronin
a.k.a. Разведчицы

ExPatriot

  By

★★★
“National insecurity”

Riley Connors (Kane) is a CIA analyst, who quits her job and blows the whistle on secret government surveillance programs. Having pulled an Edward Snowden, she hides out in Colombia, helped by the reporter who broke her story. Her peace is short-lived: a knock on the door proves to be a local cop, working in conjunction with Bill Donovan (Weber), her former CIA colleague and lover. He comes with a proposition. Help them take down a pair of shady Cuban banking brothers (Espitia and Browner) who are suspected of funding domestic terrorism, and she’ll be able to return to the United States, with the slate wiped clean. It’s a very risky proposition, even if her reputation as an enemy of the state might be the perfect “in” to the targets’ organization. But can Bill be trusted either?

Probably wisely, it avoids too much in the way of potentially lethal (and largely irrelevant) political commentary. Though the main twist, to be honest, is so obvious, I have to wonder what kind of vetting the CIA does for its employees, and also about the overall accuracy of the term “intelligence community”. Yet, in something of a contradiction, once this clown-sized narrative shoe finally drops, it makes for a more straightforward and effective narrative the rest of the way. Everyone’s true motives have been exposed, rather than the murky world of spy vs. counterspy which the first half of the film has largely inhabited. That section feels a little like an episode from Alias with Sydney Bristow going undercover, climaxing in Riley trying to transfer all the brothers’ ill-gotten funds out of their accounts, before one of them arrives in their office.

As such, it does take a fair amount of disbelief suspension. Would any group of shady bankers employ an ex-spook as a security consultant – particularly one who was too morally high-minded for the CIA? Inevitably, one of the brothers falls for her, causing some friction between her and Bill, who still blames her for walking out on him, yet simultaneously still carries a flame for Riley. I think the latter half works better, showcasing some above-average location work, in and around Bogota, ending up on top of Mount Monserrate with its giant status of Christ [when I first saw this, I though we were in Rio!]. Oddly, this is the second film I’ve recently seen which was filmed there, for no particular reason, after The Belko Experiment.

Kane was also familiar to me, having played the ex-girlfriend of serial killer Paul Stagg in The Fall, though is rather different here, to the point I didn’t recognize her. It makes for solid, if unspectacular, entertainment which site a couple of F-bombs away from being a decent TV movie. While predictable, it’s well-enough constructed, and Riley makes for an interesting character, one whose scruples could end up being the (literal) death of her. There is a certain amount of bait and switch here, in that the Snowdon-esque escapade of the opening, ends up not being particularly relevant to the main plot: I can see how it could have been eliminated without much tweaking of the plot. However, what the film gains from this, likely balances out any losses, although it probably helps I had no fore-knowledge of the specifics. I see a sleeve with a girl and a gun, it goes on the list…

Dir: Conor Allyn
Star: Valene Kane, Charlie Weber, Mario Espitia, Andres Ogilvie Browne

Killing Eve: Season One

  By

★★★★
“You should never call a psychopath a psychopath. It upsets them.”

A genuinely organic hit on BBC America, this generated so much word of mouth that the ratings for this show behaved in an unexpected fashion. Including those who DVR’d the show, viewership increased for each episode over its 8-week run. That’s a rare feat these days, and is testament to the show’s unique qualities. So confident were the station in the show, that is was renewed for a second season before it had even premiered – another unusual achievement. But then, this show is arguably unlike anything else on television.

The heroine is Eve Polastri (Oh), an officer in the British intelligence service, MI-5, who believes there’s a connection between a string of assassinations across Europe. She’s right: they were all carried out be Oksana Astankova (Comer), codename “Villanelle”. Oksana is a pure, undiluted psychopath, working for a shadowy Russian organization known as “The Twelve”, under handler Konstantin Vasiliev (Bodnia). Polastri’s career is apparently ended when a witness to one of Oksana’s hits is killed in her care, and she’s fired from MI-5. However, this allows her to be recruited by Carolyn Martens (Shaw) for a off-book investigation into Villanelle.

Eve is therefore able to continue digging into Oksana’s history and activities, but the target becomes aware of the interest – signalling that knowledge by using “Eve Polastri” for her identity during a job. From here, it’s a spiral of increasingly intense cat-and-mouse, with Eve and her team tracking the assassin, while also being hunted by her. It all grows deeply personal for both Eve and Oksana, the two women developing a perverse long-distance relationship that’s more of a fixation, on both sides. Note: I’m not using “perverse” in relation to the homoerotic elements. It’s just… really bizarre. As in, “Villanelle breaking into Eve’s house, in order to have dinner with her” strange.

The show is defiantly messy in terms of its characters, who manage both to embody the stereotypes of the dogged law-enforcement official and the slick, femme fatale, while also subverting them. From the viewpoint of this site, Oksana is likely the more interesting. As a high concept, imagine a female version of Dexter: charming and affable on the surface, yet extraordinary lethal – and capable of flicking that switch in a moment. The difference is, Villanelle has chosen not to control and direct her “dark passenger” so much as embrace them fully, and is given the chance to do so by the profession into which she is recruited. It also allows her to indulge her fondness for haute couture.

She enjoys her work, to an almost scary degree, disdaining the simplest and most directly effective methods, too. That’d be boring, especially for such a free spirit. Why shoot, when you can kill your target by stabbing them in the eye with a hatpin instead? On the other hand, she is also incredibly manipulative. Oksana may not be able to feel any genuine emotions of her own, yet she’s supremely good at faking them, and will happily say what you want to hear, if she thinks it’ll let her use you for her own advantage. Her handler doesn’t so much control the incredibly self-confident Villanelle as unleash her in the direction of the intended target. Who inevitably ends up dead… just not necessarily quite as he would prefer.

The contrast to Eve could hardly be greater, and that perhaps goes some way to explaining the agent’s obsession: Oksana is everything Eve wants to be. Okay, except for the “psychopathic killer” bit. But that’s just a detail, right? For Eve is stuck in a rather tedious relationship, and works a job where her talents are under-used and even less appreciated. The more she learns about her target, the greater the appeal seems to be, and it works both ways: Villanelle wants “someone to watch movies with”. Or says she does anyway: this could just be another manipulative ploy, it’s impossible to be sure. Espionage, counter-espionage and assassination is a murky world at the best of times. Here? You can’t see the murk for the deceit, and at times the lies become a bit overwhelming.

After a long career expressing earnest concern on medical soap Grey’s Anatomy, Oh’s career has undergone a spectacular sea-change of late. First, there was the awesome Catfight, and now this, little if any less successful, which allows Oh to show her remarkable range of expressive… er, expressions [Seriously: you could spend an entire episode just watching her face, to the exclusion of everything else, and still be entranced]. Comer is nowhere near as well-known, but I doubt we’ll see a more memorable female character on television this year than Oksana, combining childish innocence, girlish glee and savage psychopathy. When it comes to Emmy time, it will be a travesty if at least one of them is not nominated – and ideally both. The supporting cast are no slouches either.

I will confess to being less than whelmed by the final episode which, rather than ramping up, petered out into something approaching a slumber party. Admittedly, it’s a very weird one, befitting the show, and sees Eve violate Oksana’s personal bubble of living space, partly in retaliation for the same thing happening to her earlier. But it offers no sense at all of closure: this may be a side-effect of the show having been pre-renewed. I guess there’s no point making any effort to wrap things up, when you know you’re going to be back.

Still, for 7½ episodes, this was far and away the best thing on American TV at the moment. To get one of these amazing characters in a show would have been more than acceptable. Having both in the same series provides a one-two punch of heroine and anti-heroine that’s almost unsurpassed in television history. Buffy and Faith, or Xena and Callisto, perhaps come close – although they were only story arcs. Here, Eve and Oksana are a pure, undiluted focus, and it’s glorious. The second season can’t get here soon enough.

Creator: Phoebe Waller-Bridge
Star: Sandra Oh, Jodie Comer, Fiona Shaw, Kim Bodnia

Red Sparrow

  By

★★★
“The Russians are coming! The Russians are coming!”

There was a while there, where Russia dropped out of the top spot as far as being cinematic villains were concerned. No longer the “Evil Empire” of the Reagan era, they had largely been replaced, in the post 9/11 landscape, by Islamic fundamentalism. But now, those pesky Russkies are back as the bad guys once again, following their interference in the sacrosanct and solemn process of Americans electing a president. [I really must figure out a sarcasm font for this site] While this is supposedly set in the present day – I say that, because at one point, cutting-edge computer software is delivered on a set of floppy disks! – this feels more like something born out of Peak Cold War.

Ballerina Dominika Egorova (Lawrence) suffers an accident on stage that ends her career. Living in a Bolshoi-provided apartment and with a sick mother, things look bleak until her uncle Ivan Egorov (Schoenaerts) steps in. He offers her a job as a “sparrow”, honey-potting foreigners in order to obtain intelligence from them. After some qualms, Dominika accepts, and undergoes training designed to remove all her inhibitions. Her first target is Nate Nash (Edgerton), a CIA operative now in Budapest. He had to leave Moscow after an incident involving him and a high-level Russian agent; that agent’s identity is what Dominika has to discover, in her guise as an embassy translator.

The most obvious recent touchstone is Atomic Blonde, which I found considerably more entertaining – even if it is, I would venture, considerably less realistic. This is dour stuff by comparison, almost unremittingly grim in the dehumanizing way the Russians use Dominika, Dominika uses Nate, and Nate uses Dominika. For it’s clear from the start that he is not taken in by her facade and sees the honey-pot for what it is – yet thinks she can still be a useful asset, who can be recruited and turned. Or is that actually part of Dominika’s game-plan, to appear as a potential defector? It’s only right at the end, by the time many wheels have turned, that we discover whose side she’s really on: not much of a spoiler to reveal that it’s her own.

One thing which is clear. is how the film has been misunderstood, reading reviews which say things like, “Red Sparrow is intended to be a sexy thriller.” No, it’s not, any more than Showgirls was. Both are often about sex; yet that doesn’t make them “sexy”, especially when the director depicts the ugly aspects as much as (if not more often than) the erotic. Here, the sexual encounters are weaponized, and are as much about power as anything. Nothing illustrates that better than Lawrence’s nude scene, during a very public training session as what she herself calls “whore school” A classmate who had previously tried to rape Dominika is ordered to have sex with her. But, partly in response to her taunting, he’s unable to perform. If you think it’s supposed to be “sexy”, you’re the problem, not the film.

The trailers may have somewhat betrayed it, making it look like a modern version of Atomic Blonde (or even an origin story for Black Widow!). It isn’t, and you should not expect anything with such gleeful abandon, or such a defiant sense of era and location. Sparrow could easily take place in any Eastern bloc city, at any time since the end of World War II. It’s no less brutal than Blonde, deserving its adult rating for violence and torture as much as the sexual content. The heroine is certainly not as active a participant, though it’s creepy as hell to see Dominika energetically wielding a tool usually reserved for carrying out skin grafts. But it is considerably more serious in intent, though the case could be made (and has been), that it’s ultimately less empowering and more exploitative.

Not sure I’d go that far: I know it’s a great deal less fun, and also which of the two is the only film I’ll have in my collection. This doesn’t necessarily make it a bad movie; especially if you can get past Lawrence’s accent, her performance is worth a look, and as an ice-cold tale of deep-frozen international intrigue, the 140 minutes go past quicker than I initially thought they might. The actress is re-teamed here with Hunger Games director (who is no relation), and I’m not sure he’s the best person for the task, seeming to rely heavily on trotting out tropes of the genre we’ve seen too often before. However, a bigger problem is likely Edgerton as the male lead, who has close to zero charisma, and even less chemistry with his co-star. That, however, may be intentional, since they’re both playing the other as a patsy, with the “real” emotions involved being questionable.

The rest of the supporting cast aren’t bad. Having recently seen Jeremy Irons being criminally wasted in Assassin’s Creed, I was much more pleased with his performance here, though both he and Charlotte Rampling (as a Nikita-esque head of the school for sparrows) have something of the same accent issue as Lawrence. It always seems odd: we are supposed to be able to accept the conceit of non-natives playing foreigners who speak English to each other… only if a fake local accent is applied on top? It’s about as necessary and convincing as the glasses on Clark Kent. Mary Louise Parker also shows up, as a US senator with a taste for booze, whom Dominika opportunistically swipes from another agent.

The makers deserve some credit for making a feature film that is clearly intended for a mature audience, something which we don’t see enough of out of Hollywood these days [why bother, when you can churn out sequels and comic-book movies to greater profit?]. But the result here, while well-crafted, is almost entirely cheerless. It’s hard to engage with a heroine whose initial action are altruistic, yet appears to become, by the end, amost as soulless and propelled by self-interest as the state who recruited her.

Dir: Francis Lawrence
Star: Jennifer Lawrence, Joel Edgerton, Matthias Schoenaerts, Jeremy Irons

Red Sparrow (alternate review)

  By

★★★½
“From Russia without love.”

So, I saw “Red Sparrow”. But I was hesitant. So hesitant, I actually pressed the button to get off the bus when I was still not so far away from my flat. But the door didn’t open; I interpreted that as force majeure and stayed until I reached the cinema.

First of all, this movie is not what it seems to be – or is marketed as. Which you could already sense; I mean, if you see a trailer for a 140 minute-movie and there is not the slightest indication of action, it could perhaps be guessed that it’s not really an action movie. And indeed, it’s not. If someone goes into the movie expecting a movie like Atomic Blonde, Unlocked, Salt or Haywire, he/she will likely be disappointed. The action early on is only with Joel Edgerton, not with Lawrence. And despite beating up a treacherous couple responsible for the end of her ballerina career, and an extended torture scene at the end that ends with a stabbing, Dominika is usually not involved.

This movie reminded me most of all of the American remake of The Girl with the Dragon Tattoo: long and drawn-out, but without the suspense. You have to have what we call in Germany “good seating-flesh” – you’re sitting a long time in the cinema! When the film ended, an old woman behind me who was there with her son and his wife whispered, “Schwere Kost, nicht wahr?”. That translates as “A heavy meal, wasn’t it?”, meaning it’s not easily digestible. I was also reminded of John LeCarré movies, where everything is all talk and no action at all. So it’s not an action-adventure, or a “girls with guns” movie. But I think that fans of Jennifer Lawrence (mainly in the USA, not really in Germany) and feminists won’t likely embrace or love this movie. It’s not really an “enjoyable” movie, that can serve a quasi-feminist agenda in the way Wonder Woman did.

No, the main theme of the movie is the constantly shifting sands underfoot, which could easily open up at any moment and swallow the main protagonist. Some characters die during the course of the story, and it’s not necessarily the guilty ones who catch a bullet. But it’s a problem that there are hardly any sympathetic characters in the movie. Even Dominika is a big question mark, as the Russian secret service tactics force her to play a game of deception and manipulation, exactly as she was trained for. It leaves you, even at the end, guessing on which side she is/was/may have been on, in shades of Atomic Blonde. Things constantly change…

It also reminded me of Child 44 with Tom Hardy, Gary Oldman, Noomi Rapace and – hey! – Joel Edgerton.  This was a serial killer story set in Stalin-era Soviet Union, in which you could constantly lose your head or fall victim to intrigue. The feeling of constant threat and danger was stronger there. But I note, “Soviet Union,” because confusingly, this movie seems to play in contemporary Russia. Which is…. quite strange: the “red sparrow” program did exist in the 1960s but may not even have survived that decade, never mind existing today. The movie adapts the first book in a trilogy by a former American agent so he presumably knows what he wrote about; it all appears very realistic.

But with modern Russia as the background? I find that a bit hard to believe. German reviewers tended to complain about old clichés, thicker than in classic James Bond movies. They may be partly right. When I saw Charlotte Rampling standing and explaining to Lawrence what her duty is, in front of the “school for whores”, I was very much reminded of Lotte Lenya as Rosa Klebb, setting Daniela Bianchini up to attract James Bond. And the Secret Service of Russia appears to come right out of the 50s/60s, not today. Much has also been made, mainly by American reviewers, about the sex/nude/violent scenes. While they are all part of the story, if you are looking at the whole of the movie – once again, 140 long minutes – it doesn’t feel as spectacular or scandalous as the articles made it. Strangely, even Lawrence seemed to play up the sex angle in interviews (also causing a minor outcry by puritans when she appeared at a premiere of the movie, showing some cleavage…). Yes, you see her nude in the movie but I can’t personally say a 3-second shot of one breast and 10 seconds on her butt would be worth the admission!

I mean. Jennifer, you know there exists something called internet pornography? You really think we men are so hormone-driven that a glimpse of your almost-naked body for a few seconds would make us buy a (not really that cheap) ticket for a 140 minute movie? Reeaalllllyyy? ;-) But then this may also be testament to a certain kind of desperation on the part of the studio: how else to sell this clunky piece of espionage fiction. What do you do when you have no big action scenes or robots from space?

There is a nasty but quick rape scene, but we saw worse in The Girl With the Dragon Tattoo movies. It has to be said, this scene seemed stolen almost 1:1 from Stoker, with Mia Wasikowska and Nicole Kidman. There are some ugly torture scenes but they are similarly brief, except for the last one. And as I hardly sympathized or identified with any of the characters, they also failed to make an emotional impact on me. I really have to say: After having explored the “Giallo” genre, I can say these kinds of movies – done almost 50 years ago – were much more terrifying when it came to violence, and more daring with regard to nudity or sex. So, I have a problem when some articles seem to celebrate Jennifer Lawrence’ dedication for “revealing so much” and “daring”. Maybe it’s shocking for today’s (female?) American cinema-goers, I don’t know. By my standards and in my opinion, it’s quite tame in all aspects.

I do give credit to Lawrence, who never saw an acting school from the inside, and has matured – yes, even by my standards! – into a “real actress”. I personally find it very positive that a studio is willing to make a movie almost entirely focused on its story with a nice budget ($69 million) instead of the next action-SFX-extravaganza. But I have seen better. That said, for those willing to invest the time and money, the movie may actually provide something. The actors are all good – I have not mentioned Mary Louise Parker in surprise cameo in the middle of the movie), the production design is impressive (even if Film-Russia seems to have a preference for 1970’s interior design) and the James Newton Howard (Salt, btw.) score is solid as always, even though it mainly plays in the background.

The studio’s idea behind the green light for the movie may have been to create another successful franchise. The formula? Actress Jennifer Lawrence + director Francis Lawrence + adapt a successful bestseller. It worked with the Hunger Games movies – Lawrence directed the last three – but I fear won’t be the case here. While I can imagine that the book may have been a great read for those who love a good spy story, that alone does not necessarily recommend it to become a blockbuster movie, despite some admirable achievements by the team in front and behind the camera.

For fans of Tinker, Tailor, Soldier, Spy or The Russia House, it may be worth the admission. Everyone else, can wait for the movie to become available as a rental or on TV. Honestly, I would prefer a sequel to Atomic Blonde or The Man From U.N.C.L.E. [The latter should have been so much more successful, but didn’t get the same advertising push as this new J-Law vehicle] While it’s no bad movie at all, people may be lured in based on wrong assumptions, such as thinking this is some kind of Black Widow origin story. They’ll leave disappointed, and I predict another flop in Lawrence’s career.

Dir: Francis Lawrence
Star: Jennifer Lawrence, Joel Edgerton, Matthias Schoenaerts, Jeremy Irons

Negative

  By

★★½
“a.k.a. We’ve Got a Drone And We’re Gonna Use It”

This is a very cunning title. For when you Google “Negative film review”, all you get are a lot of articles about Bright. Hohoho. [In five years time, people will probably have to Google “Bright” to understand this reference] Actually, it refers to a photographic negative, casually taken by Rodney (Roché) in the park. What he doesn’t realize at the time, is that he has accidentally captured the face of Natalie (Winter), a former MI-5 agent who is on the run. She turns up on his doorstep, demanding he turn over the photo to her, but before she can leave, the two Colombian assassins after her, also show up, and she has no choice but to take (the thoroughly confused and largely unwilling) Rodney with her. Together, they head for Phoenix and a safe house owned by Natalie’s former associate, Hollis (Quaterman), with the Colombians in pursuit.

First things first. I was startled to learn some people apparently still take pictures on film requiring an actual darkroom to develop it: personally, this left the movie already feeling like a throwback to the eighties, about as out of time as Phone Booth is now. [References to The Honeymooners and I Love Lucy don’t exactly help there] Moving past that, it all feels rather too understated. Apart from some blood-spatter, we don’t get any real evidence of Natalie’s qualifications as a bad-ass until an hour into the movie – she’s more about evasion than confrontation, save for a drunk guy at a motel. This may have been a function of a relatively small budget – only $100K, and to the credit of Caldwell and its crew, the overall look generally doesn’t show it. [There are some interesting interviews with the director online, explaining how this was possible. They’re worth a read, since he seems a smart guy]

Resources may also explain why it’s pretty dialogue-heavy: two people in a car is about as cheap as it gets. Though the dialogue isn’t terrible, it just isn’t good enough to carry the film, which it needs to do. As the tag-line above suggests, you could play a drinking game based on the number of drone shots: it got the the point where, on more than one occasion, we accurately predicted the next such showing up. And the “Phoenix” the film depicts… Well, let’s just say, there were rather too many palm trees, and not enough cacti for that aspect to ring true. It offers little or no sense of place, with generic suburbia and desert, which feel like they could be anywhere West of the Rockies. 

Everything progresses much as you’d expect, if you’ve seen this kind of film before, eventually reaching the expected gun-battle against the Colombians. This unfolds at night, and it’s tough to figure out what exactly is going on. There’s likely a bigger problem though: by the time you reach it, I still hadn’t quite been given a real reason to care. While I’d like to see more from Winter (the story of how her character got to this point, might potentially have been more interesting than the one actually told), the film likely works better as a technical exercise than an emotional experience.

Dir: Joshua Caldwell
Star: Katia Winter, Sebastian Roché, Simon Quarterman

Operation Lipstick

  By

★★★
“I have a knack for stealing hearts, just like the way I steal your wallet.”

So warbles Li Bing (Cheng), a second-generation thief who has abandoned the criminal life and now performs a cabaret turn which is part song-and-dance, part magic act. These efforts to go straight are derailed when her former partner (Lee) shows up, demanding shelter due to being pursued for a wallet he lifted. She agrees to help, only if he returns the stolen property: when they try to do so, they find the owner now lacking a pulse.

It’s all part of a convoluted caper involving a dead nuclear scientist, and the microfilm containing the secrets of the atomic engine on which he was working. Various parties want said data, including: a Triad gang specializing in espionage, who operate out of a rival nightclub; the local counter-intelligence authorities, who recruit Li to their cause; and freelance operative Zhang Yee (Chung), who reluctantly partners up with Li and provides the romantic interest. The trail involves the key to a locker in a Turkish bath-house, which in turn leads to a hollow statue that does NOT contain the microfilm. So, where is it?

I would likely have appreciated some kind of scorecard, to help me figure out who was part of which faction, and perhaps with a chart indicating the McGuffin in play at this particular point. The key? The statue? The fake copy of the key, which I may have forgotten to mention earlier? It’s all rather confusing, a cinematic version of three-card monte, in which the elements are swirled around at a dizzying speed, apparently designed to perplex, rather than enlighten. Yet, it remains entertaining, in the way only a Cantonese cover-version of James Bond could be.

Depite the poster, the talents  of Cheng that are put to use here are more towards the musical end, rather than the martial side. Indeed, save for a battle around the bath-house against a pair of enemy agents, and a roof-top face-off against the head of the Triad gang, it’s light on the meaningful action for her. Despite this, it certainly qualifies for inclusion, with Li demonstrating a persistent level of smart feistiness that is not out of line with her more fisticuff-oriented roles. [I’d love to have seen a prequel depicting her thieving days, and explaining how she ended up becoming a nightclub act!]

The best parts are when the film is at its most inventive, such as the trio of singing assassins with their lethal musical instruments, also a nightclub act. Bit of a giveaway that the lyrics to their song go, “We are world-famous for assassination, a few notes and you’re dead”! And if I ever become an evil overlord, who has access to a fiendish death machine, I will always check who is in said machine before I activate it, even if I am sure I placed my prisoner in there a few minutes earlier… Although sporadic, I found those fun moments did provide enough entertainment to repay my investment of time.

Dir: Umetsugu Inouye
Star: Cheng Pei Pei, Paul Chang Chung, Pang Pang, Lee Kwan

Vendetta, by Jack McSporran

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

Let’s start with a grumble. Perhaps I’ve been spoiled by the number of full books – or even collections of multiple books – I’ve picked up for $2.99 or less. Maybe that’s why I can’t help feeling gypped when a book lasts only about an hour. The official page count on Amazon says 182 pages. But this figure doesn’t take into account that a significant chunk is actually the first few chapters of Kill Order, the first “full” novel about British government agent, Maggie Black – available separately for another $4.99! If I’d realized this was only 133 pages of actual story, I’d probably not have fast-tracked this. I was then further disgruntled to discover that the “Maggie Black Starter Library” includes both books at the same $4.99 price. Sadly, let the buyer beware. Is it too late to get a refund for this? Consider this volume docked a star of literary rating as a result.

It’s a bit of a shame, since what there is, isn’t too bad. Maggie Black is an agent of “The Unit”, an entirely off-the-grid intelligence agency of the British government, specializing in dirty work. She was recruited by her boss, Bishop, Nikita-style – whisked out of jail, after deciding his offer of employment was preferable to a lengthy prison sentence – and trained in all necessary skills. Her mission in this slim volume, is to go to Venice and disrupt an impending agreement between Carlo Rossi, an international drug trafficker, and Peter West, a British dealer looking for a supplier. To this end, she adopts the persona of “Rebecca Sterling”, a brash American also seeking a source of cocaine and heroin.

The task becomes a great deal more complicated after Carlo is assassinated during their first meeting, with Rebecca suspected of being involved in the murder. Fortunately, she has help, in the form of Leon, another Unit agent, playing the part of Rebecca’s bodyguard, as well as Isabella, an Italian undercover agent who had worked her way into a position as the late Carlo’s PA. This leads to three particular set-pieces: a chase across the Venetian roof-tops; an escape from a near-death situation; and a battle in a cemetery which turns into a lengthy battle and pursuit around the canals of the city, with an explosive finale.

McSporran (a pseudonym adopted by a children’s author – as a fellow Scot, I can’t figure out whether I’m amused or offended!) has a good handle on his location, capturing the atmosphere of Venice. The action, too, is quite well done, crisply and clearly handled. The main problem is the plotting, which runs the gamut from obvious to eye-rolling. One paragraph after Leon showed up, I could tell he and Maggie would end up in one of “those” relationships. The villains, too, do the evil overlord thing, such as chatting merrily away with their captives before deciding a quick death is too good for them [if ever I become an evil overlord, I will ensure any prisoners are checked for knives before being tied to a post below the high-tide mark…] There’s also a bomb which shows up out of nowhere, having not been mentioned at all before it goes off.

It is a solid enough set-up, with effectively infinite scope for development down the road, and I did like the lead character. However, the weaknesses in the story-line, combined with the bad aftertaste left by the quantity of content here, are enough to push any further installments quite some distance back down my literary waiting-list.

Author: Jack McSporran
Publisher: Inked Entertainment, available through Amazon in both printed and e-book versions.

Unlocked

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★★½
“Lisbeth Salander vs. Elf”

That would have been a more appealing title. Although the incredibly generic one here reflects the incredibly generic plot, which sinks this, despite the efforts of a well above-average cast. CIA agent Alice Racine (Rapace) has, at her own request, been assigned to the backwater of an East London community, after blaming herself for failing to stop a bombing in Paris. She’s called out of her semi-retirement to interrogate a terrorist courier, believed to be carrying a message about an imminent biological attack on a US target in London. She cracks the subject and hands over most of the intel, only to discover the recipients are not the agency employees they claimed to be, and will kill her as soon as they get what they need. She goes on the run, unsure of who she can still trust: her mentor (Douglas), the MI-5 boss (Collette), or a burglar she encounters who happens to be a former British commando (Bloom). Can she stop the attack before it’s carried out?

Yeah, if you ever wanted to see The Girl With The Dragon Tattoo go hand-to-hand against Legolas, this film is for you. Anyone else? Probably not so much. It’s the kind of striking boilerplate spy vs. spy shenanigans we’ve seen a lot of lately. This reminded me particularly of Survivor, with Rapace standing in for Milla Jovovich, though to be honest, neither film makes much impression – and what they do, isn’t necessarily good. For example here, I spotted what the target was going to be as soon as it was mentioned, and a laughably long time before the movie’s characters were able to work it out. I hope American’s real intelligence assets are considerably smarter than the ones depicted in this film. The way in which Bloom’s character, Jack Alcott, is shoehorned into proceedings is no less clunky, and the story overall has no flow, lurching through the components to its finale (obviously not endorsed by the NFL, given the non-specific names used!).

The positives here are mostly from the performances, with the exception of Bloom, who seems woefully mis-cast – though it may partly be my difficulty in taking anyone with a man-bun seriously. Rapace gives a good account of herself, kicking ass with terse efficiency, particularly when escaping from the hotel room where she’s carrying out the interrogation. Collette, previously known to us from United States of Tara, turns out to be as good with a British accent as she is with an American one, especially considering she’s neither (Australian). There’s also John Malkovich as the CIA boss, and he’s watchable as ever, albeit underused. Seems like the Czech Republic largely stood in for London, which may help explain the limited sense of place, and Apted’s direction is little better here than in one of the more underwhelming Bond flicks of recent times, The World is Not Enough. Rapace needs to keep looking for the right vehicle, one which will make use of her undeniable talents.

Dir: Michael Apted
Star: Noomi Rapace, Orlando Bloom, Toni Collette, Michael Douglas

Atomic Blonde

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★★★★½
“Truly a nuclear option.”

Ladies and gentlemen, we have a new action queen in town. With Angelina Jolie apparently abdicating that title after Salt, the throne was vacant. Theron had already made a very solid case in Mad Max: Fury Road, then solidified it in The Huntsman: Winter’s War. But there were still doubts: could she hold the true focus of a genuinely action-driven film? There are doubts no more, for Atomic Blonde gives us Theron in the role of Lorraine Broughton, the baddest-ass heroine since The Bride in the first Kill Bill.

She’s an agent of British intelligence, sent to Berlin in the very last days of the Communist regime. Her mission is to retrieve a list which details the identities of every Soviet agent in the field, provided by a Russian defector. Before she has even met her contact there, David Percival (McAvoy), chief at the Berlin station, Broughton has been made by the Russians. Turns out, they have a mole, codenamed “Satchel”, who will stop at nothing to prevent the list from making it into Western hands, thereby revealing their identity. The exhortation of one of her bosses on her way out the door in London, “Trust no-one,” proves to be entirely accurate, as she makes her way across a landscape formed largely of moral rubble from the imminently collapsing Berlin Wall.

The story unfolds in flashback, during a debriefing in London, in which a severely battered Broughton recounts the events that unfolded as she tried to track down the list – and when that proves impossible, the defector, since he claims to have memorized its contents. It’s a perpetually shifting quicksand of allegiances, not least Percival, who has been in the city so long as to have “gone native”. There’s also Delphine Lasalle (Boutella), a French agent for whom Broughton falls, though it’s never clear whether their resulting spot of canoodling is for the purposes of her mission. It’s certainly not difficult on the eye [Boutella may be an action heroine to watch in future, having impressed both as the spring-loaded Gazelle in Kingsman: The Secret Service and one of the better things about recent Tom Cruise vehicle, The Mummy].

If you’ve seen the trailer, you’ll know why this was my most anticipated film of the year, and the action is every bit as slickly brutal as you’d expect from the co-director of John Wick – Leitch wasn’t credited there because the Directors’ Guild of America don’t like dual credits. This is ferociously hard-hitting stuff, clear from the opening scene, and escalating steadily thereafter. Broughton’s credentials are equally apparent immediately, as she escapes a kidnap attempt on the way from Berlin Airport, brawling her way viciously out of a car’s back seat. Yet this is merely an appetizer for what is to come, and one sequence in particular.

The scene in question sees Broughton escorting the defector, who has already been wounded. They take refuge in an apartment building only to be followed there by a bevy of Russian agents, whom she has to fend off with bullets, fists and even a convenient corkscrew. It’s nine minutes long, and appears to be shot in a single, unbroken take. Key word “appears” – if you look closely, you will likely be able to spot the moments where they cleverly blend the shots (about 20 or so, according to Leitch) together while the camera pans, tracks and zooms through the building. It’s still likely the most intense and hardcore battle in action heroine history, with the participants selling every blow impeccably. This is awesome, ground breaking stuff, and I haven’t enjoyed a scene so much since – again – Kill Bill, Volume 1.

For I’ve seen hard-hitting and inventively choreographed fights before. I’ve seen well-shot and technically impressive fights before. It’s the combination here which is almost unparalleled. Maybe the duel between Michelle Yeoh and Zhang Zi Yi in Crouching Tiger is the only one that comes close, though it had a very different kind of artistry, one that was based on grace and fluidity. [Outside our genre, I was additionally reminded of the car chase in Children of Men, which was apparently an inspiration] This is Lorraine Broughton, doing absolutely whatever she needs to survive, from second to second and moment to moment. It’s raw, animalistic and moves the bar for future action heroines to an entirely new level.

This is actually a problem, because it there’s still a good chunk of the film to go, and nothing the rest of the way comes close. As a result, there’s a sense of letdown from the adrenaline high, even if the final attempt of the Russians to kill Broughton is by no means bad. I’m hard pushed to find anything else of much significance to criticize here. We’ve got an Oscar-winning actress going full-on into the old ultraviolence? What’s not to love? Admittedly, the actual spy plot is a good deal less inventive and original than just about every other aspect here. But it’s merely a backdrop, the canvas on which Leitch and Theron paint their bloody masterpiece. Oh, and if you can’t get permission to use Ministry’s version of Stigmata, find something else. Do not use Marilyn Manson to cover it. He is not Al Jourgensen.

Otherwise, though, I should devote a full paragraph to the soundtrack, since it kicked ass, almost as much as Charlize. I’m a child of the eighties. It was the soundtrack to my teenage and college years, and I even spent some time in Berlin, on both side of the wall, in the middle of the decade. While that would be a couple of years before the events depicted here, it still brought back a heck of a lot of memories. Part of this might be the music, which plays like they rifled my CD collection. It starts with New Order’s Blue Monday, then segues into the opening credits which play out over David Bowie’s theme from Cat People, as Broughton stalks through the London streets. If not the first time that has been purloined for another movie – Quentin Tarantino used it, inexplicably, for World War 2 movie Inglourious Basterds – it works a lot better here. Consider me sold.

This is an action heroine in its most literal of terms. Broughton has often been compared to James Bond, yet she’s even more cool, detached and almost emotionless in some ways. It absolutely deserves a franchise, with its central character chewing her way through post-Cold War history like a shark in human form, always moving forward – and if you get in the way, it will end up the worse for you. Every step is absolutely purposeful and deliberate, a means to an end, and that end is her mission. Broughton does not fuck around, and neither does this film. Such single-minded determination can only be applauded.

Dir: David Leitch
Star: Charlize Theron, James McAvoy, Sofia Boutella, Toby Jones