Tag: USA

Stuntwomen: The Untold Hollywood Story

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★★★½
“Intermittently awesome.”

Regular readers will already be aware of the long history of stuntwomen, going back a hundred years to the serial heroines of the silent era. But there’s still a lot to be learned from this documentary about these fearless, and largely unsung, daredevils. Narrated by Rodriguez, it’s mostly a series of discussions between OG stuntwomen, like Epper, who was Lynda Carter’s double in Wonder Woman (and who passed away earlier this year), and members of the current generation, such as Amy Johnston, of Lady Bloodfight fame. The anecdotes shared by the former are an often fascinating insight into the struggles to be taken seriously, in a time when many directors would rather slap a wig on a stuntman.

In comparison, the modern equivalents seem a little bland. It almost feels like the adversity through which Epper and her contemporaries went, reinforced their characters. I mean: doubling for Pam Grier, as David did, feels like it would be rather more of an influential experience than doubling for Scarlett Johansson. Not that this stops some of the modern stuntwomen from complaining about inequalities in the business. To be honest, this aspect does come off as a little whiny in nature. Rather more inspiring are statements like, “I didn’t want to be respected for a girl. I didn’t wanna be good for a girl. I just decided I was gonna be really good.” That’s the kind of attitude which I respect more than blaming sexism and racism. 

Another slight weakness is, it’s quite easy to lose track of who’s who, especially once you get past the main participants, and people you recognize. Not that there is much chance of failing to recognize Jessie Graff, of Ninja Warrior fame. Though it’s a little surprising Zoë Bell – arguably the best-known of modern stuntwomen, albeit a crown perhaps now passed to Graff – doesn’t merit more than a passing mention. It’s fun simply being a fly on the wall as Graff hangs out with her colleagues, bouncing on her trampoline, or watching renowned stunt driver Evans fake drag-racing with her son, and doing handbrake turns on the roads around their property. As Rodriguez enthuses, “I love that your neighbors are cool with all this.”

It is a little weird that the two male directors talked to are Paul Verhoeven and Paul Feig. Verhoeven is his usual entertaining self, but Feig comes over as almost smugly “right-on”. Mind you, if you’ve seen his painfully earnest Ghostbusters remake, you’ll understand his mindset. The documentary does take a rather chilling turn, though justifiably so, discussing the risks faced by all stunt performers, including fractures, concussions, paralysis and even death. It’s easy to overlook, especially now when we assume everything is green-screened or CGI. Some of the stories from the veterans, of the days when safety standards were… less stringent, shall we say, are staggering. You should certainly leave this with a deeper appreciation for those will to risk their lived and limbs, purely for your entertainment.

Dir: April Wrig
Star: Jeannie Epper, Debbie Evans, Michelle Rodriguez, Jadie David

Gold Raiders

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★½
“The Tomb was already booked, presumably”

To be fair, for most of the time, this was likely hovering around the two-star range. Not brilliant: it was rather obvious why this had taken six years from being shot, to receiving distribution. But there was some heart evident, and I look kindly on projects which appear to be trying. Unfortunately, we then reached the end, which was clearly intended to work as some kind of stone-cold cliffhanger. Regular readers will know my aversion to these in books. It’s far worse in a movie, especially where you know – given the time elapsed – there’s precious little chance of a sequel to provide any resolution. I’m sure the entire cast has moved on to other things since.

It’s the story of the Sierra sisters, Hera (Swenson) and Athena (Lee), who are part of a secret group called The Society. They have been feuding across the centuries against another secret group called The Order. Hera and Athena are now on the hunt for the lost treasure of the pirate Blackbeard, reported to be buried somewhere near the coast of Virginia. The sister think they have a good handle on it, and along with their local guides, head into the swampy territory in search of the buccaneer gold, guided by Hera’s psychic visions, which pop up conveniently, as needed by the plot. Naturally, The Order are also keen to get their hands on it, and not everyone in the Sierra’s party might be entirely trustworthy.

It begins with an unconvincing depiction of Blackbeard’s death and a somewhat rousing battle for a relic called the Eye of Quetzalcoatl. But once we get past that, the bulk of the movie consists of an awful lot of wandering around marshland here, in lieu of… well, anything much. For example, it might have been nice to have learned about the goals of both The Society and The Order, and why they have been pitted against each other for so long. Nah. Let’s instead just have another of Hera’s obscurist visions where figures, whose relevance remains uncertain, make cryptic statements like, “Remember, as I have risen, things can be buried – can be unburied. Your past journeys will reveal the clue to salvation.” Look, can’t you just email her a Powerpoint presentation?

It doesn’t help that, for a centuries old secret organization, the representatives of The Order are… well, a bit crap. There’s only about four of them to start, and let’s just say, rigorous competence doesn’t appear to be a requirement for selection. Mind you, when they do show an evil streak, shooting people dead in cold blood, Hera and Athena are so blase about it, that the moment is robbed of almost all power. Not that there’s a huge amount of power to begin with, even before we get to one of the most “Wait. Is that it?” endings in recent memory. Well played marketing department though, for the poster and changing the title from the original one of Sierra Sisters: The Hunt for Blackbeard’s Treasure.

Dir: Josh Relic
Star: Kathleen Swenson, Celeste Lee, James Blackburn, Sam Barber

She-Ra and the Princesses of Power

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★★★½
“Of Power Swords and Cat People”

When the reboot (you hardly can call this just a remake) of She-Ra and the Princesses of Power – and please note the plural form! – was released by Netflix in 2018, it immediately drew fierce criticism. The main issue was re-designing the classic character of heroine She-Ra as well as others. The original animated series ran from 1985-87, and featured very feminine-looking characters. You could call them the feminine ideal: large in size, fit, attractive and yet still more realistic than the musclebound hero from mother series He-Man and the Masters of the Universe, of which She-Ra was a spin-off.

Though it has to be said: those characters then looked very much alike, as if the same model was used for almost all of them. In the new show, which ran for 5 seasons between 2018-20, the characters look more like prepubescent teenagers, and it was one of the things old fans took issue with. She-Ra and her allies were once an ideal of what a young girl might hope to look like as a grown-up, similarly to Barbie. The reimagined version stresses more diversity in body-shape. The character of Glimmer is more rounded – arguably a bit over-weight – which drew ire, too. But these characters also look more androgynous, essentially eliminating the feminine ideal. We seem to live in a time when female characters aren’t allowed to look stereotypically female, though there seems no such problem with heroes e. g. Hugh Jackman in Deadpool & Wolverine.

The show was soon called “woke”, but this is only justified, in that it fits the usual Netflix inclusion rules. So, the character of Bow, the archer, is black and has two fathers; there are indications some characters have relationships with people of their own sex; there is a lizard person whom we are informed online is transgender; then there is heroine She-Ra, who at the very end of the series (similar to The Legend of Korra), enters a relationship with her constant frenemy, Catra. I personally didn’t mind, though it may have something to do with me never caring for She-Ra in the 80s. It makes a difference if you create an original character like Korra, or take a preexisting character and change them drastically. I would have a beef, too, if let’s say James Bond in his next incarnation would be declared homosexual.

Though woke? Is it woke? Well… not in the sense I normally understand the word. For me, it means an agenda is being pushed. I can’t really say I see this here, unless the agenda is to stress that people exist who are not hetero-normative. Which… is true? The focus is on the story; we don’t get characters demonstrating against being sexually or politically repressed by the evil patriarchy, or talking about the problems of their gender orientation in modern society. This is no more woke than The Dragon Prince, another popular Netflix show. Part of the attention is probably due to creator ND Stevenson, who has stated he is – according to Wikipedia – “nonbinary, transmasculine and bigender,” as well as having bipolar disorder and ADHD. Well, whatever it is, is reflected in Stevenson’s work, in She-Ra as well as Netflix animated movie Nimona, based on his graphic novel.

But what is the story?

The core is the same. Adora, a human girl, has been raised as a soldier by the Horde, an alien race ruled by the evil Hordak, who is at war with the inhabitants of the planet Etheria. When Adora finds the magical sword of power that makes her She-Ra, Princess of Power, she learns the Horde aren’t the good guys. She swaps sides to fight them, with the support of several princesses living on Etheria, who all have special powers. However, there is no mention here of Prince Adam (a.k.a. He-Man), Adora’s brother, separated from her at birth when she was kidnapped by the Horde. This fits the modern animated He-Man series released by Netflix in 2021, which was in a totally different drawing style – its characters wouldn’t have matched. And as far as I know – someone correct me, if I’m wrong here – Adora’s childhood was not part of the original story. I’m also unaware she shared a sisterly childhood bond with Catra, a humanoid with cat-like features, in the Horde.

For it’s here where the new show differs from the old stories. And is all the better for it, as the relationships of the characters inform the story of the new series and are essentially the core of it. As Adora leaves the Horde, she puts herself essentially in opposition to Catra. Like her, Catra has been a childhood protégé of Shadow Weaver, a mysterious woman with magical powers and loyal servant of Hordak. Shadow Weaver has raised the two girls but has always been lying to them and treating Catra badly compared to Adora. This plants the seed of a competitive relationship between the two girls. There are definitely shades of Avatar – The Last Airbender in this.

Catra sees Adora’s defection as a personal betrayal, which leads her to fight against Adora more and more. At the same time, it becomes clear that Catra cares – in her own twisted way – for Adora. Her actions are, in some way, a logical result of her upbringing by Shadow Weaver, who later in the proceedings will turn to Adora’s side, too. In the end, Catra is on Adora’s side, declaring her love, which finishes the story.

The series got a lot of praise for inclusivity and character reinvention and has a quite enthusiastic fan-base. Though I don’t see anything here, I hadn’t seen before somewhere else, especially in the Avatar series, as mentioned. It’s not surprising a show like Sailor Moon and the style of Miyazaki films (though I fail to recognize the latter in the show), were cited as influences. The fan-base here, which may mainly consist of “non-heterosexual oriented” young people is definitely not the same fan-base as the original series. So if the intent was to enlarge interest in the franchise in general, I guess one could say: Mission accomplished!

On the other hand, it’s clear this new spin on an old title has split fandom – or, rather, created a second fandom. This is not necessarily a good thing. It can result in embittered online wars and open hostility between members of different fan groups, both claiming ownership of “their story” and how it should be portrayed or interpreted. It’s not the only case. See franchises like Star Wars (George Lucas’ or the Disney version?) and Star Trek (“old Trek” vs. “new Trek”?). If you are as old as I am, you may even remember a time, long before Internet and personal computer communication existed, when people argued over if Kirk or Picard was the better captain, or Sean or Roger the better Bond. Change, it seems, always creates controversies. Therefore, the new show – as good as it is – has created a problem for the franchise that won’t be solved in a foreseeable future.

The plot is interesting and captivating, depicting a cycle of childhood abuse that repeats itself later, with Catra attacking Adora and others – just as she was mistreated and psychologically manipulated by Shadow Weaver when she was a young child. It gave the characters a depth you probably wouldn’t have expected, from a reboot of an old animated show – one that itself was just a spin-off of another show, made more than 30 years ago. But that’s the thing, isn’t it? We always expect “our” franchises to continue year after year, decade after decade, telling us the same stories without changing. But the world constantly changes, and you can’t expect series and franchises not to reflect that in some way. It’s especially true, if we talk about series lasting more than a generation.

What I also liked here very much, were the action scenes. When Catra was being evil-sarcastic to Adora it did remind me a bit of Shego being mean to Kim Possible, or Callisto toying with Xena (another… princess…). But it also has to be said that the show needed some time to get going, had some episodes that felt like fillers, and while characters like She-Ra, Catra, Shadow Weaver, Entrapta, Scorpia or Hordak were mostly written interestingly, others felt a bit bland, underdeveloped and interchangeable. Though it might be a given, if you have so many characters in one show. It is true, the show didn’t break new ground, though I didn’t expect it to. These reboots typically repackage an already existing product, despite presenting it to the audience as something entirely new. Is so much praise justified for a show that essentially is recycled? Just because the main characters come out as lesbians at the end?

Additionally, it has been pointed out that the redemption of Catra is more than just a bit questionable. [Though she isn’t the main villain of the show: it’s still Hordak, who in the original show was also the mentor of He-Man’s archenemy Skeletor.]  She has attacked and tried to kill Adora several times and went so far as wanting to destroy the entire world, rather than see Adora succeed in her goals. That’s pretty bad, and one wonders how such a character can just be forgiven. Admittedly, Etheria might have a different legislation and jurisdiction than planet Earth! But someone put it quite well: “Catra is a war criminal. Why is she not being treated as one?”

In the end the show is indeed comparable to Sailor Moon – it’s all in the name and power of love and forgiveness. Who wants to question logic here? For all its perceived “controversial” elements and flaws, the show is good entertainment, which is where my main focus always lies. Netflix’s streaming rival, Amazon, announced a while ago they wanted to do a live-action She-Ra series (recent news reports suggest it may be He-Man’s turn next). This caused something of an uproar among the fans of the Netflix show, obviously fearing She-Ra may become straight again! It’s history repeating, similar to the reactions of original series fans when they first saw the Netflix show. Though if indeed that She-Ra show is produced, its story-telling will have to match the quality of this one.

But it seems you can never make everyone happy at the same time!

Creator: ND Stevenson
Star (voice) : Aimee Carrero, AJ Michalka, Karen Fukuhara, Marcus Scribner

Surrounded

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★★★
“Putting the stage in stagecoach.”

This is certainly a little different from the usual Western. It takes place a few years after the conclusion of the Civil War. Mo Washington (Wright) is on her way to Colorado to take up a piece of land she bought with her hard-earned savings. To avoid trouble on the journey, she is dressed as a man, though being black is problematic enough at that time. The stagecoach in which she’s travelling – or rather, on which, the driver not wanting a Negro inside – is attacked by brigands, led by notorious bank-robber Tommy Walsh (Bell). After a fierce fight, Walsh is captured, but the coach, complete with Mo’s documents, plunges off a cliff. 

The good news? There’s a ten thousand dollar bounty on Walsh’s head, and Washington is left to guard the fugitive while another passenger, Wheeler (Donovan), goes to fetch the authorities. The bad news? That leaves her alone with Walsh overnight, and there are others interested in the fugitive, including those after the reward, and the remaining members of the Walsh gang. Because he’s the only one who knows the whereabouts of the very large pile of loot, resulting from their last robbery. Mo is going to have to figure out who she can trust. For instance, is Walsh’s offer, to split the loot if she frees him, legit? It would certainly more than cover the losses she suffered when her Colorado land went over the edge.

As with the Hong Kong movies which use the gender disguise thing, it does require a large suspension of disbelief. As soon as Wright opens her mouth, any illusion of her being able to pass for male goes out the window of the stagecoach. On the other hand, gender is almost irrelevant as things unfold. I suspect eliminating the need for concealment would not have helped the intended moral here. The racial element however, is much more pertinent, with Mo having literally walked off her owner’s plantation. Yet there’s more in common with Walsh then it initially appears. Well, providing you accept at face value and trust his story, about being orphaned at age eight by robber land barons. Which might or might not be wise.

It’s in their scenes together where the film is at its strongest, even if they’re just sitting by the campfire, talking. If it feels almost like a play, this is still engrossing, two actors in prime form. Less successful is the arrival of a third party, not least because this leads to a poorly-staged fight, unfolding in near total darkness, where it was impossible to see what was happening. Maybe it worked better in the cinema? At home, it severely took me out of the experience, staring at a blank screen. Fortunately, this recovers to a decent finale, with Mo deciding she is the only person she can truly trust. In the end though, her character seems less fully-rounded than Walsh, despite, or perhaps because of, all the talk. As a result, this only intermittently fulfills its undeniable potential. 

Dir: Anthony Mandler
Star: Letitia Wright, Jamie Bell, Jeffrey Donovan, Michael Kenneth Williams

Snow White and the Seven Samurai

  By

★★½
“That whirring sound? Akira Kurosawa, spinning in his grave.”

I added an extra half-star here out of how much I was entertained by this. Although this was more a result of us yelling things at the screen than any intrinsic merits. The idea is kinda cool, but if you can’t think of ways this should have been improved  you are simply not trying. Anya Voight (Dorn) is known as ‘Snow White’, because her father, Joseph (Eric Roberts),  is a coke dealer. He’s killed by a mysterious assassin, and when his will is read, her jealous stepmom, Quinn (Vitori), is highly annoyed to discover Anya will be the one inheriting the business, and has plans to go legitimate. 

She sends her mysterious assassin (Jackson) to kill her stepdaughter, but he is driven off by Luna (Tellone), the leader of a sect of onna-musha, female samurai. Once numerous, they got into an ill-advised was with organized crime, and are now only seven in number, each a specialist in a different weapon. They agree to teach Anya, so she can take revenge on Quinn for killing Joseph. Cue the training montage! There is also a subplot where Quinn is trying to eliminate the three other bosses with which her late husband had partnered. However, this is functionally useless, and one of the avenues for improvement would have been eliminating this thread entirely. Spend the time instead, giving more than two of the samurai adequate character depth, for example. 

For if this had gone the way of The Asylum’s Mercenaries, it would also have helped. Cast seven women who know one end of a katana from the other, instead of… maybe one and a half? Give us something like Lady Bloodfight. Instead, while there’s no shortage of action – the final assault on Anya’s former home takes up much of the final third – very little of it makes an impact, save an unexpected twist regarding Joseph’s death. Vitori is fun to watch, really getting her teeth into the “evil stepmother” role. Hardly anyone else makes a significant impression. This is why we were forced to make our own entertainment, e.g. yelling “How not to be seen”, every time someone with a mask showed up. Which was frequently – largely to allow for recycling actors, I suspect.

Jackson, best known as an MMA fighter, obviously makes for a formidable opponent, though his role is almost wordless and doesn’t merit the above the title billing he receives on the cover. I’m fine with that: the problem is more that the film needs someone as a protagonist who can hold our attention, as well as a sword. Sadly, Dorn isn’t good enough in either category. Tellone might have made a slightly better lead actress, though that wouldn’t help problems in the script, such as the way Anya goes from fencing amateur to professional samurai, in only a few days. The best thing about this is the title, and disappointment thereafter is almost inevitable.

Dir: Michael Su
Star: Fiona Dorn, Gina Vitori, Sunny Tellone, Quinton ‘Rampage’ Jackson

Riley Parra: Better Angels

  By

★★
“Wings of desire.”

The idea here is considerably stronger than the execution. Police detective Riley Parra (Hassler) works the scummiest part of town, which is ruled by mysterious and possibly legendary figure Marchosias (Landler). However, while working a murder case, Riley discovers the area is, in fact, Ground Zero for an ongoing war between demons and angels. More startlingly yet, she’s directly involved, because she is the “champion” on the side of the angels. This revelation has the potential to destroy the shaky truce which has been in place between the two sides. Riley also has to deal with pesky journalist, Gail Finney (Sirtis, sporting an Australian accent for some reason), and attraction to new medical examiner Dr. Gillian Hunt (Vassey).

This is based on a series of books by Geonn Cannon, and is a mixed bag. I like the idea that the police department is entirely staffed by women, and nobody particularly cares. That they all appear to be lesbians? Hmm. Geonn is a male author, I should mention, which makes this… interesting. It’s all very much PG-rated, but really, I feel all the relationship stuff seriously gets in the way of the plot. Not least, because this ends with none of the major threads anywhere close to tied-up. Instead, it finishes with Riley just having solved a murder which doesn’t even take place until 65 minutes into the movie. Originally a webseries, it seems more a pilot than an actual film. Five years later, there’s no continuation, so do not expect resolution.

There are also silly little gaffes, such as Dr. Hunt picking up evidence at a murder scene with her bare hands. Or Riley getting a call and being texted the location of the same murder, then saying, “I’ll be there in 15 minutes” – without looking at her phone. Be where exactly? It’s all minor, but indicative of a rather sloppy approach to film-making. Shame, since the characters here are quite interesting, and the performances are decent. Everyone here seems like they could be a real person, even Marchosias and his outrageously French accent (that actor actually is French, so I’ll let it pass).

It feels fairly pro-religion, both in its central concept and sympathetic presentation of the priest, to whom Riley turns for advice. I’d have liked to have seen more action: I think the only person Riley shoots is her partner – not much of a spoiler, since it happens early on. Oddly, that barely leads to any disciplinary action or investigation, more evidence of the slapdash approach to detail. I do suspect some characters are not what they seem. I think either Riley’s boss, or Gail Finney, are actually agents for Marchosias. The latter would be interesting, being the kind of crusading, anti-police journalist you might expect to be the heroine in another story. Guess we’ll never know. Well, unless I read the novels and… Yeah, I probably wasn’t sufficiently into this to justify the effort there.

Dir: Christin Baker
Star: Marem Hassler, Liz Vassey, Karl E. Landler, Marina Sirtis

Kidnapping in the Grand Canyon

  By

★★★
“Not grand, but adequate.”

Despite my relentlessly commitment to sit through any film with an action heroine that strays across my radar, I’ll admit to suppressing an inward wince, when the film started and the ‘Lifetime Movies’ logo popped up. This origin was news to me. However, I was literally a captive viewer, since I was sitting on a plane to Mexico, so couldn’t exactly pop up and put on something else. At least it did mean I wasn’t going to end up uncomfortably trying to hide my screen from fellow passengers. This has occasionally happened previously, after an ill-considered choice of in-flight entertainment. Inevitably when I’m occupying the middle seat. Say what you like, Lifetime TVMs are safe. 

And to my surprise, in this case, reasonably entertaining. Admittedly, expectations were low. However, this kept my attention. Not that I could exactly walk out. But it keeps things simple, and is the better for it. To mark the twentieth anniversary of their friendship, pediatrician Brooke (Vitori) and photographer Chandra (Rosita) decide to do something special and hike the Grand Canyon. They bump into guide Nate (Boyd), who convinces them to go off trail and see hidden delights. As the title suggests, big mistake. For he is actually in need of a doctor who can tend to a nasty, infected leg wound suffered by extremely reluctant fiancée Tara (Bailey), and won’t take no for an answer, from any of the three women. 

Nothing new in the plotting here (there’s another Lifetime film with a suspiciously similar premise, Vanished in Yosemite),  but it does a decent job of avoiding character idiocy often needed in many of this sort of thing. Chandra is established early on as the risk-taker, so it makes sense when she immediately accepts Nate’s offer, over the objections of the much more cautious Brooke. This, too, is understandable as she lost her husband in a climbing accident two years previously. Yet despite the disparate personalities, the friendship between them is sold by the actresses’ performances. It gives a solid foundation, so that the occasionally rocky plotting doesn’t end up causing the whole endeavour to collapse. By the end, both have clearly changed and moved towards the middle, a nice acknowledgement of moderation being the best policy. Boyd does his part too, initially making Nate seem charming, until the inevitable – for anyone who has seen a man in a Lifetime movie, anyway – heel turn. 

I do suspect not all of it was actually filmed in the Grand Canyon. The stuff at the rim, certainly. But they’re shown entering the National Park, before arriving at the Sugar Loaf Lodge, which is actually in Sedona, a good hundred miles south. Some of the scenery looks more like Utah as well. However, you can’t go wrong with the Grand Canyon. It looks as majestic and imposing as ever, adding value to the production. Weirdly, it ends up being the second film I’ve seen this week, after Deep Fear, where a flare gun is wielded for offensive purposes. What are the odds?

Dir: Derek Pike
Star: Gina Vitori, Philip Boyd, Katrina Rosita, Ryann Bailey
A version of this review originally appeared on Film Blitz.

We Kill Them All

  By

★½
“Kill me too. Please”

It generally makes sense for a film to escalate over its duration. The problem here is, what escalated was my annoyance. It began as irritation, but by the end I was deeply peeved, because the stupidity is strong in this one. It begins with two different strands. In one, former desperado Lee Hughes is visited in his mountain resort by ex-colleague Jimmy Montague (Fafard) and his minions. They want to know the location of two million in proceeds from a previous crime Lee and Jimmy pulled. In the other, lesbian couple Lane (Newton) and Megan (McClay) are busy being lesbionic with each other, because they’re lesbians. Did I mention they are a same-sex couple?

These two threads link up because Megan is Lee’s daughter. When she and Lane head up to visit him, they discover only Jimmy and his henchmen, Tweedledum and Tweedledumber. They think Megan knows where the loot is. And this is where the idiocy becomes industrial strength. I’m not sure who is worse. The bad guys, for repeatedly allowing their captives to escape. Or Megan and Lane, for repeatedly allowing themselves to get recaptured. It doesn’t help the script ties itself in knots, trying to keep any firearms out of the wonens’ hands before the very end. Yes, the liberal agenda™ here seems to extend to gun control. Until it finally gives up and admits that they are, in fact, the best equalizer in a home invasion scenario. 

Lane, in particular, is entirely useless for the great bulk of proceedings. Until she is not, suddenly able to escape from being tied up with barbed wire – albeit the kind of barbed wire which leaves no marks in her flesh – and left entirely alone while Jimmy and Megan wander off. Again. Megan does, at least, have some guts. But, really: you are in a kitchen, and the best impromptu weapon you can find is… A chopping board? Meanwhile, the purpose of the whole lesbian thing is revealed. It’s cheap heat, so the bad guys can get all homophobic. Being bad is not, apparently enough. [The film really needs to take lessons from What Keeps You Alive in the department of lesbian relationships]

I honestly feel the whole endeavour would be improved by dubbing Three Stooges sound effects over the top of it. The first half is meandering and not very interesting. The second half does at least have things happening. It’s just that they range from the weakly plotted down to the flat out ludicrous. With little or no reason to care about the characters, who seem entirely defined by their bedroom habits, I was left with no interest in their fate. This, incidentally, ends up being exactly what I expected at the mid-way point. I want to stress, this isn’t a bad film because the heroines are lesbians. There are a lot of perfectly good, unbigoted reasons to find this well below average. 

Dir: Jeremy Drummond
Star: Chloe McClay, Emma Newton, Leo Fafard, Michasha Armstrong

Back in Action

  By

★★★
“Back to basics.”

The title could very well apply to star Diaz as well, since this is her first movie in over a decade. She retired in 2014 after Annie (which also starred Foxx), to focus on her family. But the actress, who will always be beloved here for her role in the best incarnation of Charlie’s Angels, was lured out for this genre mashup, which combines comedy, action, romance, family drama and thriller elements. She plays Emily, a former spy who retired fifteen years ago, and dropped out of sight. She’s now happily married to partner Matt (Foxx), with two teenage kids – the daughter being particularly obnoxious – and a house roughly the size of Vermont. Espionage must be a very lucrative business. 

This domestic bliss is, naturally, upended after the arrival of former handler Chuck (Chandler) with a warning, rapidly followed by assassins. Turns out, on their last mission, Matt lifted and subsequently hid, a device capable of controlling any electronic system. Everyone now wants to get their hands on this MacGuffin, which he stashed away on the estate of Emily’s estranged mother, Ginny (Close), back in England. Kids in tow, Matt and Emily have to drop off the grid, go there and secure the device before it falls into the hands of the bad guys, who intend to auction it off to the highest bidder. Needless to say, their children are surprised by this development. Not least the daughter, who was just grounded for using a fake ID.

Make no mistake, this is glossy, simple and unchallenging entertainment. But that’s perfectly fine. Not everything has to be significant or deep, and if this is unambitious, it doesn’t make it any less decent as something to throw on TV of a Sunday night. Diaz and Foxx both have charisma to spare, and together, their characters have a relationship which seems genuine. They love each other, while their children are stuck permanently in adolescent eye-roll mode, despising their parents taste in music, etc. It’s a salutory lesson, that in reality, Emily and Matt are far cooler, more interesting and highly skilled than their offspring would ever give them credit. The parent in me nods wisely at this family dynamic.

The action is decent, with some impressive bits of vehicular mayhem, and Diaz showing she can still move. But I particularly liked Ginny – I can only presume Helen Mirren was unavailable, as it’s a clone of her character from RED – and her charmingly ineffectual toy boy, Nigel (Jamie Demetriou). They deserve a franchise of their own. No less than nineteen writers were involved in the script. This has to be close to a record, and to be honest, you can tell, especially in the final act. There, things tend to become awfully convenient, as everybody whizzes around London in pursuit of the MacGuffin. With a bloated budget estimated at over $200 million, I’m just glad it wasn’t my money. I’ll happily take advantage of the results, however. 

Dir: Seth Gordon
Star:Cameron Diaz, Jamie Foxx, Kyle Chandler, Glenn Close

The Legend of Calamity Jane

  By

★★★½
“What the title says.”

Martha Jane Cannary Burke, a.k.a. “Calamity Jane” (1852-1903) was a lot of things. But most of all she was the inventor of her own legend. By the end of the 19th century, dime novels based off her alleged adventures already sold very well. Unfortunately, the foul-mouthed and constantly drunk former frontier woman could never benefit financially from her reputation, with which others earned good money. She died early, though already perceived as a legend of the “old West”. To divide which of the many stories told about her are true, and which are not, is a job for the historians, not mine. For a character who definitely provided a “fill in the gaps” hero’s template, it’s no surprise Calamity Jane soon became a mythic legend of the “Wild West”, combined with other illustrious characters of that time such as “Wild Bill” Hickok, Wyatt Earp, Doc Holliday, Billy the Kid and many others.

On the big screen, she has been portrayed by Jane Russell (The Paleface), Jean Arthur in The Plainsman, Doris Day in the beloved musical Calamity Jane, Angelica Huston (Buffalo Girls) and Ellen Barkin in Wild Bill (next to Jeff Bridges). On the small screen she could be seen, amongst others, in an episode of Bonanza, played by Stephanie Powers, and 3 seasons of Deadwood where Robin Weigert played a more modern and realistic version of her. As the Calamity Jane character is so prominent, and separate from the real person she once was, in a way similar to Robin Hood, the Musketeers, or Matthias Kohlhaas in Europe, it seemed only a matter of time until she would also find her way into an animated version of herself, which this series presents.

The Legend of Calamity Jane was a short-lived animated show that came out in 1997, a co-production of French TV channel Canal+ and The WB in America. The intent was to create something similar to the successful animated Batman show. Originally scheduled for 13 episodes, after just three weeks, the series vanished from the TV guides. While obviously not successful enough in the US, the full series ran as a dubbed version in several other countries. Over time, maybe partly due to not being available, the show developed a cult following.

Originally, Jennifer Jason Leigh was chosen to play Calamity, but for unknown reasons was replaced by Barbara Scarf, who does a good and satisfying job. Though remembering the roles Leigh played, and her subsequent role as an evil criminal in Tarantino’s western The Hateful Eight, one wonders how her Calamity Jane would have sounded. But then Calamity is a true blue hero here, so maybe Leigh wouldn’t really have fit this version of the character.

The show itself takes place around 1876 and is great fun. Calamity Jane is an adult, red-haired and green-eyed woman, with a whip that regularly comes in handy for dangerous situations. She is serious-minded and on the side of the law, meaning whenever help is needed, she will be there. She has a horse called Dakota and drinks milk (hey, what do you expect – it’s made for kids!). Always on her side is old Joe Presto (Welker) who can best be described as her comic sidekick, though sometimes comes across a bit simple-minded. Also, I sometimes had problems understanding his mumbling, though you get used to it. Of course, when you tell the story of Calamity Jane, Wild Bill Hickok is never far away. In real life she claimed that they were a couple in Deadwood. though according to historians, this could easily be another made-up story, as she was famous for doing. In this show, he helps her from time to time and is voiced by Clancy Brown (the Kurgan from Highlander).

The stories are one-offs, concluding at the end of each week, and Calamity usually has to deal with villains or other problems. For example, in the first episode, she prevents a war between the Comanches and the army; in another one she brokers peace between a racist settler and the Blackfoot tribe. Some villains can be quite nasty, although I don’t recall her killing any of them. But others are less confrontational. In one story, she meets her long-lost father, and in another, she has to deal with a young girl who has run away from home, and wants to become like her.

Overall, the stories are entertaining and different enough, so they never fall into a pattern or get boring. Of course, what I liked especially was action scenes which were above what you might expect from a show at the end of the 90s. There really was no reason why the show failed to find an audience in the US. It definitely could have stood alongside Batman, and I personally think there would have been a place for both, as each were their own thing. Fortunately, the series has now been made available on DVD and Blu-Ray. Here’s hoping Calamity will find many new fans.

Dir: Pascal Morelli
Star (voice): Barbara Scaff, Frank Welker, Clancy Brown, Michael Horse