Tag: supernatural

The Witches Hammer

  By

★★★½

“Hammer time!”

If never quite escaping its low-budget roots, or producing enough compensations or fresh imagination to make you forgive them, this is a robust enough vehicle and a decent entry in a sadly-small sub-genre: British girls-with-guns. It’s perhaps closest to the 1998 movie, Razor Blade Smile – which I really should get round to covering here, except it was pretty freakin’ awful. Similarly, Hammer involves a vampire assassin, though you can also lob in a shedload of other influences, conscious or otherwise, from Buffy, through Nikita to Bloody Mallory. If originality is not the movie’s strong suit, it is at least stealing from some of the best action heroines.

Rebecca (Coulter) is resurrected from the dead by a secret (government?) program, Project 571. They turn her into a vampire, giving her enhanced speed, reflexes, strength, agility, etc. – with the downside that she’s explode into flames if she goes out in daylight. After one assignment, she discovers her handlers have been killed, but is contact by Madeline (Beacham), who runs the imaginatively-named Project 572. Together with sidekick Edward (Sidgwick), she is sent to retrieve a mystical tome a the necessary first-step to slay the head vampire, Hugo (Dover), who… Ok, I’m somewhat hazy on the specifics, but he’s the bad guy, alright? Rebecca has to martially-art her way through an ever more dangerous series of witches, vampires and self-replicating ninjas (I assure you, it’ll make sense when you see the movie, to the point where you’ll probably go, “Oh! Self-replicating ninjas! That’s what Jim meant…”) until the final encounter with what a certain action heroine would certainly call The Big Bad.

Pluses? It’s actually shot on 35mm – while HD video has become the staple of low-budget cinema, it still doesn’t have quite the same feel as film, and the atmosphere here benefits as a result. Stephanie Beacham is magnificent, possessing a calm assurance that is marvellous to watch: she breezes through her scenes like a galleon at full sail, befitting her status as a genre icon. And the little and large duo of vampire, Oscar and Charlotte, are entirely endearing – their moments of comic relief work very nicely. [The idea of a midget vampire has been used before, as anyone who saw the truly appalling Ankle Biters will know.] The digital effects are nicely done too, with the vampires collapsing into a shower of glowing sparks, in a way that would also gladden the heart of Sunnydale’s favourite slayer.

Minuses? There’s a certain unevenness of tone which doesn’t quite work. At various moments, the film wants to be exciting, poignant, self-aware, slapsticky and dramatic: these individual moments work with varying degrees of success, and the combination, with the frequent gear-changes which result, occasionally seem clunky. Camp also needs to be played completely straight to work, and that isn’t always the case here. Hayes is over-fond of flashbacks: there are at least four here, and that’s probably three more than are necessary, with the only truly significant back-story belonging to Kitanya, the Russian witch who supposedly wrote the Malleus Maleficarum, the magic book which everyone seeks. As noted above, Eaves doesn’t really bring much new to the show: if you can find a review that doesn’t mention, say, Blade, your Google-fu is stronger than mine, and it is a very obvious comparison.

Coulter is acceptable in the central role – she reminded me most of Yancy Butler from Witchblade. She just doesn’t have quite the right attitude for a supposedly ruthless killer: Olivia Bonamy, in Bloody Mallory, brought the appropriate level in such things, such as her gloves with FUCK EVIL on them. Coulter is a shrinking wallflower in comparison, and this is shown in a sequence where she’s rescued from a morgue by one of her Project 571 colleagues. Rebecca clings on to the sheet with an obvious death-grip, rather than showing any skin, almost keeping it up to her neck. Hard to imagine a stone-cold assassin caring too much about nudity in front of another woman, and a less coy approach would perhaps be more appropriate.

The action is solid, if generally short of spectacular. There doesn’t seem to be much doubling of Coulter – or if there is, it’s not obvious. She get to use a selection of weapons, which adds a nice sense of variety; from swords through staffs to the F-sized rail-gun pictured top left (even if the cartridges being ejected were rather too obviously digital), Kris Tanaka was the action choreographer, and also appeared as one of the vampires near the end; it’s clear he knows his stuff. I’m not quite so sure Eaves does, as the editing of the sequences – for which he is also responsible – seems to be choppy and occasionally difficult to follow, though not to the level of MTV-style editing, the bane of my life as a viewer.

This was probably better than I expected it to be. The low-budget is not often obvious, and there are enough moments of charm to tide you over the less successful elements and make up for a certain lack of genuine freshness. Finally, despite the director’s protestations to the contrary, I’m still fairly sure there’s an apostrope missing from the title, which would only be grammatically correct in a context such as “The witches hammer at the door.” Eaves claims the apostrophe-less version is an accurate translation of Malleus Maleficarum, let’s just say, Wikipedia begs to differ. It probably doesn’t matter as much as I find it does, but while we can expect apostrophically-chalenged titles from Hollywood (I’m looking at you, Two Weeks Notice), good grammar costs nothing. ;-)

Dir: James Eaves
Star: Claudia Coulter, Jon Sidgwick, Stephanie Beacham, Tom Dover

Witchblade: season two

  By

★★★½
“Girls with gauntlets.”

Much as in the first season, the second series of Witchblade brushed against greatness. Unlike the first, where you can point at the final episode as the key weakness, this time round it is a chronic rather than acute malaise that prevents it from getting the seal of approval. When it was great, it was fabulous – it just seemed that for every full, satisfying episode, there was a lame clunker to compensate. Particularly at the start of the season, there seemed to be precious little imagination on view.

Before we get to that, however, there was the little matter of heading forwards once again, Sara having effectively wished the entire first season into a plot-hole. To the writers’ credit, everything went forward in a completely different direction, from the moment Sara and her partner opted not to go into the theatre where, in the first series, everything had begun. Things diverged so rapidly from here that by the end of the double-length first episode, Kenneth Irons was dead, though as previously seen, this is only a minor inconvenience in the Witchblade universe. As Gabriel says in the finale, “Death is a revolving door.” I profess myself quite satisfied with how this was handled – it was the next few episodes which were distinctly ho-hum, with little in the way of memorable moments. Oh, look: there’s a new drug in town; Nottingham hires assassins to kill Sara; multiple personalities. And I had to cheat and look up synopses elsewhere to glean this much information, since they were notable largely for the lack of impression they made on me. I do recall being immensely irritated by the strobe-lit fight scenes, however, the sort of thing you do when you’re trying to hide ineptness.

Things probably reached their nadir in Nailed, in which a stereotypical, drooling paedophile kidnapped Danny’s niece. The Witchblade, with an impressively convenient sense of dramatic timing, revealed his location just in time for them to rush to the rescue, in what was otherwise little more than a lame rip-off of Cape Fear. Fortunately, I missed this episode when it aired (being off getting married!), and only caught up with it during the marathon. Otherwise, I might well have given up on the show. Which would have been a terrible shame, as things started to perk up thereafter. I always enjoy episodes where external mythos enter the show, and Lagrimas mixed the Wandering Jew fable in beautifully, with its cursed immortal, seeking death at the hands of the Witchblade. Hierophant was a little too Keyser Sose-ish for my tastes, but Veritas probably ranks as my favourite episode to date. Oddly, the legend it utilised, while much more recent, didn’t seem out of place in the slightest. We were largely one step ahead of the story, but only in an “Wouldn’t it be cool if…?” way, and I suspect the Powers That Be will rear their ugly heads again in season three.

The finale, Ubique, also has to rate highly, for sheer perversity at the very least – Nottingham reaches new levels of creepiness in his final scenes with Lucrezia. Throw in a kicking soundtrack (Lords of Acid!), some spectacular deaths, and we’ll forgive a central plot device teetering curiously close to the main premise of feardotcom, which opened in cinemas the very same week. Among the interesting themes on view are the way both Pezzini and Nottingham both struggle to come to terms with the loss of their fathers, albeit temporarily in the latter’s case. This may be linked to one of the unresolved issues carried forward; who is the guy with wavy grey hair who always seems to be lurking round Sara? Indeed, the whole Nottingham/Pezzini relationship had perhaps more depth than any other in the show; veering between love, hate and obsession, with never a dull moment.

Season 3 looked like it might have some stiff competition for Sara’s favours, particularly with Concobar (rather less irritating this time round) lurking in a coma. Add in Gabriel’s little kiss in the finale, and it seemed like time for all applicants to take a number and form an orderly queue. On the other hand, couldn’t see why they keep both Jake and Danny in the show, as their roles overlapped far too much. A permanent, irrevocable death would have made people sit up and take notice – my vote in this department goes to Jake… Despite the second season, overall, rating the same as the first, I reached the end of this one with more optimism in Witchblade‘s future. However, TNT didn’t share this confidence, in part perhaps because of Yancy’s inability to keep out of bars, and the series wasn’t renewed. This may have been wise – on January 3rd, 2003, Butler was arrested after allegedly punching her father, punching and attempting to bite her uncle, and head-butting a police officer. For the moment, Sara Pezzini is in limbo, but really, a better fate is deserved for one of the more innovative series to hit the airwaves in the past couple of years.

Star: Yancy Butler, David Chokachi, Eric Etebari,  Will Yun Lee

Witchblade: season one

  By

★★★½
“Witch watch.”

The summer season of TV is usually characterised by repeats and re-runs, with little to stimulate interest beyond speculation over the fall schedule. This year, however, a dark horse emerged, from the surprising source of TNT, with their adaptation of Top Cow’s Witchblade series, with Yancy Butler in the title role. Over thirteen hours of episodes, including the two-hour pilot, it chronicled the adventures of Sara Pezzini, a New York detective who acquires a bracelet with remarkable powers, not the least of which is its ability to transform into an industrial-strength sword. This brings her into conflict with people like mysterious power-broker Kenneth Irons, and her own captain. She loses partners, lovers and friends on the way to what is unfortunately one of the worst twists in any TV series, since Bobby stepped out of the shower in Dallas. Serious spoiler alert for the following, folks, though this may be a good thing, since it’ll let you get your disappointment out of the way early.

Put simply, having killed of most of the cast (a refreshing change from more cowardly shows, which refuse to let any characters die), our heroine decides she doesn’t like what’s happened, and rewinds time back to just before her partner was killed, way back in the pilot episode. The rest of the season is deemed stricken from the record, and not even Pezzini has any recollection of it. It’s a little like Run Lola Run, except that film actually delivered a beautiful elegy on the role of chance in our affairs, something I suspect Witchblade will not come within a million miles of doing.

The main question is where can the show go from here? I can see how they can move the series in another direction now, with her (now-surviving) partner taking on a larger role, but while none of the characters may know anything, the audience’s memory is still intact. We know, for example, that Jake McCarty is an FBI agent, and are aware of the roles of most of the characters and their relationships. Watching the cast rediscover all this again – as they surely must – is going to be like watching a rerun.

However, maybe they can pull it off, since up until that final ten minutes, the writing on the show was actually very impressive. I confess to no familiarity with the comic-book at all – save for a vague awareness of covers featuring improbably-proportioned heroines – and so can’t comment on how accurately it follows them, but on its own merits, it works well. Several overlapping story arcs were contained in the series, but even if you missed some episodes, there was little trouble picking up on them – another mark of good writing. After the pilot, we kinda forgot about the show for two months (it was on TNT, after all!), and only caught up with the ones we’d missed when the channel aired an all-day marathon. There were plenty of potential angles for future exploration – we were particularly intrigued by the Vatican angle exposed by demonic priest Roger Daltrey, where the Catholic church had the Witchblade for centuries before giving it to Hitler.

witchbladeAbout the only angle that didn’t work for us was the love story between Pezzini and Concobar, her Irish bard. Pardon me if we yawn: Irish people are far too often either Guinness-swilling songsters who’ve kissed the Blarney Stone or terrorists, and the series gave us both. Beyond filling in some interesting sidelight on the history of the Witchblade – a concept worthy of a series in itself – there wasn’t much to this beyond Pezzini getting a shag, though even this didn’t seem to improve her humour. Yancy Butler, despite not having much of a pedigree (she’s perhaps best known for playing opposite Jean-Claude Van Damme in John Woo’s American debut, Hard Target), provides a strong central perfomance as Pezzini, striking the right balance between confusion, strength and sarcasm. Could perhaps do with slightly-less use of the sardonic eyebrow though – if she’s not careful, it’ll demand its own spin-off series. She seems to have come on in action terms as the series progressed; early on, the stunt-doubling was painfully obvious, but in later episodes, she appeared to be taking on more of the work herself, which can only be encouraging for the next series.

Most of the subsidiary characters come across as well-rounded, even the likes of Ian Nottingham, Irons’ enforcer, who gradually falls in love with Pezzini and reveals a softer side. This is in sharp contrast to his replacement – Nottingham v2.0, or Nottingham ME, as we call him – who was simply Very Scary. Her first partner, Will, although dead from the pilot on, continued to appear in a nicely-handled fashion, with mostly only Pezzini able to see him. Oddly though, he makes his presence known to McCarty when it proves suitably dramatic, without any explanation of why he can suddenly do so. Maybe it’s normally too straining on his ectoplasm or something. If it wasn’t for the climax, the show would certainly have deserved our Seal of Approval. As it is, any such award is placed on hold pending future episodes, and we see how they resolve the problems posed by the ending of this year’s batch.

Star: Yancy Butler, Anthony Cistaro, David Chokachi, Eric Etebari