Tag: teenage

High School Girl Rika: Zombie Hunter

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★★½
“High School Girl? Check. Zombies? Check. Hunting? Not so much.”

Rika (Kudo) and her schoolgirl pal ditch education for a day and head off to a remote village to check up on her grandfather, who hasn’t been heard from for a while. But as soon as they arrive, the pair come under attack by zombies, initially spawned as the result of a euthanasia drug being tried out by the Japanese government to address the whole “inverse pyramid” thing. They do reach Grandpa’s house, but find him in the stages of advanced Alzheimer’s – at least, until Rika is bitten. Gramps removes the limb, and replaces it with one conveniently lying around, which happens to belong to a master zombie hunter. Who cares if it’s the wrong colour and incredibly muscular? With America preparing a Return of the Living Dead style cleansing operation on the area, Rika and her allies have to locate the King Zombie and kill him, before being reduced to their constituent atoms.

There are a couple of nice ideas here, so let’s get those out of the way first. The master hunter is an amusingly male version of the Onechanbara heroine, both in the cowboy hat and otherwise scanty clothing. And I liked the fact there is actually an intelligent, polite zombie thrown into the mix, who retains his fondness for humanity (or does he? For he’s still a bit bitey…). However, it’s the best part of an hour before anything approaching the title is seen, by the time Rika loses her arm, gets her new one and comes to terms with the new, strong urges to swing a sharp sword in the direction of anything lacking a pulse. When it does…it’s really no great shakes either, and the action aspects of this are absolutely no match for the likes of Machine Girl or Hard Revenge Milly.

This is, however, operating in a rather different genre, as you’d expect from the makers of the catchily-titled Girls Rebel Force of Competitive Swimmers, which occupies an uneasy middle-ground between horror and soft-porn. This is mostly horror, occasionally comedy (the Three Stooges who are also roaming the town could have taken their comic mugging and left, without doing the film the slightest damage), and the action is some way back, likely less important than the “let’s all compare our breast sizes” scene. I’m certainly not averse to horror, and on that basis, given its low-budget, it’s a harmless time-passer. But given the title, I’d have liked to see Rika do an awful lot more actual hunting of the zombies.

Dir: Kenichi Fujiwara
Star: Risa Kudo, Takeshi Yamamoto, Mai Minami, Tsugumi Nagasawa

Hell’s Fury: Wanted Dead or Alive

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★½
“There’s nothing like a good Western. And this is nothing like a good Western.”

Eryn Cates (Hague) returns home to Texas from finishing school in New York, to find her family farm teetering on the edge of foreclosure [maybe if they hadn’t spent all that money to send her to finishing school in New York…]. In a misguided attempt to help things, her brother tries to rob a stagecoach carrying payroll, but is injured. The attempt fails, but local mogul Mortimer (Harris), who holds the loan on the Cates farm, sees a chance and pockets the loot. Two Texas Rangers, including the young and handsome Flint (Hagenbuch) show up to investigate the robbery, but it’s up to Eryn to save the family property, take on the mantle of the bandit, fend off the unwanted advances of Mortimer and engage in pseudo-romantic banter of the least interesting or convincing sort with Flint.

It’s not very good, and the problems start right from the format: it was shot on low-definition video, which gives everything a harsh, modern look that really doesn’t suit the genre. Hague is equally unsuited for the role, and never succeeds in putting across any significant degree of emotion. And quite why there’s a kung-fu master in an early scene, I have no idea: he crops up once, and then is never seen again. It’s not as if Eryn exactly wields nunchakus against Mortimer’s minions. There are some cheap laughs to be had, not least the town dance where the band appear to play the same eight bars of The Streets of Laredo for six minutes straight, but most of this is just terribly pedestrian.

The DVD cover blurb claims, “The Quick and the Dead tips its cowboy hat to True Grit in this action packed Western gun battle.” Hmm. The tubes of the Internet deny any such phrase, though since Independent Film Quarterly [or “Quartly”, as the blurb has it] appears to be that endangered species, a print magazine, we can’t definitively claim fabrication here. What I can say with certainty, is that the apparent provider of the quote, Stuart Alson, has crafted a far greater work of fiction in that single sentence, than anything the writers here manage to conjure up in their 72, almost entirely tedious minutes.

Dir: Alan Chan
Star: Hannah Hague, Adam Hagenbuch, Ron E. Harris, Richard L. Olsen

The Hunger Games (film)

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★★★
“Not as good as the book. There. I said it.”

Ok, it has become the biggest-grossing action heroine film ever at the US box-office. So there’s that. But truth be told, it’s not actually all that good. Sure, it’s impressively-staged, and Lawrence does very well with a role. But there are a number of problems, even as it follows the great majority of the novel. If you’re not aware of the plot (and didn’t read our book review!), I’ll summarize. In a future dystopia, every year the 12 districts in the US submit a teenage girl and boy to the capital, where they battle to the death in a televised spectacle. This time, the resourceful hunter Katniss (Lawrence) volunteers, after her younger sister is selected; she and her male counterpart, baker’s son Peeta (Hutcherson), have to go into battle with the other 22 contestants knowing only one can survive.

At 142 minutes, it’s likely too long, especially as almost the first half is taken up with the pre-game activity, which is distinctly low in thrills. Even once the games start, the action quotient is fairly low, with Katniss seeming do a lot more creeping around on her own. That’s fine in a book, which can fill things up with internal monologue, but it’s not the case in a movie. And what action there is, is badly-shot to the point of utter confusion. There were also a couple of changes from the book that weakened it: the rule change in the middle seemed more of a convenient deus ex machine than in the novel, where it flowed naturally from the Katniss/Peeta alliance, and the genetically-engineered creatures which appear at the end originally were described as being created to look like the fallen competitors, a marvellously horrific touch. In contrast, the movie doesn’t add all that much, in style or content.

On the plus side, I did enjoy Lawrence, who creates exactly the sort of strong, resourceful heroine we need more of, in all media. Unlike certain young adult book series I could mention, she doesn’t seek or need male approval or assistance. In fact, Peeta is basically a wuss, who would be dead without someone stronger to whom he can attach himself – it’s a beautiful bit of role-reversal. I also enjoyed a lot of the supporting characters, particularly Harrelson as the former winner turned alcoholic mentor, and Stanley Tucci as the TV interviewer who, I suspect, is much smarter than he seems. We should also remember that this is the first part of a trilogy, so probably needs to engage in more scene-setting. We’ll see whether the rest of the series can deliver a better handle on the action, while sustaining strong elements, such as the excellent lead.

Dir: Garry Ross
Star: Jennifer Lawrence, Josh Hutcherson, Liam Hemsworth, Woody Harrelson

Rina Takeda: The Next Action Heroine?

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Last month, we saw MMA star Gina Carano hit the big-screen in Haywire, but she’s not the first genuine female martial-artist to have started a movie career. Most obviously, Cynthia Rothtock was a five-time World Karate Champion in forms and weapons, and has a number of black belts in various disciplines. Similarly, Jeeja Yanin was a third-Dan black belt in Taekwondo, before hitting the silver screen in Chocolat. But here, we’ll be looking at the name that has recently emerged out of Japan, Rina Takeda, holder of a black belt in Ryukyu Shorin-ryu Karate.

Born in 1991, Takeda was reportedly inspired to take up the martial-art at the age of ten, when she saw her father get knocked out of a karate tournament, and was determined to avenge his defeat. [If you’ve seen the “plot” – quotes used advisely – of some of her films, this makes a great deal of sense…] In 2005, she auditioned to become a member in J-pop group Morning Musume, and to date, has appeared in three films, as well as a recurring role on the Japanese comedy-superhero series, The Ancient Dogoo Girls. There’s a certain sense that her talents have not yet been matched by the material provided, but everyone has to start somewhere. Just ask Angelina Jolie, whose career started with Cyborg 2…

[November 2013 update: we can add Dead Sushi to her resume, where she plays the daughter of a famous sushi chef, who has to fight off reanimated… well, sushi. It’s from the director of Machine Girl, but having just watched the trailer, I think a well-stocked fridge will be needed!]

  • High-Kick Girl

    ★★★
    Less a “film” than “fights spliced together, interspersed with cut scenes from a Mortal Kombat knock-off”.

    The entertainment value you get from this may depend on your expectations. It undoubtedly works best as a party-tape, show-casing the “no wires, CGI or stunt doubles” approach, but I have to beg to differ with some of the critical savaging it has received. Even on our forums, it divided opinions, with some posters calling it “moronic and offensive” and “complete TRASH”. While I can see its weaknesses, and it’s no classic, at least in the first half, it does deliver pretty much everything you’d expect in the way of teenage ass-kickery.

    The plot – such as it is, and I wonder what they did with the rest of the postage-stamp – is as follows. Kei Tsuchiya (Takeda) is a student under master Matsumura (Naka), but fed up with training, goes out to “hunt black belts.” This brings her to the attentions of the Destroyers, a gang of mercenary martial-artists called the Destroyers, extend an invitation to her to join them. Turns out it’s a trap, designed to lure in Matsumura, against whom they have a 15-year old grudge, and with the kidnapped Kei as bait, they await her teacher’s arrival. And that’s the main problem. The first half sets up Kei as fearless and tough, but after the chief villain shows up, spends much of the second-half whimpering on the floor: Matsumura does far more of the heavy lifting, despite his claim, rather questionable on the evidence here, that “karate is not for fighting.”

    And that’s a shame, as Kei makes a good impression, right from her first bit of action, which sees her surprise an unsuspecting opponent with a kick to the head from a standing position, as shown on the right. Another standout was the kickfest (below), against another real-life karate star, Yuka Kobayashi. Stylistically, however, the main problem is the director’s repetitive, frequent use of slow-motion: while this is great in the aforementioned “party tape” atmosphere (where, if someone yells, “Wow, look at that,” you can turn around and see it again), it is badly overused and drags the viewer out of the cinematic experience far too often: lob this kind of stuff on as an extra on the DVD, if you must.

    The reviews which aren’t writing this off entirely tend to point out that it works better if you regard it as some kind of martial-arts promotional piece, and that would tie in with the heavy emphasis that “Karate is a martial art for protection.” [Personally, I feel a good pair of running shoes would be just as good there] However, there’s little doubting that Takeda is the real deal in terms of fighting ability, and shows a willingness to take punishment as well as dish it out, that is certainly to her credit. However, the inexperience of both her and the creators in the more traditional aspects of film-making – for the final battle, the location appears to be a school gymnasium, on loan to the Destroyers! – do significantly hamper the overall merit.

    Dir: Fuyuhiko Nishi
    Star: Rina Takeda, Tatsuya Naka, and a host of faceless minions

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  • Karate Girl (2011)

    ★★★½
    “On the plus-side, this does have a plot. On the other hand, you kinda wish they hadn’t bothered.”

    The film manages to cram just about every cliché of martial-arts films into its 92 minutes, with a plot driven by four major threads:
    a) You killed my father, and must pay.
    b) You run a rival school, and must pay.
    c) You are generally not a nice person, and must pay.
    d) You kidnapped my sibling, raising them as one of your own and training them in your evil techniques, before sending them out to kill me. Oh, and you must pay for this too, naturally.

    Ayaka Kurenai (Takeda) can only watch as her father, a master of karate, is killed in front of her very young eyes, and her sister Sakura (Tobimatsu) is dragged away by the perpetrators. A decade or so later, Ayaka goes viral after using her skills to stop purse-snatchers in the cinema where she works, an event that brings her to the attention of Tagawa Shu (Keisuke), the man behind it all. He still covets the family belt, having apparently missed it when killing the man and kidnapping his daughter. He sends out some minions to verify if she is who she seems – then when that’s done, plays his trump card, revealing he has Sakura, in his evil grasp. Little does he reckon that Sakura’s family loyalties run deeper than all the training the Evil Dojo can drive into her…

    Yeah, the plot is a load of pants, and the acting is nothing to write home about – it’s serviceable enough, in line with what you’d expect from a movie with this title. I did enjoy most of the action, and the relaxed style of editing which lets you see the performers and their skill. It doesn’t always work, but enough of it does to make for a generally-entertaining time. British-born Heselton. who looks like a pissed-off Simon Pegg on steroids, comes across well, but the highlight is probably the scene where a pair of Tagawa’s minions go to Ayaka’s karate school, and take on, first her classmates, then her, in an effort to flush her true talent and ancestry out.

    Both Takeda and Tobimatsu show potential here. The latter is another young discovery – the next next generation of action heroines? – and it’s startling to realize she is just 14. One suspects child-labour laws must be a good deal laxer in Japan than the West. Let’s just hope their next film isn’t plotted out on the back of a beer-mat.

    Dir: Kimura Yoshikatsu
    Star: Rina Takeda, Hina Tobimatsu, Horibe Keisuke, Richard William Heselton

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  • Ninja Girl (Kunoichi)

    ★½
    “Save your time, save your money, and go watch Karate Girl instead. Again, if necessary.”

    From the director of Alien vs. Ninja, the story here centres on a pair of ninjas, Shimotsuki and Hyotsuki, who are carrying on what appears to be a family tradition, kidnapping women from other clans’ villages, and taking them back to their own for nefarious purposes – let’s just say, the phrase “tools of pleasure” crops up on more than one occasion. They ar returning with their latest batch of four, including Kisaragi (Takeda), who is a ninja in her own right. With the help of a mysterious man (Sato), Kisuragi and her colleagues in imprisonment are released from their bondage – but that is only the first obstacle between them and their freedom. Of course, it turns out the heroine is not quite as innocent as she appears, and has an agenda of her own, because her mother was kidnapped by the same sleazy ninjas, when Kisuragi was just a baby.

    Barely an hour long, this still somehow manages to outstay its welcome, managing to spend far more time engaging in borderling misogyny, rather than anything remotely empowering, and a distinctly sleazy tone with plot elements involving castration, venereal disease and a great deal more molestation of helpless women that I generally like (particularly in my ninja flicks). There is really only a single battle of note, when Kisuragi gets to take on one of her captors in a battle that is fairly well-shot and does a good job od showcasing Takeda’s undeniable skills. However, you don’t get the sense that there was more than a couple of days work involved, and even given the short running time, it’s still a negligible amount of what’s on view, and there just isn’t anything like sufficient elsewhere to keep you interested or entertained.

    I haven’t seen Chiba’s earlier work, but it seems to be basically the same “head off to a forest for some film-making” approach that we see here. That can work in the right hands – Versus is justly the most well-know example of that genre. However, here, it’s more like a cheap excuse to disguise the obviously limited production values than anything else. Hopefully, Takeda will soon move beyond this kind of Z-grade dreck: I did read rumours of her being in Chocolate 2, which would be nice if said rumours had the slightest grounding in fact, which seems questionable. Hey, we can dream, can’t we?

    Dir: Seiji Chiba
    Star: Rina Takeda, Yuichi Sato, Masanori Mimoto, Mitsuki Koga

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True Grit

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★★★½
“Forty years later, the Duke has become the Dude, with a small Duchess.”

Based on the original source material – which was very much focused on John Wayne – and the trailers, you’d be forgiven for thinking of this as just another macho Western. However, I read some pieces which suggested that wasn’t the case, with the story [as in the original novel] told from the viewpoint of teenage girl Mattie Ross (Steinfeld), who hires drunken Marshal Rooster Cogburn (Bridges) to hunt down the outlaw (Brolin), who killed her father. That is indeed the case – despite Steinfeld getting an Oscar nomination for Best Supporting Actress, while Bridges was listed for Best Actor. Go figure.

For Ross is one of the most impressive teenage girl characters to appear in a recent Hollywood film, being resolute, smart, brave and resourceful: that’s clear from the scene where she completely out-haggles the businessman with whom her father had been dealing. You can almost imagine Mattie growing up to become Marge Gunderson in the Coen’s Fargo: there’s much the same dogged determination, in a form which causes those who oppose Mattie to severely underestimate her. More in tune with her age, I was also reminded of Lyra Belacqua from The Golden Compass, whose heroine also found herself with an unenviable task, and had to man girl up and get through it. Here, from the moment Mattie plunges into the river on her horse, while Cogburn and Texas Ranger LeBoeuf (Damon) watch from the far side, she’s in a completely different, alien world.

I was much less impressed with Bridges’ performance. Fair enough that he chose not to try and reproduce Wayne’s iconic role: however, the route in which he chose to do so is unfortunate, not least because it’s largely inaudible. He mumbles every line so badly, you’re largely reduced to picking words out where you can, and trying to work out what he said by the other characters’ replies. It’s only right at the end that he comes across as being much more than a drunken buffoon, and it’s difficult to fathom why Ross picked him rather than LeBoeuf, who projects a far more compelling air of confidence. With Wayne, there was a sense of faded, decrepit glory: Bridges’ version of Cogburn is less a has-been than a never-was.

That said, there’s something refreshing about the way this is…well, not refreshing. By that, I mean there is little or no attempt to re-invent or “reboot” the Western genre: it’s lasted for approaching a century, so the basic tenets don’t really need changing. So while there are some understated moments of humour, e.g. the last words of the men about to be hanged, the focus is clear: Mattie and her goal of extracting justice on the man who killed her father. It’s a simple story, well told.

Dir: The Coen Brothers
Star: Hailee Steinfeld, Jeff Bridges, Matt Damon, Josh Brolin

Hanna

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★★★★
“Jason Bourne: The Next Generation.”

“What did your mother die of?”
“Three bullets.”

That matter-of-fact answer, provided by Hanna (Ronan) over dinner with a friend and her family, sums up the character perfectly. While Bourne was seeking to recover his identity, this 16-year old girl never had one to begin with. She was brought up in the wilds of Finland, hunting deer, learning languages and training in hand-to-hand combat with her father, Erik Heller (Bana); she knows nothing of music, for example. Eventually, she is deemed ready, and the switch is flipped on a transmitter, revealing their location to Marissa Wiegler (Blanchett), Heller’s former CIA handler, and putting the pieces into play. Turns out Wiegler and Heller go back to before Hanna’s birth, and he has been waiting all this time to unleash his daughter against the woman who played a very important part in her development. Wiegler captures Hanna, but she escapes, and makes her way from Morocco to Berlin, and the intended rendezvous with her father, Wiegler and her minions in hot pursuit.

I liked this a good deal. As well as Bourne, it blended in a lot of elements from traditional fairy tales. Wiegler is Hanna’s wicked stepmother (the dynamic between the pair is particularly interesting), and Bana like the hunter in Snow White who disobeys orders, refusing to kill her. Regrettably, at no point does Hanna hang out with any midgets, even cool ones like the Half-Pint Brawlers. But she certainly proves more than capable of handling herself physically, as is shown in her escape from custody: dealing with the rest of humanity…well, maybe not so much. There’s also more than a touch of Run Lola Run, with the heroine galloping round Berlin, accompanied by a banging techno score (here, by The Chemical Brothers).

It might have benefited from showing Hanna’s skills a bit more; there’s nothing quite as cool for her as the sequence where, in a single camera-shot, her father comes out of the station, goes into a Berlin subway and wipes the floor with four minions. However, it easily qualifies for inclusion here, and Ronan’s performance grounds this and gives it an emotional heart in a way not often found in the genre.

Dir: Joe Wright
Star: Saoirse Ronan, Eric Bana, Cate Blanchett, Tom Hollander

Sucker Punch

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★★★★½
“Suckers for punishment?”

Before getting to the film, what’s perhaps even more interesting is the critical reaction: it has been a long time since I’ve seen a film provoke such savagery, e.g. the Chicago Tribune’s Michael Phillips, who wrote: “The film abdicates so many basic responsibilities of coherent storytelling, even coherent stupid-action-movie storytelling, director/co-writer/co-producer Zack Snyder must have known in preproduction that his greasy collection of near-rape fantasies and violent revenge scenarios disguised as a female-empowerment fairy tale wasn’t going to satisfy anyone but himself.” Ouch. That’s far from the only example, and covers the common planks used to whack Snyder: incoherence, faux-feminism and dubious sexual politics.

There’s not even any genre love lost. Joe Wright, director of the somewhat similarly-themed Hanna, which came out two weeks after Sucker, tore into it: “I probably shouldn’t say this but the posters for recent films with girls kicking arse – there’s one out at the moment – there’s girls in the poster in bikinis and crop-tops, and they’ve got pigtails and they’re dressed up as schoolgirls. They’re being sexualised, this is supposedly ‘Girl Power’ female empowerment and that’s bullshit. Female empowerment is not about sex, that is the point of female empowerment. It’s about brains and not objectifying women.”

It’s worth pointing out Wright hadn’t seen the film, but I can’t say I support his position of laying down canon law on what does or does not constitute “the point of female empowerment”, or accept that sex is incompatible with it, as he states. There’s multiple routes to the goal, just as the Camille Paglia approach to feminism differs from the Andrea Dworkin one. It’s not a Spandex leotard – one size fits all – and to denigrate another piece of entertainment (which is, after all, what both Hanna and Sucker Punch are) for an alternative approach seems petty and mean-spirited. There’s room in the playground for both. Of course, I’m not someone who relies upon Hollywood to provide any kind of moral compass: if you do, I’d say you have far bigger problems than Sucker Punch.

But those who like it, really like it. It’s rated at 6.6 on the IMDB, from over 25,000 votes, so it’s not just studio shills. Compare other critically-savaged and commercial genre “failures”: Barb Wire (3.1), Catwoman (3.2), Ultraviolet (4.0). Sucker is more in line with something like Underworld (6.8), and the reaction on Twitter is also far more positive. Star Cornish may have a point when she said, “It’s so stylised, so specific; there’s no other film like it at all. When you have something totally new, it’s going to be judged to the 10th degree… When you’ve got a totally new concept, it’s a love or hate relationship.”

That’s not necessarily a bad thing. Even if it fails, I’d rather have a film with ambitions, that tries something different, rather than another Judd Apatow/Seth Rogen “comedy”. There’s some parallel to be drawn between Snyder and Dutch maverick Paul Verhoeven. You could link Snyder’s Dawn of the Dead remake to Robocop, while 300 and Starship Troopers are both pseudo-fascistic tributes to the glory of war – and Sucker Punch would be Snyder’s Showgirls, a critically-reviled flop, damaged by its rating. Except here, it’s the PG-13 which hurts, but we’ll get more into that a little later.

The movie itself is imperfect; by some measures perhaps not even the “best” GWG film I’ve seen at the cinema this month. However, it is thoroughly cinematic and can only be admired as such – I’m far more likely to pick up the Blu-Ray DVD of this than Hanna. An un-named 20-year old (Browning) is sent to a lunatic asylum by her stepfather, after rejecting his attentions and being made the scapegoat for the death of her younger sister; her lobotomy is scheduled for five days time. Turns out the asylum is a high-end brothel where our heroine – nick-named “Baby Doll” – and the other girls are kept to perform for the pleasure of various high-rollers. Baby Doll plots an escape, the tools necessary lifted by her accomplices while she entrances the staff and customers with her dancing. During these, Baby Doll retreats even further, to fantasy worlds to do battle against dragons, robots, samurai warriors, etc. But which “reality” is real?

There’s more doubt over that, than which reality Snyder likes: hands-down, it’s the one filled with carnage, and his love for it shows. It’s only April, you could nominate these as the best four action sequences of the year, and I wouldn’t argue. My personal favourite sees the five girls storm the trenches in World War I, taking on steampunk-powered German zombies, with the aid of a rocket-powered walking tank. Remarkably, as cool as that sounds on the page, seeing it on screen is even better. Yes, all bear more than a passing resemblance to video games: they still work, possessing an elegant flow to them. And while none of the heroines will make Zhang Ziyi lose sleep, nor are they left looking horribly out of their depth, a major fear on hearing a High School Musical star was involved.

Since Baby Doll is explicitly stated to be 20, this doesn’t strictly fall into the category of “teenage action heroines,” but her hair, clothes, make-up, etc. all are designed to evoke the spirit of what Chris disparagingly called, “schoolgirl porn” – but the PG-13 rating means it can get absolutely no closer, so really, what’s the point? At least Showgirls delivered the goods: Baby Doll’s fantasy world might as well have been an office, college dorm or, frankly, convent, instead of the world’s most demure brothel. Reports indicate it took seven submissions and the removal of 18 minutes to get past the MPAA, so I have to ask. Should a film that, on one level, is about an abused girl forced into prostitution by her step-father, share a rating with Harry Potter And The Goblet Of Fire?

However, I do like a little more plot and better characterization with my action sequences. I think Baby Doll probably sings more than she speaks in the film. Browning is responsible for the cover of Sweet Dreams, which backs the immensely creepy opening that paints, in swift efficient brush strokes, the lead-up to her arrival at the asylum. It’s almost as if Snyder says, “Well, that’s that out of the way,” and there’s nothing anywhere near as effective the rest of the way. The rest of Baby’s posse don’t even get the benefit of that, and remain little more than lingerie-clad chess pieces, to be moved around the board of Snyder’s (undeniably impressive) imagination. Same goes for the plot, which has the action sequences more grafted on, than flowing naturally from the plot.

Overall, however, for all its undeniable flaws, this is a rare beast: an action film where women [rather than a singular woman] take center-stage. I’m hard pushed to think of anything like it out of Hollywood since, perhaps, The Descent, and this is clearly on a much bigger scale. Unfortunately, the luke-warm box-office probably makes it unlikely anyone else will follow suit, though I get the feeling it will do very nicely on DVD. It’s certainly close to a unique movie, for its combination of style, content and execution, and I tend to think/hope that the passage of time will be kinder to it, than most contemporary critics.

Dir: Zack Snyder
Stars: Emily Browning, Abbie Cornish, Jena Malone, Vanessa Hudgens

"It’s certainly close to a unique movie, for its content of style, content and execution, and I tend to think/hope that the passage of time will be kinder to it, than most contemporary critics."

Mutant Girls Squad

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★★★★
“X-Men, as directed by Peter Jackson. And not LotR Peter Jackson. Brain Dead Peter Jackson.”

It makes sense that this stems from a drunken agreement between the three co-directors at a film festival, because this is the sort of film you would only make under inebriated terms, and it’s probably true to say that drunk is the best way to watch this. That’s not a bad thing per se, just that its loopy sensibilities and over-the-top antics would seem to go particularly well with a few beers. Rin (Sugimoto) hits her sixteenth birthday not too happy, being bullied at school. However, the bullies have a surprise in store, as it turns out Rin is half-human, half-Hiiko, with her father being from a mutant race with extraordinary powers. They have largely been hiding from humanity, but are now fed up of being persecuted, and under the leadership of Kisaragi (Sakaguch), are about to declare total war on us. Rin, along with Yoshie (Morita) and Rei (Takayama), are to lead the strikeforce, though Rin is less convinced over the need to target all of mankind.

This is right up there with Brain Dead in terms of the goriest movie ever, with fountains of blood, real and digital painting the entire screen, including the lens, though rarely affecting our heroine’s sailor-suit school uniform. Which, one assumes, is part of the joke, for everything about this is so amazingly excessive, it’s impossible to take any of it seriously, even as it is played completely straight-faced. The talents, for instance, include a waitress whose breasts each sprout a sword and a cheerleader, concealing a chainsaw in a place power-tools are not normally located. No explanation for any of this is ever given. It just is, and you either buy into it or you don’t. Yet there’s also a moment or two of poignancy, as Rin struggles to decide whether to align herself with a human race which has largely rejected her, or her new “family,” weird and incredibly ultraviolent as they may be.

While the gore is certainly present in buckets, as we’ve seen, that isn’t enough by itself to make for entertainment, and the insane imagination on view here is equally impressive. This is particularly true at the end, when Kisaragi reveals his final form. Let’s just say, breasts that squirt acid milk is one of the lesser of his talents. This kind of lunatic invention makes the film work, and while you undeniably need a large tolerance for arterial spray, and some of the FX are rubbery, to say the least, it is thoroughly fun schlock, unlike anything produced by even the most warped Western company.

Dir: Noboru Iguchi, Yoshihiro Nishimura, and Tak Sakaguchi
Star: Yumi Sugimoto, Suzuka Morita, Yuko Takayama, Tak Sakaguchi

Blood: The Last Vampire (live-action)

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★★★
“Half-human, half-demon takes on her own kind. Haven’t we seen this before?”

The animated version was one of the first reviews I wrote for the site, and I didn’t like it much – the fifty-minute running time allowed for hardly any development of scenario or characters at all. The feature fares a good bit better in these departments, though suffers from some horrendous editing styles and a couple of monsters which appear to have strayed in from a Playstation game (and I am not talking Playstation 3 here, either). The basic plot is retained. Saya (Gianna) is a half-demon with a grudge, intent on taking out Onigen (Koyuki), the one responsible for the death of her father. Working under the loose guidance of The Council, she is inserted into a school on an American air-force base in 1970 Japan. American girl Alice (Miller) has been added; Saya rescues her, and the two end up on the run, pursued both by Onigen and more regular forces.

This wasn’t as bad as the reviews led me to expect, and Gianna goes a good job of capturing the permanently-peeved expression of Saya. There are certainly lots of fights, with Corey Yuen doing his usual solid work, though the cutting of these early on, renders them almost incomprehensible. Seriously: you have almost no idea who is doing what to who. However, that seems to change in the second half; there’s a very solid battle in the forest between Saya, her mentor, and an endless horde of minions, and the final battle between the heroine and Onigen certainly doesn’t lack for spectacularity…er, -ness. Or something.

Going against this, Alice’s presence seems no more than a sop to the international market, because she serves little or no purpose to the film otherwise. There’s also a thoroughly unsatisfactory sequence where Saya fights a flying monster on a truck, perched precariously in a gorge: it’s both incoherent and very badly-rendered, a combination that would shame a SciFi original movie. That said, it kept me entertained and awake, which is more than some films (coughSnowbloodcough) have been able to do this month. If Gianna wants another stab at an action heroine flick, I wouldn’t object.

Dir: Chris Nahon
Star: Gianna, Allison Miller, Liam Cunningham, Koyuki

The Dirty Pair

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“Anarchy in the Yuri-Kei”

Few girls with guns creations have been as cross-media as Kei and Yuri, Haruka Takachiho’s Dirty Pair. Initially a collection of novels which began in 1979, they then became a TV show, a straight-to-video feature, a theatrical film, a straight-to-video series, hopped the Pacific to become an American-produced graphic novel, then returned to Japan to become another three video series, some “Stereo Drama” CDs, and two volumes of manga. Most recently, Lovely Angel: Kei and Yuri debuted on radio in Osaka in October 2006; a second series was released a year later, relocating Kei and Yuri to the year 1791 as student ninjas. Which is, at least, different. As we also had a translation of the first novel released in America, September 2007, the Dirty Pair bandwagon shows little sign of stopping, as the characters head towards their thirtieth birthday.

The novels

At the end of the 1970’s, Takachiho was already a well-known author, thanks to his Crusher Joe series, and had founded Studio Nue to develop story ideas for novels, comics and anime. A trip to the then-popular World Women’s Wrestling Association, with American author A. Bertram Chandler, spawned the “Dirty Pair” name, from tag team Naoko “Jackie” Satou and Maki Ueda, who called themselves the Beauty Pair. Thus inspired, Takachiho went to work, and his duo made their debut in #244 of SF Magajin, in February 1979.

Though these novels are in many ways radically different from the other version, the core characters of Kei and Yuri are almost unchanged: a contrast in looks, personality and approach. Kei is the loud, brash redhead; Yuri, a more cautious soul. The novels give a gift of clairvoyance to the duo, but seem to make it contingent on them having really bad luck. The other adaptations largely skip the psychic abilities, but keep the unfortunate accidents which make them the queens of collateral damage, much to the chagrin of their bosses at the Worlds’ Welfare Work Association, or WWWA – another wrestling nod – which is also referred to as the 3WA. These, ah, incidents, cause Kei and Yuri to be labelled the “Dirty Pair”, in contrast to their official name, the “Lovely Angels”. The stories take place around the year 2140, with the human race now occupying several thousand star systems, and travelling between them in spaceships.

Original Dirty Pair

  • Daatipea no Daibouken (The Dirty Pair’s Great Adventures) – serialized in 1979; book version 1980
  • Daatipea no Daigyakuten (The Dirty Pair Strike Again) – serialized in 1985; book version 1985
  • Daatipea no Dairansen (Dirty Pair’s Rough and Tumble) – serialized 1985-87; book version 1987
  • Daatipea no Daidassou (Dirty Pair’s Great Escape) – serialized 1991-92; book version 1993
  • Dokusaisha no Isan (Legacy of the Dictator; Dirty Pair Side Story #1) – serialized 1997; book version 1998
  • Daatipea no Daifukkatsu (Dirty Pair’s Great Resurrection) – book version 2004
  • Daatipea no Daiseifuku (Dirty Pair’s Great Conquest) – book version 2006

Dirty Pair Flash

  • Daatipea Flash 1: Tenshi no Yuutsu (Angels’ Melancholy) – 1994
  • Daatipea Flash 2: Tenshi no Hohoemi (Angels’ Smile) – 1997
  • Daatipea Flash 3: Tenshi no Itazura (Angels’ Mischief) – 1999

Though, as noted above, the first novel in the original series is scheduled for release in America later this year, there was an English translation of it published in August 1987. The fifth book was also originally released in an English translation on the Microsoft Network during 1997-99. Good luck with finding either though these days. That said, I located the following, lurking on my bookshelves back from the days when I was a serious anime fan-boy. And, no, I don’t want to talk about it. [Though I will admit that I actually own the dolls pictured atop this article…]

  • The Great Adventures of Dirty Pair, by Haruka Takachiho

    ★★½

    While in English, this came out in Japan, since it was part of a series of translations of popular works, intended as an aid for people learning the language. As a result, the book comes with translation notes at the back explaining, for example, what the phrase “We’re encased in a transparent sheathing of ultrathin reinforced polymer” means. Though I note the word “lesbian” is, apparently, deemed unworthy of further translation. It’s a swift read; discounting the notes, barely 125 pages long, and they’re not large pages either – a lunch-hour might suffice, if your boss gave you a few minutes grace.

    The plot is somewhat Project Eden-like; they head to a planet to investigate what initially seems to be an act of industrial espionage, only to uncover a far more lethal threat. It’s a thin work, yet still manages to divert too much from the plot: I mean, do we really need to know their vital statistics? The result is eminently forgettable, despite a couple of cool moments, such as when the pair’s clairvoyant activities, the main reason for their 3WA recruitment, are demonstrated. “Something blazed in the back of my eye. It was a flash of pure white light. Then a dizzying feeling of walking on air, followed by a tingling ecstacy. Everything went white. An image appeared. It appeared like a picture painted on a immaculate canvas. It went out. In a twinkling, color returned to my consciousness.“

    The ‘Bloody Card’ – perhaps more famous in the US comics than the anime – also makes an appearance, and it’s also interesting to note that the name of the villainous group behind operations is Lucifer, the same as was used in Dirty Pair Flash: Mission 1. But it’s just too disposable and light to be worthy of significant note. Though the civilian death toll as a result of their actions in this novel – as noted previously, largely due to some terribly bad luck; here, involving a crashing space-ship and a major city – comes in at a brisk 1,264,393. Well done!

    Author: Haruka Takachiho, translated by David Lewis
    Publisher: Kodansha English Library

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The anime, phase one

Kei and Yuri’s first appearance on screen was actually an animated cameo in the Crusher Joe movie, in 1983. Reaction to that, and the ongoing series of novels, was positive enough to allow Studio Nue, along with Sunrise Productions, to create a TV series starring the Dirty Pair. Originally slated for a 26-show run, it premiered on July 15th, 1985 and 24 episodes were shown between then and December the same year, with episode titles such as “Chasing the scent of cheesecake and death” and “Don’t be fooled! Love is Russian Roulette”. The remaining two episodes were released as an OAV [Original Animation Videos] entitled From Lovely Angels With Love in January 1987.

I believe that the Japanese TV series of Dirty Pair was the most popular of their incarnations there: in the 1986 Animage annual viewers’ poll, the show was ranked #1. But as yet, it has not been officially translated into English – they have made it into several other languages, including French (where the pair are known as Dan and Dany) and Italian (Kate and Julie). Much of the darker tone of the novels was apparently jettisoned, in favour of lighter elements, and Takachiho was largely not involved in the show.

While the series was still in production, a spin-off OAV, Affair of Nolandia was created, which was released at the end of 1985, to tie in with the last TV episodes, but with a different approach and style. It was not a huge success, and subsequent entries generally went back, adopting a parallel look and feel to the television version, being tongue-in-cheek romps. The Dirty Pair feature film, known in the West as Project Eden, was released theatrically in March 1987, with ten OAVs (including the last two TV episodes) following later that year and on into 1988. The final entry in “Classic Dirty Pair”, a standalone piece called The Flight 005 Conspiracy, came out in early 1990, and things then largely went quiet in the Kei/Yuriverse…in Japan at least…

  • Affair on Nolandia

    ★★★★

    A number of the other reviews of this I read were somewhat sniffy and it’s often largely dismissed by DP fans, which surprised the heck out of me, as I though this was, in the main, highly-enjoyable entertainment. The pair are sent to locate a missing girl, who may be tied to a shuttle-crash where the pilot screamed the ground was shifting just before the accident. By the time they arrive, their client is dead, and the girl has holed up in a remote forest, filled with strange life-forms. They’re not the only ones after her either, and I think it’s giving little away to say that the results of the investigation include destruction on industrial levels.

    In some ways, this is superior to Eden, though the animation is not one of them. The storyline wins out for imagination, despite a frantically expositional scene where the film derails from one plotline to another in about 30 seconds. This is, however, where the action also kicks into overdrive, with Kei having to take on an apparently-unstoppable opponent, while Yuri has to chase after the villain, by any means necessary – using at least five different modes of transport to do so [taxi, bicycle, foot, motorbike and powered roller-skates, if you’re counting!]. The intercutting between these two, separate yet simultaneous, sequences is splendid. Oh, and Yuri wields the Bloody Card,

    It’s in sharp contrast to the middle of the film, where they’re searching for the girl in the forest, where they cram in dream sequences and hallucinations; the pair’s clairvoyant ability also makes a rare appearance in the animated version of the show. The creators also tossed in some gratuitous nudity, which will keep fans of Kei happy, going beyond the usual ‘cheesecake’ elements of the show, not least in one tenticular sequence which appears to have strayed in from an entirely different genre of anime entirely. However, this showcases some impressive imagination, with a trippy quality that blurs the line between reality and hallucination, where unicorns run through the trees, and you can water-ski through outer-space. And then, as we all have come to expect from our heroines, blowing it up. :-)

    Dir: Masaharu Okuwaki
    Star (voice): Kyôko Tongu, Saeko Shimazu, Toshiko Fujita, Masaru Ikeda

    a.k.a. Affair of Nolandia

    Continue reading →
  • Project Eden

    ★★★★

    If you’re going to start with Kei and Yuri, this is as good a spot as any; it may not be the first entry in the series, but requires no prior knowledge at all. Even complete novices will be up to speed by the pre-credit sequence, which sees them – oops! – destroying an entire space-station after they decide to pursue the bad guy, rather than handling the explosive suitcase with which he has tried to distract them. They’re then sent to investigate some strange happenings on a mining planet, which is being plagued by attacks from monsters. They discover that the creatures are the results of failed experiments by Dr. Wattsman, who has plans to force nature’s hand, by making the next evolutionary step beyond mankind. Meanwhile, gentlemen thief Carson D. Carson is there, for his own reasons.

    Pop-culture nods go to everything from James Bond through Star Wars to Aliens, though the female leads helps give familiar scenarios a fresh air. It’s clearly not to be taken in total seriousness, for example, Kei and Yuri pausing mid-mission to take baths (though like everything else in the show, it’s no more than PG-13 rated). The action is frequent, particularly towards the end, with some monumental battles between the girls and Wattsman’s monsters, accompanied, as is the entire film, by a smooth jazz-funk soundtrack [not normally my cup of tea, I’m still whistling Over the Top, days later]. There’s also some surprisingly touching stuff between Carson and Yuri, though he is always firmly in the back seat. Naturally, it’s Kei who has an eye for him, a constant factor through almost every version.

    Technically, it’s as nice as you’d expect from a theatrical feature – it was originally part of a double-bill at cinemas with Bat and Terry, an animated film about baseball players which is all but forgotten now. Project Eden (a title used solely in the West: I’m looking at the Japanese LD, which just says Dirty Pair: The Movie) does look somewhat dated, and to be honest, the plot wouldn’t really stand up to serious inspection [Wattsman apparently runs his massive industial-scientific complex with the help of one guy, his butler, Bruno]. But as a semi-spoof, say along the lines of Our Man Flint, it works very nicely and is solidly entertaining, with slick production values and a good sense of fun. It is also a fine demonstration of one of anime’s strengths, the ability to give full rein to unfettered imagination, and create a world where anything can happen.

    Dir: Kôichi Mashimo
    Star (voice): Kyôko Tongu, Saeko Shimazu, Katsuji Mori, Chikao Ôtsuka

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  • Dirty Pair OAVs

    ★★★★

    dpovaBack before such things were easy, conversion of videotapes from NTSC to PAL were done by recording the picture off your TV screen with a camcorder. Needless to say, this had its downside: any time the screen went dark, you got a reflection of the converter’s video-room, usually with him creeping around quietly. I mention this, because my first encounter with Kei and Yuri was back when an unsubtitled camera copy of The Ultimate Halloween Party strayed across my eyes. I was hooked. And twenty years later, it still plays beautifully, a mini-masterpiece in 24 minutes, that is funnier, contains more action and is just superior entertainment than 95% of shows currently on television.

    The format is relatively simple, but an infinite universe allows almost infinite scope for development. Teenage trouble-consultants Kei and Yuri jet about the cosmos, investigating crimes from drug-dealing connected to an underground fight club (Revenge of the Muscle Lady), young delinquents who hijack a planet (The Prisoner’s Troublesome Revolt) or a civil-war on a planet which some people don’t apparently want to end (Red Eyes are the Signal of Hell). Obviously, given you’re barely talking twenty minutes of story by the time you extract opening and closing credits, so there’s nothing complex, and you can usually spot the villain well before Kei and Yuri do. The animation is also about the level of quality you’d expect from a mid-80’s straight-to-video anime: serviceable enough.

    But what works are the straightforward entertainment aspects. This is action-SF with tinges of humour, and a couple of central characters who swan around the galaxy in what are basically space-bikinis, engaging in gun-battles with their enemies. It clearly isn’t meant to be taken seriously, doesn’t take itself seriously, and is perfectly content to be nothing more than a bit of mindless fun. But there are occasional moments of subtlety, such as Sleeping Beauty, where the Pair find a young girl who witnessed a murder but has been in cryogenic slumber for twenty years. The final scene there has surprising poignancy. That’s the exception rather than the rule, which is unabashed entertainment.

    Dir: Katsuyoshi Yatabe
    Star (voice): Kyôko Tongu, Saeko Shimazu

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  • Flight 005 Conspiracy

    ★★★

    Why let Kei and Yuri blow up one case, when you can save time by giving them two at once? That’s what happens at the start of this, as the WWWA computer assigns them two, apparently unrelated, assignments in the same galactic sector: one is to investigate a spaceship which blew up, and the other involves the disappearance of a scientist and his family. You will not be surprised to hear that these two cases are interconnected, though it does appear to come as a shock to the participants here. Once they reach their destination, it soon becomes clear that someone is out to stop Kei and Yuri – “someone serious,” to steal a line from Leon. Can they uncover the conspiracy before it uncovers them?

    The action in this episode is significantly more restrained than Project Eden, which had a number of spectacular battle set-pieces. Indeed, at times this plays more like a detective story than anything else, and with relatively minor adjustments, could be relocated to the present-day – I tend to feel that is something of a cop-out for science-fiction. That aside, and despite a fair degree of predictability, there are some interesting twists to the story, with unexpected deaths – both fake and real – and a surprisingly poignant ending, that’s a tribute to the characters who didn’t make it to the end.

    On the other hand, there are some gaping flaws in the logic, not least some DNA evidence which appears to have materialized out of thin air (actually, complete vacuum). Yet, overall, it’s a lot more restrained than Project Eden, and that is not really a good thing – it certainly isn’t what we expect from the Lovely Angels. There are plenty of opportunities for mayhem here, sadly ungrasped, and the ironic, tongue-in-cheek humor is also largely lacking, not least in the sombre ending, noted above. As the final animated outing for Kei and Yuri in a decade, it’s a downbeat way for the series to finish.

    Dir: Toshifumi Takizawa
    Star (voice): Kyôko Tongu, Saeko Shimazu

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The US comics

Founded in 1986 out of San Francisco, comic publisher and manga translator Studio Proteus bought the rights to create a new comic version of the Dirty Pair in 1988, the key breakthrough being a direct approach to Takachiho, after the failure of negotiations with Studio Sunrise. There was one requirement, however: the style had to be changed from those already in use. This was agreed to, though there is almost as much evolution from the initial designs through to the most recent version, as between the novels of the Dirty Pair and, say, Dirty Pair Flash. To quote Warren, “The DP comic tends more towards cruel humor and high-tech gadgetry than most DP renditions, and has a somewhat weirder, “wackier” take on the characters and their background.”

And their costumes. It must be said, their clothes get skimpier almost by the page; by the end, it appears improvements in engineering technology and low gravity are equally required, in order to avoid wardrobe malfunctions. For the first 3 series, the stories were written by company founder Toren Smith and Adam Warren, with Warren drawing the artwork. From then on, Warren took over the entire project, with Smith returning to company management, at least until Studio Proteus was bought out by Dark Horse Comics in 2004. Warren also said his main inspiration was the viewing of untranslated anime Dirty Pair, and that’s probably the closest to the US comics, but they have their own, distinctive personalities and histories.

One thing to note about the US incarnation is, the ferocious number of nods or references to other areas of pop culture, from badly-dubbed kung-fu flicks to songs: at one point, Kei and Yuri burst into a rendition of Faith No More’s Epic. In addition, the later stories see the pair becoming implanted with all manner of technological accessories, becoming as much cyberaction heroines as human. This is ironic, given that Earth has, by this point, been destroyed by nanotechnology run amok. But since humanity has, as standard in the DP-verse, colonized much of the galaxy, what’s one planet more or less? And that’s an admirably Kei and Yuri-esque approach to the issue!

  • Biohazards – 4 issues, December 1988-April 1989 (trade paperback 1989; 1998, reissue)
  • Dangerous Acquaintances – 5 issues, June 1989-March 1990 (TPB, 1991; 1997, reissue)
  • A Plague of Angels – 5 issues, August 1990-November 1991 (TPB, 1994)
  • Sim Hell – 4 issues, May-August 1993; colorized reissue, May – August 2001 (TPB, 1994; 1996, 2nd edition; 2002, colorized reissue)
  • Fatal but not Serious – 5 issues, July-November 1995 (TPB, 1996)
  • Start the Violence – one-shot, May-July 1998 (TPB, 1999)
  • Run from the Future – 4 issues, January-April 2000 (TPB, 2002)
  • Biohazards

    ★★★

    If you thought the novel was a quick read, I got through Biohazards during lunch, and that’s only with 30 minutes. Still, being a comic-book, we must cut it some slack, though I can’t say I find action (and there’s a lot of it here) is something that works very well in panel form, lacking the true sense of motion you get in cinema. That said, I still didn’t hate this first entry in the trans-Pacific entry, in which Kei and Yuri are sent to investigate the kidnapping of an industrialist’s mind by his rival [literally: it’s on a chip]. Adding a little spice, both companies are knee-deep in dubious bioweapons, so who is the real villain here?

    It’s another different style, in some ways perhaps more Japanese than classic DP, though still with something alien to it, as if the artist had learned from one of those “Draw Manga” books. Which is less a knock on Warren than it probably sounds, being more an acknowledgement of how influential the Dirty Pair comics are [there was a time when manga was not to be found in Borders, y’know]. The in-jokes are actually more restrained than I remembered – and expected, after the very first page has a security guard singing the theme to Magnum of Love’s Destiny, a movie from the City Hunter series. But that was about it, unless “Power up the synthesizer, Neil” is a Rush reference? Hard to be sure…

    There are some interesting nods to the original novels, such as Mughi’s ability to manipulate the electromagnetic spectrum, and Yuri’s Bloody Card weapon is almost exactly as described in Great Adventures. That may be the weakness here, in that Warren and Smith seem less intent on bringing anything new to the characters, than being faithful to the original texts. As the series progresses, however, that would become less of an issue, but while the first, this is certainly not the best, or most representative, of the US comics.

    Story: Toren Smith and Adam Warren
    Art: Adam Warren

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  • Dangerous Acquaintances

    ★★★★

    It’s been at least a decade since I read this – probably more – but it is still a thoroughly-enjoyable read, and a major improvement in just about every way (plotting, art, pacing, imagination and characterization) over the first stab. Of particular note is the solid way in which the two separate threads of the story are woven together. While on holiday, Kei and Yuri bump into Shasti, a former colleague of theirs in the WWWA. She was actually an android, who went rogue after a criminal’s personality was implanted into her, part of a (failed) experiment to see if it would help with his capture to have her think like him. She’s now apparently leading a group of “freedom fighters” who are planning to hijack a luxurious space-liner, crammed with VIPs and new technology. Has Shasti gone all political? Or, if not, what is she up to?

    She’s certainly a formidable opponent, even when outnumbered 2-to-1: she’s stronger, faster and more resilient than both Kei and Yuri, thanks to her cybernetic upgrades. However, it’s her attitude which really rubs our heroines the wrong way from the beginning, her multiple artificial personalities making her capable of kicking your ass brutally one second, then apologizing humbly for doing so, the very next. And that’s before she gets the “upgrade” to the character of an amoral, psychopathic career criminal. The body-count thereafter is large, and messy to the point that it’s a good thing this is a black-and-white comic. However, this lends a real sense of threat to proceedings, giving a sense that Kei and Yuri are themselves in danger – rather than just the local civilian population, as is usually the case.

    There’s not as much reliance on the original comics – no Mughia, Lovely Angel ship or Bloody Card – with the Toren and Smith developing their own world instead. I’d really love to see this turned into a movie, and with the advent of CGI, it would no longer be prohibitively-expensive as it was when the story originally came out. It has some lovely twists, plenty of action and a great antagonist for our heroines to take on. An adaptation worthy of the name.

    Story: Toren Smith and Adam Warren
    Art: Adam Warren

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The anime, phase two

In the mid-1990’s, word began to circulate about a “re-imagining” of the Dirty Pair. This made sense, as the whole world of SF had changed since Takachiho had come up with the idea in the late 1970’s. The future was now a different place, with the likes of Blade Runner and Mad Max having a greater influence than the clean, sleek world shown in films like 2001. The results are darker in tone, though the central characters are, obviously, the same, and the level of mayhem which results from their exploits is equally high. Though watching all the incarnations of the Dirty Pair, the thought strikes me that the depiction, even indirectly, of a huge number of civilian casualties, just isn’t as amusing as it used to be before 9/11…

The series is, effectively, a series reset in much the same way that Casino Royale recently was for the Bond franchise, with no acknowledgement of what has gone before. [Kyoko Miyagi, Kei’s voice actress, had retired and moved to North America, while her partner, Saeko Shimazu, refused to work with anyone else] We begin around the same time – a handful of years later – with Kei and Yuri having just been assigned each other as partners, by the 3WA computer. This decision seems at first incomprehensible, but by the end of the first series, it’s clear there’s method to its digital madness. The style of our heroines has radically changed; amongst a host of changes, Kei has now blonde spikes on the front of her traditional red-hair, while Yuri appears to have strayed in from an episode of Sailor Moon, which was immensely popular at the time.

Personality-wise, less is altered. Yuri is still the more cautious one, while Kei is inclined to act first, and ask questions…well, never. One aspect that kinda gets lost is the style of Japanese she uses, which is best described (albeit not by me, whose experience of the language is limited to one semester of evening classes!) as rough and masculine. They’re a little younger than in the original anime: both are only seventeen years old at the start of the series, but have already been in the 3WA for several years; it appears that child-labour laws are a great deal more relaxed in the future! The style does alter once again after the first set of episodes; it’s relatively minor, but Yuri in particular now looks less like a kid. I must confess, at first, I hated the changes, but the Phase I version now looks like the child of the 80’s it was. Now, I’d grudgingly admit that the remodel doesn’t entirely suck, though Kei’s hair still looks like a disaster at the stylist.

  • Dirty Pair Flash, Mission 1: Angels in Trouble

    ★★★½

    The surprising thing about this, is that the six episodes, basically, form a single plot, a radically different approach to the first phase anime, where the individual OAVs stood on their own, with little or no ongoing story arc. Here, the parts mesh, starting with the pair, off-duty, coming into possession of an encrypted card, which they must get back to 3WA headquarters, in the face of significant opposition. From this develops the uncovering of a galaxy-wide conspiracy involving the malevolent Lucifer group, which must be foiled, since they have control of galactic communications. However, a significant subplot involves Lady Flair, a sniper who humiliates Kei in the second episode, provoking her into a fury which leads, later on, to our redheaded spitfire quitting the 3WA in order to pursue Flair on her own terms.

    There’s some interesting background provided, in that Kei and Yuri are not the first to bear the “Lovely Angels” name for their employers. It seems to be more like the “Double 0” prefix, though perhaps limited to one pairing at any given time. Anyway, it seems the reign of the previous incumbents, Molly and Iris, ended when the former was killed on the job, and Iris quit, to vanish from the scene. Savvy readers may be already making a connection to the previous paragraph, but you’ll find no spoilers here. No. Not at all. I can neither confirm nor deny any such thoughts.

    I can’t help feeling this wasn’t as good as it could have been, given the components, which have potential. Maybe’s it’s the relationship between the heroines which is the problem; efforts to show them changing, from initially dislike into devoted partners, never convince on any significant level. All the rest of the elements are certainly present, from the major urban renewal scheme initiated by the demolition company of Kei+Yuri, Inc. in the first episode, through lightly-cheesecakey costumes to wholesale mayhem at an airport where everyone is packing heat, and there are enough good moments and fun to keep me amused. But the pair (Kei especially) are less heroic, savvy women, than two peeved, heavily-armed, teenage, girls. As we already have someone in the house who fits 3/4 of that bill – thankfully, not “heavily-armed”! – the appeal of this series is naturally diminished.

    Dir: Takahito Kimura
    Star (voice): Rika Matsumoto, Mariko Koda, Hazime Koseki, Yumi Touma

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  • Dirty Pair Flash, Mission 2: Angels at World’s End

    ★½

    Where are Kei and Yuri, and what have you done with them? That might be the anguished cry of the Dirty Pair fan after watching these five episodes, most of which eschew any efforts at high-octane action, in favour of generally unamusing comedy and tedium. All five parts are set on World’s World, a theme-planet that recreates 20th-century life for tourists. Our heroines are sent there because the computer is virus-infected, to bodyguard the network engineer Touma (Ono) who is going to fix it. Their presence becomes necessary, as it’s soon clear someone is out to stop Touma from doing his job. That only occupies the bookend episodes: the middle three are, while still set on the same planet, largely unconnected. In them, Kei and Yuri must look into ghostly goings-on at a girls’ school, help Touma with his love-life and bring a con-artist to justice.

    Wow, this is bland and forgettable. Two of the episodes are closer to shaggy-dog stories, with twists in the tail that might as well open with flashing neon signs indicating their presence. This is not the Dirty Pair I signed up for. I signed up for the ones with the large weaponry, capable of taking out entire cities with a shrug of denial and an oversized weapon. Not these…bimbos, more interested in the romantic dalliances of a feeble supporting character than in a bit of the old ultraviolence. Really, the direction taken in this slate is a good example of why I started to lose interest in anime after the mid-90’s: a dumbing-down and kiddification of the medium, that largely removed everything that attracted me to it to begin with. I blame Pokemon.

    The setting has a lot of scope: the creators could potentially have thrown Kei and Yuri into any era and any location [can you imagine them in, say, the Wild West or feudal Japan?]. Appreciating that, dumping them into modern era Tokyo demonstrates a dearth of imagination that borders on the sad. There are occasional flashes of what you would expect from the series, such as the final episode, which becomes a moderately-rousing chase after the perpetrator behind both the computer virus and the attacks on Touma. That just simply throws the failings inherent in the rest of the episodes into even sharper relief. I never previously thought that the Dirty Pair could ever be boring; I guess I have this set of OAVs to thank for convincing me otherwise, as I spent far too much of them wondering how much longer there was to go.

    Dir: Takahito Kimura
    Star (voice): Rika Matsumoto, Mariko Koda, Kenichi Ono, Akio Ootsuka

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  • Dirty Pair Flash, Mission 3: Random Angels

    ★★★

    The final – to date – installment of Dirty Pair adventures on the screen, is a bit of a mixed bag. Of the five episodes here, two are pretty good, one mediocre, and two are more than a tad creepy, thanks to the level of, from what I recall of my days in anime, used to be called ‘fan service’. There is an entire episode centered around beach volleyball, which is nothing more than a flimsy excuse to see Kei and Yuri in a variety of miniscule costumes, bordering on the fetishistic. Now, I just don’t find cartoons sexy – no, not even Jessica Rabbit – and given both of them are technically under-age, it all gets a tad sleazy. Things get worse in the fourth episode, when an even younger boy, rich and clever, but very weird, builds a mechanical replica of Yuri and falls in love with it.

    That’s the bad news. The good news is, when they keep on track, the show has the right mix of goofy humour and collateral damage that we love. Witness the second installment, where our pair find themselves being hunted by Monica De Noir: someone younger, deadlier and with an even more saccharine approach to life, whose weapons include things like a giant killer teddy-bear. That’s got some nice jabs at the Sailor Moon school of anime, though since Flash takes some aspects of that show on-board, it does count as biting the hand somewhat. Also enjoyable was the final episode, where Berringer, a villain in a military hard-suit who was jailed thanks to Chief Poporo, lays siege to WWWA headquarters, with vengeance atop his list of priorities. It’s kinda Die Hard crossed with The Terminator, and I was sorry to see that one finish. Completing the set is an episode where Kei has to nurse a baby through a hostile landscape; emphasis on a) ‘nurse’ and b) ‘hostile’, which is also kinda odd to Western eyes. Having always preferred Yuri to Kei, this was never going to be one of my favorites.

    All told though, it is a significant improvement on the dire previous series, returning the focus to what made the Dirty Pair entertaining, in a cheerfully destructive way. It certainly feels something of a mis-step to separate Kei and Yuri, as in a couple of the pieces: the interaction and character contrast between them is part of the show’s appeal. However, when they’re together and working in synch, they still represent one of the best double-acts in anime history, and I hope there will perhaps be more Dirty Pair available down the road.

    Dir: Takahito Kimura
    Star (voice): Rika Matsumoto, Mariko Koda, Shigezou Sasaoka, Mika Kanai

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[Invaluable help with the background and history in this piece, came from Tea Time in Elenore City, a sporadically-updated but excellent resource for Dirty Pair info]