Tag: USA

The Queen of Hollywood Blvd.

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★★★
“Mary, Mary, quite contrary.”

This is definitely not your typical action heroine. For it’s Mary’s (Hochschild) 60th birthday when the events of this film unfold. She runs a long-running strip club on the titular location, when Duke (Smith) spoils the party, by demanding she hand over ownership of the establishment, to settle a loan taken out decades earlier. Mary isn’t having any of it, and when Duke’s lackie Punk Rock Charlie (Berkowitz) shows up to take over, she beats him up and leaves him for dead in the Bronson Caves – which, as the film helpfully tells us, was used as the Batcave for the Batman TV series. But Duke is ahead of her, and has kidnapped Mary’s son. To free him, he demands she do another job: kill an accountant who is being too talkative for Duke’s liking. 

Unfolding over the course of a single day, there are some interesting elements to this, yet it’s very definitely a mixed bag. Not least among the former: the director is Hochschild’s son, and also plays her son in the movie. She is probably the film’s strongest card; in virtually every scene, without a good performance, this could well have been unwatchable. She puts over a proud, fiercely independent character, who refuses to compromise her morality. We see this early, when she rescues underage Grace (Mulvoy-Ten) from the pimp trying to sell her. Yet she has no qualms about later using Grace to get to the accountant, because her son is simply more important to her. It makes for a fascinating character, one not often seen on-screen among women her age.

Less successful is… Well, a lot of the other stuff. The supporting characters, in particular, rarely rise above a series of clichés. [I’ll give an honourable pass to cult star Michael Parks, in his final role before passing away, even if he does look like death not very warmed up] The pacing is also off, especially at the end, where 45 seconds of action takes about 10 minutes to unfold, thanks to some extraordinary languid dialogue, plus Oblowitz’s love of slow-motion and the glaringly obvious. I mean, did we really need to have her friends cart a throne into the strip-club for Mary to sit on, purely to emphasize the title?

A number of other reviews have compared Oblowitz’s style to Nicolas Winding Refn, and as far as I’m concerned, that’s not a good thing. There are times when I had to suppress an urge to make a “hurry up” gesture towards the screen. Considering her son had been kidnapped, Mary’s lack of urgency seemed questionable, especially when it seemed to be for no other reason to allow Oblowitz his directorial flourishes. The strength of Mom’s performance renders the flashier elements superfluous, and they may even take away from it. Oh, not that it matters, but I strongly suspect the exterior of the club is actually “played” by legendary strip-club Mary’s in Portland, which at one time employed Courtney Love.

Dir: Orson Oblowitz
Star: Rosemary Hochschild, Ana Mulvoy Ten, Roger Guenveur Smith, Matthew Berkowitz

I am Lisa

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★★★
“Another packet of Ginger Snaps”

Lisa (Vaganos) is a young woman who runs a second-hand bookstore, but has fallen into the bad books – hohoho! – of local bad girl Jessica Huckins (Anello) for some reason, who makes poor Lisa’s life a misery. There’s little Lisa can do, because Jessica’s mother (Halliburton) is the local sheriff and is fiercely protective of her daughter. The feud between Lisa and Jessica escalates, until it topples over into extremely violent unpleasantness. Sheriff Huckins orders Lisa’s near-dead body to be dumped in the nearby forest, as food for the local wolves. However, after only slight nibbling, she is rescued by a mysterious woman, and nursed back to health. Returning to town, she opts to lie low with best friend Sam (Seward), only for Lisa to notice she’s not the same person she used to be. For example, this former vegetarian now has a fondness for raw meat, and is considerably less passive, deciding to take the fight to Jessica, her pals and, eventually, to Sheriff Huckins.

I’ve seen werewoman movies before. Indeed, I’ve reviewed a few here before – most obviously Werewolf Woman, but also When Animals Dream, Blood Redd and The Big Bad. I’ve also seen plenty of revenge films, to the extent there is a dedicated tag for those on the site. But this is probably the first movie which is both. Such innovation is almost enough on its own to get through the running time, even if it’s inevitably going to be compared to the wonderful Ginger Snaps, and be found wanting. Bonus points here for skewing so thoroughly female, with the five lead characters all women, and it’s also clear there’s a lot more going on, of which Lisa is unaware. The opening scene proves this before we see the heroine, with the sheriff gunning down another werewolf and proclaiming “I guess we gotta find another.” Given this, it is a bit difficult to grasp why Jessica’s cronies are so surprised by subsequent events.

The script is rather undeveloped in some of the other directions it seeks to explore. For instance, it opens with two quotes, one pro-revenge, the other anti. Yet there’s never much sense that Lisa’s vengeance is other than justified, and it appears to have a relatively minor impact on her psyche. Well, compared to turning into a werewolf, anyway. It also took me a while to get into the head of the main character; Lisa as savage predator is considerably more interesting and engaging than Lisa as vegetarian bookshop owner. Obviously for budgetary reasons, the actual transformation is very restrained – not much more than claws and contact lenses. I guess it’s good enough to get the concept over, if you don’t look too closely. The restraint elsewhere is a bit disappointing, and harder to explain: I never got the sense Lisa was overtaken by, or surrendered to, her newly-found feral nature. However, it still makes for an interesting watch, even if the central character is more werepekinese than -wolf.

Dir: Patrick Rea
Star: Kristen Vaganos, Jennifer Seward, Manon Halliburton, Carmen Anello

Queen of the South, season four + five

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Season 4: ★★★★
Season 5: ★★½
“There’s only one way to be safe in this business — be powerful enough that no one can touch you.”

I only just realized that I had not reviewed the fourth series of Queen of the South at the time of its broadcast. I’m not 100% sure why that slipped my mind; it may have been a reaction to the rather underwhelming nature of the third season. In some ways, the show did get back on track – it did, at least, stop trying to fake badly Arizona, largely relocating to New Orleans. This brought with it a new slate of rivals and enemies for Teresa Mendoza (Braga). This was a necessity, the show having sent the main antagonist from the early series, Camila Vargas, into exile at the end of season three.

The main replacement was likely Cecil Lafayette, a corrupt local judge who seemed to have his finger in every pie, as well as cooking up a few more of his own. He wants an ever-increasing slice of Teresa’s endeavours, as he comes to realize how large her empire is. There’s also Marcel Dumas, a well-established gang leader in New Orleans, who initially wants to co-operate with her. Their relationship becomes increasingly fractious over the first half of the series, and Judge Lafayette sees the opportunity to pit them against each other, while apparently acting as a mediator.

Meanwhile, inside Teresa’s organization, we see the first inklings of dissension in the ranks. Boaz, who had been running her operations South of the border in Sinalioa, is beginning to show dissatisfaction with Teresa’s approach. But there are new opportunities too. I guess, perhaps to replace Vargas, we get Oksana Volkova (Cherny), who is the public face of the Russian mob in New York, operating on behalf of her extremely reclusive boss, Kostya. She offers a potential pipeline into the lucrative East coast market, from Miami up the coast through Atlanta to the Big Apple, for Teresa and her product. However, there’s opposition to her expansion, in the form of an existing Cuban mob, under El Gordo.

After the weakness of season three, this was a strong return to form. It got back to the basics, of Teresa Mendoza seeking to expand her empire and consolidate her power, despite opposition from existing players. The violence which almost inevitably flows from such a struggle was present in copious quantities, with at least one shocking and unexpected death (well, we only expected it about two seconds before it happened!). In Judge Lafayette, well portrayed by David Andrews,  there was a solid villain, whose cunning, along with his local connections and allies, proved a tough nut for Teresa and her cartel to go up against.

Probably my only complaint was our heroine not quite getting as deeply involved in the action as previously. Outside of an assault on the base of some mercenaries sent to kill her, there hardly seemed to be any significant firearms use for Teresa. Perhaps that was an indication that she was beginning to seek an exit strategy, moving into more legitimate businesses, and away from those where killing is a standard technique of operations. The news that the fifth series would be the show’s swansong, seemed to support this theory.

To start at the end of it, however, the grade for this season loses a full star simply on the basis of its chosen ending. While skirting around spoilers, we utterly called almost every aspect, down to the specific beach-side location of the final scenes, as early as end of the previous episode. Maybe we’ve just seen too many telenovelas in which this particular plot twist has been done to death. There was a real lack of any sense of karmic balance, considering the number of dead bodies Teresa had left in her wake. We also kept hoping, right up until the final credits rolled, that we would get closure for Camila Vargas. If the actress playing her, Veronica Falcón, just wanted to leave the series after #3, the character deserved a far better send-off. Meanwhile, Teresa Mendosa barely appeared in the final episode, which instead focused on long-time sidekick, Pote (Madera).

Up until that point, however, the season had not been terrible. It was fairly broad in scope, mostly hopping between New Orleans and New York, though with a side-trip to “Berlin” [quotes used advisedly, since unlike the Maltese excursion in series three, I’m fairly sure the production did not go to Germany, instead throwing in a couple of bits of stock footage and faking the rest]. As expected, Teresa was seeking to diversify into legal business, in particular property development. Though she quickly found out that “legitimate” did not necessarily mean those involved could be trusted. Still, no problem there, that methods from her usual field of work can’t solve.

Particularly effective was her ongoing dealings with the Russian mob. I will admit, I did wonder for a while whether their supposed leader even existed, since Oksana was the only person who ever seemed to talk to Kostya. There were a number of tense moments, as Teresa tries to convince the Russian to turn on her boss, because the Mexican offers a better long-term future. While Oksana was not up to the level of Camila Vargas, she did offer a good foil. She possessed an impenetrable air, reminding me of the famous Churchill quote about Russia being “a riddle, wrapped in a mystery, inside an enigma.” You just never knew what she was planning.

And so, it all ends – not with a bang, but in a considerably more peaceful way than I expected.  I think that. perhaps, after so long, writers tend to fall in love with their characters a bit too much. I’ve lost count of the number of shows, from Buffy through Dexter to Game of Thrones, which have had trouble creating a satisfactory ending, and we can now add Queen to that list. Its departure does still leave a gap on television. In terms of truly bad-ass heroines, prepared to go to any ends to reach their goals, Teresa Mendoza is without parallel. Now, let’s get a US remake of Rosario Tijeras…

Star: Alice Braga, Hemky Madera, Peter Gadiot, Vera Cherny

Snow Black

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★
“Put this on your blacklist. And that’s snow joke.”

This isn’t quite the worst action heroine film I’ve ever seen. That dubious honour still goes to Naked Avenger, I think. But this one certainly deserves to be in the conversation. I don’t think a movie has ever lost my interest so quickly. Literally before the opening credits rolled, I realized this was the kind of almost entirely undiluted rubbish, I wouldn’t waste five minutes on, if I didn’t have to for this site. How bad was it? The film is still on, and I’ve already started writing the review. That’s virtually unprecedented. The main problem is audio which appears to have recorded on a flip-phone, from the bottom of a swimming pool. It’s among the worst I’ve ever heard on a commercial release. Initially, I thought it might be the source, but the Prime Video version was just as intolerable. At least that version had closed captions.

The plot is no great shakes, though has some potential. Sarah Camden (Buckner) comes home from the Marines to bury her mother. While she’s at home, her little sister is killed on the streets of her local town. Sarah – code name Snow Black – realizes it has been taken over by gangsters and drug dealers, with even the mayor in their service. After her father is also murdered, she decides to clean up the neighbourhood. The issues with this are plentiful, beginning with the fact our heroine’s tattoos wouldn’t actually be allowed on a Marine. Then there’s the fact she doesn’t actually fight anyone much until 55 minutes in – and this only runs 80 minutes. While Buckner looks at least somewhat the part, when she finally gets into action, it takes place in slow-motion, presumably to disguise her lack of fighting ability. This is probably also the first time I found myself wishing for some rapid-fire editing. 

Let me be absolutely clear. There is hardly a single aspect of this, which is not excruciatingly incompetent. The only scene that is even slightly memorable is when Sarah’s Aunt Sydney goes into battle herself, taking on a barful of gang members. She’s played by former Bond girl Gloria Hendry, from Live and Let Die and Black Belt Jones. Now in her seventies, it’s not a great action sequence, to put it mildly. But that it happens at all, is the best thing the movie has to offer. They should have made the whole film about her and Sarah’s father, played by another veteran action star, Van Clief (the Black Dragon), who is approaching eighty. The concept of senior citizen vigilantes is something which might have done a better job of holding my attention. 

Instead, this is 100% one of those films which I had to sit through, so that you do not have to. Find something, anything else to do, and you can thank me later. Oh, hey: the end credits are now rolling. It’s clearly time to wrap this up.

Dir: Robert D. Parham
Star: Sarah V. Buckner, Robert D. Parham, Ron Van Clief, Humberto Gonzalez 

Pistolera

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★★
“Fires mostly blanks.”

At the time of writing (year end, 2020), this is sitting at a 1.9 rating on the IMDb. That’s… not good. In fact, if it had more ratings, it would be lower than any qualifying film in the IMDb Bottom 100, currently led by Disaster Movie at a score of 2.0. However, like most things, the hype exceeds the reality (I automatically down-vote any “worst movie ever!” review I see on IMDb; it just demonstrates you really haven’t seen enough movies for your opinion to matter). While this certainly isn’t good, with obvious and glaring flaws… I’ve seen considerably worse. even in the action heroine genre.

It’s a basic story of revenge, and the story/script are okay. The titular heroine (Di Lella, who also wrote it) was the daughter of a crime boss in Spain. She saw her father murdered by a rival, Raffaello (Davi), when she was young, though she was able to escape death. Now a grown woman, she clearly believes in the old proverb about revenge being a dish best eaten cold. She is ready to exact vengeance on Raffaello, his gang, and anyone who stands in the way, so travels to Los Angeles to that end. There, she links up with her cousin, Rico (director Chapa pulling double-duty) and a family friend, reformed hitman Indio (Trejo), who agree to help with her mission.

Let’s start with the positives. These include things like the young Pistolera letting rip with a mini-gun during the attack, a scene which is so excessive I had genuine hope for the movie. I will say that Di Lella looks the part, with a fondness for midriff bearing outfits and pleather halter-tops, which is undeniably easy on the eye. The poster does not sell this short, and delivers on what you see there – given that is not always the case in exploitation cinema, credit must be given where it’s due. Genre veterans Davi and Trejo also provide their usual credible performances.

However, it would be a generous man who would say these are not outweighed by the negatives. Not the least of which is the star’s limited grasp of English. Now, it’s far better than my Spanish, which despite ongoing Duolingo courses and frequent exposure to telenovelas, is still down around the Donde esta la biblioteca? level. However, I’m not being cast as the lead in any Spanish films. Oh, Di Lella gets the individual words out okay: what’s missing is any significant emotion behind them. A text-to-speech generator would have given a better performance.

It’s therefore startling to reveal she isn’t the worst offender in the film. That goes to Marta Blanc as Cherry, an informer whom Pistolera and Rico pump for information. She delivers a big gobbet of exposition which a) utterly violates the “show, don’t tell” rule of cinema, and b) is almost entirely indecipherable. There are other woeful elements too. For example, not one, but two gratuitous flamenco numbers for De Lella. Or the crappy “tattoo” of angel’s wings and crossed pistols, which looks like it was drawn on her back with a marker. Or action scenes which rarely reach even average. All told, while I don’t agree with those who proclaim it the pinnacle of cinematic ineptitude, I have to concede you can probably see it from here.

Dir: Damian Chapa
Star: Romina Di Lella, Damian Chapa, Robert Davi, Danny Trejo

Pocket Full of Game

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★★
“Game, in only the loosest sense.”

Porsha (Nunez) – and before you ask, yes, that’s how it’s spelled in the credits – is a small-time hustler, operating in the dodgier neighbourhoods of New York. When getting away from her latest escapade, she bumps into the crew of Fresh (Garcia) and his pals, who are similarly engaged, having just robbed a drug dealer. Due to flakiness on the part of one of the team, they’re looking for a new member, and Porsha successfully convinces Fresh that she is a good fit for the role. However, the rest of the gang are less convinced, and force Porsha to prove her loyalty by committing cold-blooded murder. That does her head in, and she holes up in Atlanta for a bit. Returning, she finds Fresh and her former associated have moved on, and attempts to pull off a job on her own, to get back in their graces. It doesn’t go well, shall we say, and Porsha finds herself on Rikers Island, facing a double-homicide charge.

There are a number of concerns here, of varying levels. The biggest problem is that this is 126 minutes long, and doesn’t have anything like the content to justify such a running tine. Every other scene is unnecessary, or runs to excessive length, and this causes significant issues with pacing. The script frequently seems to forget about its own threads; for example, after one robbery, a survivor vows to take revenge on Porsha, Fresh and their associates, for their actions. This only happens at the very end, and the cinematic amnesia becomes increasingly aggravating as the movie diverts instead into another pointless shit-hop montage, or irrelevant flashback to Porsha’s childhood. Another difficulty is, the resources aren’t able to handle some of the demands of the script: it is extremely obvious that the court-room required by it, isn’t anything like the real thing. The same goes for the prison, and the film only ever reaches close to convincing, or even comfortable, when it’s operating on the streets.

On the positive side, Nunez’s performance is solid enough to work, though a lot of the cast may be better suited for supporting roles than lead ones.  There were also just enough scenes that worked to keep me from hitting the off-button. In particular, the sequence where she’s made to kill, is surprisingly shocking, even in a film that clearly has no qualms about casual violence (and whose morality is about as far from “crime doesn’t pay” as could be imagined – indeed, this seems to be a world where it’s the only employment available). The problem is, the ratio of these scenes to the those which are deficient, for one or more of the reasons explained above, is about 1:10. This is apparently based on a novel, and the trailer for the book [yes, that’s apparently a thing] calls it “A hood soap opera.” I can’t argue with that – though it’s not such a positive thing, as the makers seem to think.

Dir: Deborah Cardona
Star: Katherine Nunez, Carlos Garcia, David L Holley, Joey Ortiz

Sugar Boxx

  By

★★
“Is that a machete?”

I completely get what the director here is trying to do: make a homage to the seventies women-in-prison movies, made by the likes of director Jack Hill (who has a cameo here as a judge). The plot here, certainly, feels like it’s almost a straight-up copy, in particular from Bruno Mattei’s 1982 film, Violence in a Women’s Prison. Both have undercover journalists who get themselves sent to prison as an inmate, in order to expose the corruption of those running the facility. In this case, it’s TV reporter Valerie March (Anderson), who is asked to look into the dubious Sugar State Women’s Prison by the aunt of an inmate.

Naturally, it turns out the prisoners get sent there in order to become prostitutes for the warden, Beverly Buckner (Dona), who has a cosy arrangement with various suppliers to the jail. March, in her incarcerated alter ego, becomes part of the out-call service, though matters are complicated by one of the suppliers, chicken magnate Gilbert Sackry (Hunter), being the subject of one of her previous exposes. After tragedy strikes, the scheme is revealed, only for it to be swept under the carpet by authorities. March is having none of this, the system having failed to bring them justice, and with the help of former inmate pal Loretta (Brown, in the Pam Grier role) and a repentant guard, sets out to take revenge on Buckner and the rest of her cronies.

The films which inspired this were never high-end product. But in comparison to this, they are Avatar. The paucity of the resources here is all too often painfully obvious. The “prison” consists of a couple of tents in a field; while this could be a nod to infamous Arizona sheriff Joe Arpaio and his “Tent City”, the absence of… oh, I dunno: fences or bars, is glaring. In the early going, I was prepared to overlook this, since there’s enough energy (and, let’s be honest, gratuitous nudity) to sustain interest. As well as Hill, there’s a cameo by GWG goddess Tura Satana, also playing a judge; another Russ Meyer muse, Kitten Natividad, plays a prison guard, and is fun to watch in that role.

However, the previously mentioned tragedy flicks a cinematic switch. Valerie’s reaction to it is laughably bad, and she’s then taken to a “hospital”, which we only know is a hospital, because it has a large Red Cross flag tacked to the wall. As hospitals do. The lack of effort put in finally overpowered my goodwill, and there was little thereafter which proved capable of taking up the slack. It really needed more actresses capable of going full-throttle into their roles here. While Brown seems to have a decent handle on her role – even if she’s no Grier – Anderson is too anodyne to make the necessary impact. The further we get into the film, the less her ability to hold the audience’s attention, and interest withers and eventually dies, as a direct result.

Dir: Cody Jarrett
Star: Geneviere Anderson, The’la Brown, Linda Dona, Jack Hunter

Those Who Wish Me Dead

  By

★★½
“Ashes to ashes”

I was expecting so much more. The trailer looked really promising, offering the return of Angelina Jolie to full-on action fare, for the first time since Salt in 2010 [yeah, I know we’ve covered Maleficent and its sequel here; probably too much CGI in those to qualify as “full-on”]. Suffice to say, that really isn’t the case. There is, instead, an awful lot of sitting around a fire tower in the middle of a Montana forest, and too much time spent on supporting characters, when what we really wanted was Lara Croft: Fire Jumper. Indeed, there’s a case that Jolie’s character isn’t even the most action-oriented woman here. We’ll get to that later.

She plays Hannah, a former fire jumper – they get parachuted in to the most perilous of situations to try and stop or divert the path of the inferno. She is suffering PTSD after an ill-defined incident which caused her to blame herself for the deaths of three children, even though everyone says there is nothing she could have done. She has been invalided out to a job on the aforementioned tower, watching for smoke that would indicate a fire under way. Separately, forensic accountant Owen Casserly is on the run, because he Knows Too Much, and is ;ooking to hide out with his relation, local sheriff Ethan Sawyer. On the way, he is ambushed, but gives the evidence to his young son, Connor (Little). He runs off into the forest, and is found by Hannah. However, the assassins (Bernthal + Gillen) are keen to tidy up the loose end represented by the boy.

It takes almost 40 minutes for Connor and Hannah to first meet, and it’s well after that before things really kick off. A fire started by the killer as a diversion has become a raging conflagration, which our heroine and her new-found purpose in life have to handle, as well as those hunting them. They do have help, in the shape of Ethan’s wife, Allison (Medina Senghore), who just so happens to run a survival school, and is remarkably athletic for also being six months pregnant. As mentioned, she arguably does more in the way of direct action than Hannah, getting the better of the killers on at least two occasions.

In addition to my disappointment with the star only really getting her hands dirty at the climax, I was also annoyed by Hannah’s PTSD, which is of the cinematic variety. By this I mean, it exists purely for dramatic purposes, and evaporates entirely at the moments when the plot needs her to act competently. Apparently, all you need to do to cure PTSD is pull yourself together, for the sake of an unaccompanied minor. I will say, some of the fire sequences are very well staged, and if forest flames genuinely move that fast, I have a whole new respect for those whose job it is to try and stop them. These sound technical aspects are not enough to negate a palpable sense of underwhelm.

Dir: Taylor Sheridan
Star: Angelina Jolie, Finn Little, Jon Bernthal, Aidan Gillen

Hollow in the Land

  By

★★★
“Hollow, I must be going…”

This feels like a Canadian version of Winter’s Bone; not that there’s anything necessarily wrong with this, it just results in a slight sense of deja vu. The Miller siblings are already pariahs in their small town. Their mother walked out on them, and father went to jail for a car accident which killed the son of the local sheriff. Brandon has become a teenage delinquent, whom his sister Alison (Agron) is trying to keep from going off the rails entirely. And she’s a lesbian, so isn’t exactly popular either. After the father of Brandon’s girlfriend turns up dead, he vanishes, becoming suspect #1. Alison can’t believe he’s that bad, so goes looking for him. In the process, helped by a sympathetic deputy (Ashmore), she begins to uncover a lot of unpleasant secrets – things the town would much prefer stayed buried.

For the majority of this, it likely fell short of qualifying for the site. Alison has an undeniable persistence, certainly, and her unwavering loyalty to her brother is also laudable. However, the closer she gets to the truth, the greater the importance of physical action becomes. The likely turning point comes when she is out in the woods, and comes across the body of someone who has been shot. The shooter is still nearby, and has Alison in his sights. Thereafter, following an amusing encounter with a pair of female marijuana growers, it becomes clear that talk is no longer getting it done, and it’s time for her to take action. Anyone who says, “Violence isn’t a solution” won’t be happy with the results. But that’s why the film is getting reviewed here!

It’s a very good performance from Agron, who takes a spiky character and makes her easy to like and root for. Alison is someone to whom life has not dealt an easy hand, yet she still persists in trying to do the right thing, in particular towards Brandon. It would certainly be easier, and perhaps even justifiable, for her just to throw up her hands and walk away, leaving him to the consequences of his actions. That unrelenting sense of family is the reason I applied the “mother” tag to this one, even though she’s his sister.

My main issues are likely to do with the plot, which seems to have a number of weaknesses. The biggest one is the identity of the actual murderer. Their motivation fell some way short of feeling compelling, and as a result, their actions seemed more contrived, than flowing naturally out of their situation. There’s also a certain repetitive approach, especially in the front two-thirds, up until the woods incident mentioned above. Seeing Alison approach other residents, and get told to go away, in less polite terms, does get a bit old. And, for Canada, there seem to be a lot of guns around… However, Agron’s performance is enough to hold together this slice of small-town noir, and makes it worth sticking around for the (likely inevitable) bloody finale.

Dir: Scooter Corkle
Star: Dianna Agron, Shawn Ashmore, Rachelle Lefevre, Michael Rogers

Range Runners

  By

★★
“The loneliness of the long-distance runner”

Mel (Cooper) is engaged on a project of running the Appalachian Trail (or a convincing facsimile thereof), with some help from her sister, who meets her at various points to provide support and fresh supplies. Mel is currently on her own, starting an eight-day section of the hike where she’ll be out of contact. However, she bumps into a couple of suspicious characters, deep in the woods: Wayland (Leonard) and his partner, Jared (Woods). Initially, it seems like a creepy, but one-off random meeting. It turns out to be considerably more and subsequent encounters escalate, until Mel is sent plummeting over the edge of a drop-off, badly injuring her leg, but in possession of something very important to Wayland and Jared. Will she be able to escape her pursuers and make it to safety?

A good chunk of this effectively takes place inside the heroine’s head, as she pushes through the forest. There are flashbacks, in particular, to her youth when she was an athlete in training, being coached by her father. His approach was very much one of tough love, with the emphasis on “tough”, and a fondness for aphorisms, such as “[Your body] doesn’t tell you what to do, it’s the other way around.” It seems to have done the trick, giving Mel the mental toughness necessary to cope with the situation. However, it doesn’t exactly make for thrilling cinema, and considering the film runs 112 minutes, a little of this kind of thing goes a long way.

This is nicely photographed, it must be said, and the wooded location is used effectively, setting up a world in which a threat conceivably lurks behind every trunk and branch. The issues are much more with the plot, which fails on a number of levels. Not least, is the lack of motivation given to the villains, whose presence and actions are never well-defined, beyond being required in order for the plot to reach its (entirely predictable) conclusion. There are few if any surprises along the way. Even when the film tries to make you believe Mel has found sanctuary, anyone who has seen any wilderness survival films, will basically be waiting for that not to be the case.

By the time you filter out what’s unnecessary, and what doesn’t work, there’s probably not much more than 45 minutes of decent content to be found here. Rather than it being Mel vs. Wayland + Jared, it’s more a case of Mel vs. herself, or at least her own doubts and emotional baggage. The finale is decent, pitting our wounded athlete against the pair, and proves rather more satisfactory than most of what has been seen to this point. It’s an example of a film where the destination proves better than the journey to get there. Depending on your view, this may or may not be a suitable parallel to hiking the Appalachian Trail…

Dir: Philip S. Plowden
Star: Celeste M Cooper, Sean Patrick Leonard, Michael B. Woods, Sarah Charipar