Tag: teenage

A Resistance

  By

★★★
“Not your usual women-in-prison film…”

This takes place in 1919-20, when Korea was under occupation by the Japanese [there seems to be quite a lot of this about; I’ve seen a bunch of Chinese movies set when that country was occupied by Japan as well]. Even demonstrating against the Japanese, or in favour of Korean independence, was sternly forbidden, with those taking part likely to be arrested and thrown in prison for months. If they were lucky, that is: an opening caption tells us 7,500 were killed in the protests or died in jail subsequently. Even for those merely arrested, this was not a “nice” prison, to put it mildly, with horrendously over-crowded conditions (24 to a cell!), freezing temperatures and meagre rations.

Once such prisoner was Yu Gwan Sun (Go), 16 years old at the time of her imprisonment: her sentence was three years, due to contempt of court being added on to the normal charge. However, she would not be cowed by the punishment, and refused to bow to the will of her captors – for example, refusing to speak to them in Japanese, even though she could. Such disrespect, and her “defiant face”, inevitably brought Yu into conflict with the authorities, including the warden, and Korean collaborator Jung Chun-young, who acts as a translator. They try to break her will, but her refusal to accept even her status as a prisoner, never mind their authority, remains defiant.

The historical Yu does seem to have been an unrepentant, patriotic bad-ass, sometimes referred to as Korea’s Joan of Arc, and with at least half a dozen films based on her life story. While in prison, she wrote: “Even if my fingernails are torn out, my nose and ears are ripped apart, and my legs and arms are crushed, this physical pain does not compare to the pain of losing my nation… My only remorse is not being able to do more than dedicating my life to my country.” Joe films almost the whole movie in stark black-and-white, save for occasional coloured flashbacks, and music is also used sparingly. This certainly gives a realism to proceedings, though I did feel the portrayal here was a bit too good to be true – putting the “Saint” in “Saint Joan”, if you wish.

It may also be a little restrained, with the tortures inflicted on her coming across as little more than an inconvenience. Perhaps the little things here are most effective, such as the prisoners sharing body warmth, to try and protect a new-born baby. It builds to Yu’s carefully crafted act of defiance, leading a cheer for Korean independence which flows through the prison and to the outside world, triggering further anti-Japanese protests. Even after her fellow inmates are released, she is kept in jail: the final lines of dialogue are an exchange that sums up her obstinate refusal to give up. Asked “Why must you do this?,” Yu almost shrugs: “Then who will?” [She died at age 17, still in jail, a few days before her scheduled release date.] This shines a light onto an area of history I knew nothing about, though I’m hard pushed to say it illuminated much more than the heroine.

Dir: Joe Min-ho
Star: Go Ah-sung, Ryu Kyung-soo, Kim Sae-byuk, Kim Ye-eun

Crimson, by Arthur Slade

  By

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

The world of Illium has enjoyed a millennium of peace under its powerful queen Servilia. Though “enjoyed” might be the wrong word, since it has come at the cost of freedom, and harsh justice. A victim of the latter is 15-year old Fen, who four years previously, had her hand lopped off for stealing a trinket from a merchant’s stall. Worse follows, as she wakes up to find her hair has turned red, the sign of a “wildmage” – someone who has magical powers, an ability Servilia seeks to extinguish before it can pose a threat to her rule.

Fen is forced to leave her family, and seek sanctuary in the forest of Helwood which provides the only area outside the queen’s control. She meets another wildmage, Ithak, with the talent of invisibility, who brings her to the legendary Mansren, who lives in the centre of Helwood. History had told her he was evil incarnate, overthrown by the queen after a violent war, a thousand years earlier. But how accurate is that version? For he offers to help Fen free her sister from Servilia’s dungeon, if she helps him become whole again. But is the reward worth the cost – both personally to Fen, and for Illium?

This is a well-written page-turner, which I found myself looking forward to reading each night. It poses some interesting more dilemmas, without ever getting bogged down in them, such as the limits of personal responsibility, the veracity of the past (as Ithak says, “Those who win wars write the histories”) and the balancing of evils against each other. Fen is initially prepared to do anything to rescue her sibling; however, she gradually realizes that by doing so, she may have unleashed a more destructive force on the entire world. For Mansren’s mind has been imprisoned by Servilia in the middle of a lava lake for centuries, which hasn’t exactly improved his state of sanity, charming and eloquent as he may be.

I will say that the means by which the dilemma is resolved is perhaps a little bit of a stretch. Perhaps a greater emphasis on the powers locked within Helwood, and how Fen taps into them, might have been better. The setting also appears to be Chinese, though I’m not sure why; I was quite surprised when this suddenly cropped up. I certainly wouldn’t have guessed this from the cover, and it’s little more than window-dressing. However, the story does a lot of things right, bringing us along with Fen on her heroic arc, as she grows into her powers and learns that everything she has been told may not necessarily be the truth. Though she’s “just” a teenager, there are few of the obvious trappings of YA fiction, and it’s the better for it.

It is a little restrained on the action front, with Fen largely refusing to use her abilities against others, and in the final act, being more an observer up until the very end. However, these moral restraints help her character from becoming over-powering, and on several occasions, there’s a genuine sense of threat. With this being a stand-alone book, it is entirely possible it could end in her being forced to make a heroic sacrifice, and Slade handles that aspect particularly well. I was actually quite sad there are no further volumes, but it’s also nice to have a story which is entirely wrapped up in a fully satisfactory way. I’ll have to make do with perhaps checking out some of Slade’s other works.

Author: Arthur Slade
Publisher: Dava Enterprises, available through Amazon, both as a paperback and an e-book

Justice High

  By

★★★
“Be cruel to your school.”

This is as much about the philosophical underpinnings of karate, and how it can be used for personal growth. The instigator in this case is Chae-yeong (Jung), a teenage girl who has just transferred to a new school after issues at her previous educational establishment. Her long-suffering father, a karate master has barely registered her there, when trouble finds Chae-yeong. She uses her skills to rescue a student, Jong-goo (Oh), who is refusing to help some bullies cheat in an upcoming exam. This turns out to get her an unwanted high profile, as the school is basically a gangsters’ paradise.

Protection rackets and other schemes are being run under the control of student president Jin-hyeok (Kim), who is eyeing a postgraduate career in the local mob, and needs to fund the necessary initiation fee. But his pal, Hae-seong (Son) has had enough of the bully lifestyle and is seeking a new direction for his life. He and Jong-goo convince Chae-yeong to let them sign on at her father’s dojo. There, they learn both the physical and mental skills that are part of karate, the latter embodied in pithy aphorisms such as “Justice without power is hollow. But power without justice is merely violence.” Hae-seong’s quest for independence, Jong-goo’s growing ability to fight back, and Chae-yeong’s refusal to bow down, put them all on an increasingly direct collision course with Jin-hyeok and his minions. 

If stretched a little beyond the material at 112 mins, I was generally kept occupied. There’s less action than I would have wanted, but what there is, isn’t bad. Chae-yeong has a particularly terse and efficient approach, which fits her character’s lone-wolf attitude. The narrative is largely driven by the friendship between the three young leads. There were points I felt things were about to topple over into a romantic love triangle; fortunately, it largely avoided this. Instead, about the peak level of emotion is reached in a rather touching scene where Hae-seong explains how he ended up as the second in command to a gangster schoolmate. That criminal angle is a bit startling. I’ve seen many films and shows set in Japanese schools where education appears… a lower priority, shall we say, e.g. Sukeban Deka. This is the first Korean entry with such rampant lawlessness in a contemporary setting, and where adult guardians are notable by their absence, save for Chae-yeong’s father. 

A tighter hand on the script would have been helpful, with a few threads that could have used more detail. There’s also an odd subplot where Chae-yeong’s Dad has stomach troubles. We never get any payoff for this, though I was kinda glad, dreading what the punchline could have ended up being. To be honest, I did have some difficulty telling certain male characters apart, largely due to them sporting Korean Haircut #3. However, the main story is an acceptably entertaining work, helped by decent performances from the trio of leads.

Dir: Johnny Chae
Star: Jung Da-Eun, Oh Seung-Hoon, Son Woo-Hyun, Kim Tae-yoon

Resilience and the Lost Gems

  By

★★
“Lost and found”

I certainly admire the aim here; there’s aren’t enough action-heroine films which are aimed at a family audience, especially with a young protagonist. We’ve had The Golden Compass, Enola Holmes and Abigail, but they are pretty rare. This is a considerably lower-budget entry than those, though make no mistake, it still certainly qualifies here. Its 11-year-old heroine, Resilience O’Neil (Finn) – known for obvious reasons as Rizzie – has no apparent fear, whizzing around the Utah desert on her mini-bike, until a flash flood separates her from her parents and younger brother. She then has to survive on her own, fending off wolves, haboobs and a pair of predatory creeps, while making her way back to civilization to get help for her family.

What’s weird is, the titular gems are all but irrelevant. In the opening twenty minutes, there’s a lot of talk about them, and their loss 150 or so years ago. But apres le deluge, they are almost entirely forgotten, and what we have instead is a straightforward wilderness survival story. To be honest, this is a considerable improvement over the thoroughly unconvincing historical re-enactments in the beginning, complete with sepia tinting and fake film scratches. The flood is staged surprisingly well, to the point I was convinced everyone concerned was sure to be dead. Finn seems to do a lot of her own stunts too, and not just on the bike. There’s a sequence of her clambering down a rockface which had me looking up the number for Child Protective Services. Decent dronework and the pleasant Utah scenery also stopped me from turning this off entirely.

For much, much worse are both the script and the performances. There’s hardly a line here which doesn’t seem forced and/or unnatural, and as noted above, the lost treasure thread is set up at painful length, before being abandoned for an hour. Then there’s the stuffed chicken carried around by one of the villains, who in addition are so incompetent as to pose no credible threat at all. I will give Kiara a pass; it’s her debut, and few actresses her age would be able adequately to put over the emotions necessary here, after the apparent loss of her family. [Natalie Portman in Leon remains the gold standard]

However, none of the adults are any better, either engaging in wild over-acting or resorting to a dull monotone when delivering their dialogue. It doesn’t help that there are issues with some of the audio, which varies wildly in quality, and is occasionally indecipherable. As a result, you’ll find yourself gritting your teeth just about every time anyone opens their mouth. This is probably the first time I’ve felt that a movie would have been better off, filmed as a throwback to the silent era – just pit Rizzie against the natural world, without chit-chat. I admit it would have been considerably more challenging as a project. Yet even if unsuccessful, I think I’d have preferred that approach.

Dir: Brian Finn
Star: Kiara Finn, Don Shanks, Adam Johnson, Gisi Hong
a.k.a. Resilience and the Last Spike

Shadow Corps, by Justin Sloan

  By

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

After a brisk start, this fades into mediocrity, half space opera (that would include the “space dragon”) and half LitRPG. The latter was particularly unexpected, and poorly integrated into the rest of the story. I mean, you’re supposed to be fighting with the fate of the galaxy at stake. Why do you need to level up in order to get abilities? It’s like recruiting the best fighters from across the universe, then sending them into battle unarmed, because they don’t have the necessary experience points yet. No. You should give them all the best tools, right from the get-go, simply because it will help them survive. It just doesn’t make sense.

Anyway, this begins in better shape, with an alien invasion of Earth already well under way, and it largely under the heel of The Syndicate. The LRR – Last Remaining Resistance – are trying to fight back, and among their members is Samantha, a sixteen-year-old girl who can barely remember a time when she wasn’t fighting from her life. However, she is snatched off Earth by Hadrian, to become part of an elite team, comprised of multiple different intergalactic races. For The Syndicate are basically small fry compared to the true Big Bad, who have already destroyed many worlds and races, including Hadrian’s. Earth is among the planets now coming up on their “to do” list.

It kinda reads like a more serious version of Guardians of the Galaxy, with Samantha in the Star-Lord role. She ends up becoming appointed leader of the group, despite her lack of age and experience, and has to meld the disparate personalities into a cohesive whole. Though, to be honest, she doesn’t really do much “leading.” and everyone more or less just does their thing. Indeed, I’d be hard pushed to point out much in the way of Samantha’s development as a character over the course of the book. Well, apart from the obvious levelling-up that occupies a chunk in the middle. If my teenage self had been vacuumed up off Earth and dropped in the middle of an interstellar conflict, I suspect it would likely have changed me, just a bit.

I can’t argue about the action here, and Sloan does have a better handle on this than the characters. Despite my slightly mocking tone above, the space dragon actually sounds pretty bad-ass, though you only get to read about it in full effect, at the end. It perhaps should have been more like the Death Star: destroy a planet or two, to establish its credentials. Despite the copious amount of firefights and hand-to-hand battles, I never felt particularly concerned about the safety of Samantha, or any of the team. Maybe one or two minor characters could have been killed off to give a sense of danger which seemed oddly lacking, given the copious amounts of collateral damage? But the lack of emotional investment would still likely have capped any connection.

Author: Justin Sloan
Publisher: Elder Tree Press, available through Amazon, both as a paperback and an e-book
1 of 4 in the Shadow Corps series.

Wilderness Survival for Girls

  By

★★★
“Just because we’re girls, why do we have to be afraid all the time?”

Three teenage girls, Ruth (Brox), Deborah (Henning) and Kate (Humiston) head off to the remote mountain cabin owned by Kate’s parents for a weekend away. Initially, it’s an overdose of teenage drama bullshit in various flavours, as they drink, smoke weed, talk about sex and so on. But their soap-opera idyll is interrupted by the unexpected return of Ed (Morrison), who has been squatting in the cabin. The girls capture him, using the gun he left behind, with the intent of taking him down the mountain to the police the next day. But as the night goes on, the tensions between the three young women begin to fracture their friendship. There’s also the question of Ed: is he the innocent drifter he claims to be, or is there a connection to a long-buried trauma in Kate’s history?

If you’re hoping for definitive answers to at least some of the questions asked by the film, you’re going to come away disappointed. Ed is almost a MacGuffin in human form. He exists largely to propel the rest of the film forward, and act as a force which will cause the girls to reveal their true nature over the course of events. They are three very distinct personalities, to the point that I wondered if (and not for the first time) they were intended to represent the three aspects of the psyche: id, ego and super-ego. While my recent knowledge of teenage girls is strictly limited to parental experience – and thus not that recent – if there’s one thing I know, it’s that they tend to congregate with those like them. The disparate trio we get here wouldn’t last 10 minutes in high school before tearing themselves apart. Though I guess that is what happens for a good chunk of proceedings here.

You should probably be forgiven for having strong reactions to them: my instant dislike of Kate, turns out to be not unjustified, considering the ease with which she embraces her inner psychopath. Deborah, meanwhile, is a little too one-dimensional and obvious for my tastes, so it’s left to Ruth to do a lot of the dramatic heavy lifting. Brox does well enough in that task to keep the movie interesting; at least, once it gets past a rocky opening 20 minutes, and the thriller aspects come into play, more than the “teen angst” ones. I will confess to being somewhat disappointed by the ending, which seems contrived in such a way as to achieve closure, without any of the participants having to take personal responsibility for their actions. There are also any number of poor choices made by the trio, in order to reach that point. Though, against speaking from my parental experience, that’s probably about par for the teenage girl course. There was just about enough here to sustain its brisk 78 minute running-time, and going much longer would likely have been a mistake.

Dir: Eli B. Despres, Kim Roberts
Star: Jeanette Brox, Megan Henning, Ali Humiston, James Morrison

Abigail (2019)

  By

★★½
“In Soviet Russia, sorcerers stone you…”

There’s a battle in the middle of this, where the rebels and the authorities engage in a street-fight, and its absolutely beautiful to watch. Their weapons leave black smoke-trails criss-crossing, and the camera swoops and dives through the mayhem in truly lyrical fashion. Sadly, it’s over too soon, and when the characters open their mouths, it’s all ruined, thanks to clichéd lines like, “We can only win if we believe in what we’re fighting for.”

This Russian movie’s setting is dark steampunk, a walled city living in perpetual fear of an lethal, incurable disease. Inspectors monitor the population and at the first symptoms, the infected are spirited away and humanely euthanized. Ten years ago, the father of Abigail Foster (Dalakishvili) was one such victim. But she stumbles across evidence he may still be alive, which brings her into contact with the resistance and, eventually, the truth about the disease. She wants to find out what happened to her father. However, they, under leader and romantic interest Bale (Bochkov) are only interested in pushing forward with their previously scheduled rebellion.

The story is particularly poor, feeling like a hodgepodge of elements from a slew of YA fiction, most obviously Mortal Engines and Harry Potter. It feels very rushed, too, with Abigail going from outsider to at the core of the rebellion in about five minutes. I suspect a TV series might have been a better way to go, giving the ideas here – of which, admittedly, there are no shortage – room to breathe and be explored. Though, in general, the whole “chosen one” trope, in which the central character discovers their hidden gift, and it then blossoms to world-changing effect, is little more than a cinematic dead horse these days.

Not helping matters is the puzzling decision by the makers apparently to shoot in English, yet still post-sync most of the dialogue. This gives all the problems of a dubbed film, with no apparent benefit. It’s no surprise that the only non-synced actor, Eddie Marsan as Abigail’s father, easily comes off best among the performances. Yet even he pales beside the quite wonderful visuals, running from the first frame to the last. These are certainly comparable with the best Hollywood can produce, both in imagination and execution. Throw this on in the background when you’ve something else to do, and it’s near-perfect.

Dalakishvili is…okay as the heroine. She initially seems very resourceful and courageous, yet these traits seem to get submerged after she joins up with the resistance, with Bale doing more of the actual battling than I wanted to see. We do get resolution as to the question of her father, and I have to say, it was probably the film’s most effective moment emotionally, with some genuine poignancy. Coming as it does, with about five minutes left, it was the very definition of too little, too late, and this can only be filed in the box marked “Meaningless eye-candy.”

Dir: Aleksandr Boguslavsky
Star: Tinatin Dalakishvili, Gleb Bochkov, Rinal Mukhametov, Artyom Tkachenko,

Lethal Dispatch, by Max Tomlinson

  By

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

“There are no heroes”, I said. “Just varying levels of evil.”

Having previously read and thoroughly enjoyed, the same author’s Sendero, picking up this entry, in the same setting and with an overlap of some characters, was a no-brainer. And I’m pleased to report, it was an equally enjoyable read, once again opening a window to a time and place in history, of which I was largely unaware. The heroine this time is Inez, a supporting character from Sendero. She’s a teenage revolutionary, who joined Peru’s Shining Path rebel group, after her father was killed by government soldiers. As we join her here, the now 16-year-old Inez has had enough and wants out. She’s told she can leave, if she completes one final mission: deliver a package to a contact in Argentina’s capital, Buenos Aires.

As ever, that “one final mission” does not go as planned. Her contact ends up dead, and she’s left with no resources, on the streets. A new friend tips her off to a job as a children’s nanny – though it’s in the family of one of Argentina’s generals, who represents virtually everything Shining Path detests, and who helped carry out mass disappearances when the military junta was in control. When her charge, Joey, is kidnapped, Inez becomes embroiled in the case, both as a suspect and as she seeks to find the perpetrators. Winning the general’s trust, she becomes a key player as the situation unfolds. But is Inez truly a player, or is she being played?

The quote at the top is an accurate summary of the book’s position. Whether neo-communist terrorist or crypto-fascist military, Tomlinson does a great job of depicting everyone as, above all, human. You may not agree with their actions, yet you can see why they took them – even those who kidnapped Joey. The one element I did find a bit hard to believe is the way a young nanny was allowed, at some points, to dictate the path of the investigation. Admittedly, her intelligence and her instincts were often dead-on, more so than the professionals. That’s credible enough, because her terrorist background meant she knows how they think. It’s just that in 80’s South America, where this is set, I doubt the opinions of teenage girls were highly respected.

Otherwise, however, this was another very solid work. It has a well-laid out plot which twisted until the very last page, where you finally find out what Inez’s package contained. Though she is not exactly Atomic Blonde, our heroine has her occasional moments. These are perhaps summed up best in this line, as she heads out to face Joey’s kidnappers: “With twenty minutes to go, I headed out into a beautiful late-summer evening in Buenos Aires, with twenty-five thousand dollars in a plastic shopping bag and a small pistol down my bra.” The matter-of-fact way in which Inez describes this, tells you all you need to know about her ability to handle any situation. If you like a heroine who remains cool under pressure, this is the perfect read.

Author: Max Tomlinson
Publisher: Sendero Press, available through Amazon, both as a paperback and an e-book
A stand-alone book in the Sendero universe.

Run Hide Fight

  By

★★★
“School’s out… forever“

My rule of thumb here is, I generally don’t get into politics, beyond what a film itself does. By which I mean, if a movie consciously injects a political theme or agenda, then that’s fair game. But otherwise, I try to review a movie as a movie, rather than seeing it through the lens of any political belief. However, in this case, I can’t ignore the elephant in the room, with Run Hide Fight having acquired an explicitly political subtext, over and about its content, through distribution by right-wing website, The Daily Wire. Yet, just as The Hunt was not calling for the murder of Trump supporters some suggested, neither is this the relentless pro-gun propaganda, you’d think from a few of the more vitriolic reviews. Once again, reality is more moderate than online opinions would have you believe. Who knew?

Director Rankin said (in an interview that’s thoughtful, and definitely worth the read), he wanted the film “to be so that two friends on opposite sides of the political spectrum could go watch this and both feel like it honored them, and they could go out for coffee or a beer, and talk about it.” I’d say he managed to do so, though I’m not certain such equivocation is the best approach, especially when it comes to such a controversial topis as school shootings. I might have had more respect if the film had taken a stance and gone for it. Though that would have taken more bravery – or stupidity! – given some of the reactions to what is a mild, even-handed take. It doesn’t really get more controversial than daring to suggest that sometimes, to stop a bad guy with a gun you need a good guy teenage girl with a gun.

From a moral point of view, my sole qualm was probably that too much time was spent on the chief perpetrator. It plays down the same line as previous entries in the school shooter genre – spending too much time on the killers rather than their victims, which almost regardless of execution, exacerbates the problem. This is something the script does address towards the end, when the heroine says to the ring-leader, “Isn’t it ironic, that after all your goddamn hard work, people aren’t gonna remember you? They are gonna remember me.” This might ring truer, if I wasn’t fairly sure he gets more lines than she does. I don’t care about your motivation. You’re insane. Now, move on.

Otherwise, it is basically Die Hard in a school, and as such, is no more worthy of complaint than any of the many other Die Hard knock-offs we’ve seen. Certainly, saying that educational facilities should be sacrosanct, inviolate and not used as the location for this kind of thing makes no logical sense. To quote Rankin, “There’s an easy answer to, ‘How could you?’ which is also, ‘How could you not?’ This is a major problem in America, so why not make a movie about it?” I would argue it’s in reality perceived as a major problem, largely due to the media hysteria around it. For in 2019, a grand total of just eight people were killed across the whole country on school grounds or during school-sponsored events. [Or, as Chicago calls it, “a quiet weekend.”] For context: lawnmowers kill more than ten times that number annually.

Anyway, let’s move on and discuss the movie, as a movie – because that’s what matters.

It’s almost the last day of the year, Jennifer Hull (May) is in her school cafeteria bathroom, when Tristan Voy (Brown) and his cohort of Columbine Mafia wannabes crash a van in through the window and take the students hostage. The authorities are slow to react, in part due to diversionary tactics, in part due to bureaucracy and in part… because it’s necessary to the plot, allowing Jennifer to scurry into the air-ducts and discover what being a TV dinner feels like. Having escaped the initial onslaught, her first instinct is to flee the scene, but fortunately for the movie, she decides to go back into the building, alert others to the reality of the situation and, eventually, face down the perpetrators.

You can largely pencil in the obvious plot points as they unfold, and the script offers very little in the way of surprises. Probably the biggest is that, as a Die Hard copy, it’s very restrained, with Jennifer responsible for the demise of only two (2) of the attackers. To put it into oughties video-game terms, it’s considerably more Metal Gear Solid than Goldeneye, with stealth being the order of the day, rather than rushing in with all guns blazing. It helps her that the attackers are streaming their act live on the Internet, which allows her to keep an eye on where they are. There are also some nice  moments where she make use of the school environment to assist her; I’d like to have seen more of that.

What the film does best is likely the set-up of Jennifer’s character. We first see her deer-hunting with her father (Jane), demonstrating a familiarity with and respect for firearms. It’s also established early that she’s still grieving after the loss of her mother, giving her some darkness. But generally, Jennifer is very much a normal girl, somewhat on the fringes of school life, but by no means an outsider. Mom’s ghost pops up now and again during events, a narrative conceit which I didn’t mind, yet can’t say I felt particularly enhanced things either. Still, she’s a heroine for whom I found it very easy to root.

It does feel like the script doesn’t quite know what to do with her after her first hand-to-hand fight, a messily close-combat affair. She turns her hand to a variety of different things, such as alerting other classes to the fact that leaving the premises is the best option, which feels like a diversion from the main plot. Eventually, of course, Tristan realizes there’s a fly in the ointment, and we get the face-off we’ve been expecting, which harks back to the early deer-hunting. It’s a good job too, as the penultimate climax had felt like a cop-out, with Jennifer teetering perilously close to damsel in distress mode. Fortunately, the real finale proved a good deal more satisfactory.

Much as with the political posturing, the film’s quality lies in the middle. It’s neither a new classic, nor the appalling piece of hackwork – both opinions I’ve seen put forward. It is considerably tamer than I expected, certainly not the outrage to common decency some have suggested (not that I’d have necessarily minded!). It is entirely competent and does a reasonable, rather than exceptional, job both as entertainment and in provoking thought. Not worth the hype, to be sure – yet certainly not worth the vitriol either.

Dir: Kyle Rankin
Star: Isabel May, Eli Brown, Thomas Jane, Thomas Jane

The Sun At Midnight

  By

★★★½
“Nothing here but mosquitoes and bear shit.”

While certainly more relaxed that many of the films we cover here, this makes it in on the strength of its heroine’s character arc. That belongs to Lia (Jacobs), a teenage girl in the Northwest Territories of Canada, who is being raised by her father. When he has to go off for work, she gets sent north of the Arctic Circle to live with her grandmother (Jerome) for the nightless summer. She hates the rural life, and runs away, stealing a boat in the hope of reaching Dawson City, the nearest big town – not realizing it would be four weeks journey. She falls overboard after her boat breaks down, and is lucky to be rescued by Alfred (Howard), a hunter from the local Gwich’in tribe. As they cross the remote wilderness, she begins to appreciate it, bonding with the thoroughly down-to-earth Alfred and learning from him – wolves hate the smell of tobacco, apparently. But when an accident befalls her guide, Lia is going to have to dig into her own resources.

I’m about as much of a city mouse at Lia, whose initial opinion of the countryside is largely summed up by her line at the top. Early on, she just seems like another annoying teenager, whose attitude sits permanently between surly and self-obsessed. Admittedly, it doesn’t help that the locals don’t take to her, and she’s the subject of bullying by them, but until she meets up with Alfred, she’s not very likeable. To her credit, Lia is prepared to learn from someone who has forgotten more about the wilderness than we’ll ever know. As she grows to embrace the untamed landscape (and her hair returns to a more natural shade!), so does the viewer. Alfred clearly doesn’t stand for her city-slicker ways, yet generally disarms them with patience rather than anger, though his dispatch of an injured animal reminds us that nature can sometimes be brutal. They also bond through the shared experience of losing someone close to them – his wife and her mother respectively.

It has to be said, the drama which eventually appears toward the end is rather lacking on the dramatic front. Initially, it appears it will involve Lia in a race against time, to bring help to Alfred. However, that’s never fulfilled and it’s almost as if the director got bored of the idea and decided not to bother, instead looking around for a way to close things out in the least exciting way she could find. Similarly, Lia’s encounter with some less-friendly hunters feels an obligatory incident, unnecessary to proceedings. And, yet… It doesn’t particularly matter, in terms of my enjoyment. This is one of those movies which is considerably more about the journey than the destination, as well as (at the risk of sounding trite) the people you meet along the way. It’s undeniably low-key and understated, yet if you are in the right mood, it hits the spot, particular in its dialogue, which fits those delivering it perfectly.

Dir: Kirsten Carthew
Star: Devery Jacobs, Duane Howard, Sarah Jerome