Tag: USA

Everything Everywhere All at Once

  By

★★★½
“I’d have settled for two of three.”

This has been a long, long time coming. I’ve been a fan of Yeoh since seeing her Hong Kong starring debut, Yes, Madam, which came out all the way back in 1985. Over the years since, her career has had its ups and downs, including complete retirement after her marriage in the late eighties. She returned, and is the only actress to have appeared in two movies rated five stars here: Heroic Trio and Crouching Tiger, Hidden Dragon. But her career in Hollywood has been limited to sterling support roles, in both movies and television, encompassing everything from Bond film Tomorrow Never Dies through Star Trek: Discovery to Crazy Rich Asians. A starring role, appropriate to her talents, never seemed to come along. 

Until now. Thirty-seven years after Yes, Madam, and at the age of 59, this film finally puts Yeoh where she deserves to be: front and centre. Yet, perhaps partly due to how long I’ve been waiting for this, I must confess to being a bit disappointed this is not a classic to match the titles listed above. Oh, it certainly has its moments, and Yeoh is as good as expected. However, its 139-minute running-time feels more a curse than a blessing. The concept at its core is almost infinite in scope, and I did feel the movie was trying to include all of it. Less could have been more, with a targetted approach preferable to the relentless overload adopted by the makers, which left me feeling as if I was drinking from a fire-hose.

The multiverses here literally rotate around Evelyn Wang (Yeoh), who runs a laundromat teetering on the edge of failure, with her husband, Waymond (Quan). Their marriage is also failing, her relationship with her daughter, Joy (Hsu) is on rocky ground, and she has to go to an appointment with hard-ass IRS tax auditor Deirdre Beaubeirdra (Curtis). The last is where things kick off, as she is visited by a Waymond from an alternate universe, who tells Evelyn she is the only hope of foiling the evil Jobu Tupaki. That’s an alternate Joy, who has gone insane and created a black hole-like vortex which could destroy all the multiverses. Fortunately, Evelyn’s abject failings at life give her the ability to tap into all the skills and knowledge of the other, better versions of herself.

Like I said: almost infinite in scope. Apparently, co-writer/director Kwan was diagnosed with ADHD during the creative process: to be frank, it shows. While the imagination on view is admirable, the film bounces about between ideas at a ferocious rate, almost regardless of whether they deserve it. We spend an inordinate amount of time in a multiverse where everyone has long, floppy fingers. Yet there is also buttplug-fu, which is an example of the movie going places you’d never have expected could be so entertaining. Or a lengthy, surprisingly engrossing, scene in which two rocks in an otherwise lifeless multiverse have a conversation in captions. Because why not?

To the film’s credit, it never abandons its characters, and that helps keep it grounded. Albeit only just, on occasion the movie standing on its tippy-toes as it tries desperately to avoid being blown away by its own excesses. It’s perhaps telling that, despite all the film’s visual bluster, the most effective moment for me was among the simplest, one character telling another, “In another life, I would’ve been happy just doing laundry and taxes with you.” As such, Yeoh is the story’s heart, and gets to demonstrate her unquestionable acting talent. It has been fascinating to see the development of that, especially considering her lack of not just experience but any formal training. I mean, she first entered the field close to four decades ago, as a former Miss World contestant. How many of them eventually go on to get talk of an Oscar?

It’s as a result of this that I kept watching the film, because I genuinely cared what happened to Evelyn. I wanted to see her figure it all out and make peace with the various forces trying to tear her humdrum life apart. From that angle, it’s close to soap-opera, albeit an unusually effective one. Except, of course, the means by which that peace is potentially achieved, includes multiverse hopping, and fighting an evil version of your own daughter, who wields a gurgling plughole of doom. It’s the overlap between the mundane and bizarre where this finds its own voice. The problem is, it tries too hard to live up to the title. Sure, give us everything, everywhere. I’d just rather it hadn’t done so, all at once.

Yet, similarly, it leaves an awful lot of potential on the table. Why is kung-fu virtually the only talent Evelyn uses? Tap into a universe where she’s a cab driver, and give us an epic car-chase. Or the one where she’s a cat-burglar, for heist purposes. It’s not hard to come up with a dozen such threads. Perhaps the makers were constrained by their budget, a relatively cheap $25 million – less than Crazy Rich Asians. They do an admirable job of squeezing value out of it; again, the sheer pace probably helps, with your brain trying so desperately to keep up, it’s hard-pushed to pay attention to any of the finer details.

But I’m glad I won’t go to my grave with my final paid cinematic experience being Terminator: Dark Fate. [Though the two Neanderthals beside us, talking loudly and checking their phones throughout, really make me think we are done with theatres] The Daniels deserve credit for the obvious invention displayed, and this is the kind of original property I’m happy to support, over another sequel and/or shitty comic adaptation. I also must mention the supporting cast, who are uniformly great, particularly Hsu as both aggravated daughter and multiiverse threatening villainess [There’s also a cameo by another eighties Hong Kong action actress, Michiko Nishiwaki. Maybe she’ll get her own movie next?]. That it stars one of the most under-rated actresses in Hollywood, finally getting the opportunity she deserves, is alone reason enough to see this. Just don’t expect too much.

Dir: Dan Kwan, Daniel Scheinert
Star: Michelle Yeoh, Stephanie Hsu, Ke Huy Quan, Jamie Lee Curtis

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

Omega1

  By

★½
“Motion without emotion. “

It probably didn’t help that I watched this the same day as I finished off the slick, well-animated and occasionally downright beautiful Arcane. This is… not any of those. Well, that’s a bit unfair. The artwork in this “motion comic” is actually not bad (the cover, right, is certainly striking, if not exactly representative!). But being taken off the printed page diminishes the impact considerably, especially when combined with some genuinely terrible voice acting. The setting here is… let’s be honest, it’s Johnny Mnemonic, a good cyberpunk novel by William Gibson that became a not-so-good Keanu Reeves movie. In both worlds, data is now transferred in the heads of human couriers, this being deemed safer than online methods which are vulnerable to hackers. Megan is one such courier, capable of defending her cargo with extreme prejudice.

Except, it turns out there’s considerably more to her past than even she knows, as becomes clear after a client tries to assassinate her. Thereafter, things get increasingly complex, with a host of friends, enemies, enemies pretending to be friends, and a slew of Alphas, which are clones based on the DNA of Meg, a.k.a. Omega. It’s all a) rather confusing, and b) not very interesting. Though it’s a bit of a vicious cycle. b) triggers an attention deficit, which acts as a force multiplier on a), then this feeds back into b). I actually did give up about two-thirds of the way through. But much like Battered, the short running time (53 mins here) was its saving grace. Realizing there were barely 15 mins left, I put it back on. Though I will not be taking questions on plot developments in that final section. 

The structure here is also off-putting, with the story separated into episodes, no longer than five minutes, which interrupts the flow in an annoying and pointless fashion. Just tell the damn story. But my biggest gripe was the voices, though Andrei as Omega isn’t the problem. It’s a supporting cast who could, almost universally, be replaced by a speech-to-text program, with positive results. And that’s not even mentioning the bad, fake foreign accents, e.g. Russian (or maybe it was French. Hard to tell) and Spanish. Considering there’s not even lip-synching to consider, in this unanimated format, it’s a poor effort indeed.

Maybe it’s just me. Perhaps I need to watch one of these every few years, to be reminded of how crappy the motion comic concept is. For on the basis of this, it seems to combine the worst elements of both comic books and animation. However, it may not be fair to judge the whole medium, on the basis of what seems a badly executed example. There were a couple of moments where the conversion process was reasonabe, and the effect of the comic panels came through as adequately realized. But overall, this was a poor excuse for entertainment. The “To be continued” caption at the end, seemed more like a threat than a promise. 

Dir: Mark Edward Lewis
Star (voice): Alina Andrei, Mark Edward Lewis, Jan Shiva, Teresa Noreen

The Sword of Monte Cristo

  By

★★★
“Raiders of the Lost Monte Cristo Ark”

This 1951 movie is a bit clichéd. But then one has to consider that a lot of these weren’t clichés at the time the movie was made. That said, you will find everything here that you might expect from such a movie: A good king, his evil scheming brother who wants his throne, a dashing captain who has his way with the ladies, revolting citizens, a hidden treasure and a beautiful lady.

Though, and this is where the film diverts from the usual formula, said lady is actually the hero. Countess Christianne (Corday) is supporting the oppressed farmers and citizens against the dictatorship of King Louis Napoléon (the II. or the III.? I don’t know.) in 1858. But truth is Louis (David Bond) is not the real villain here, he was placed in the position of the king due to his brother, Charles LaRoche (Kroeger), because only someone named Napoleon was entitled to become king. LaRoche is the one who’s actual actions terrorize the people.

In secret, LaRoche is planning to overthrow Louis’ government and replace his ministers with people who serve and obey him. Lady Christianne wants to use the famous treasure of the Count of Monte Cristo (who was a friend of her late father) to finance the revolution, since the citizens and farmers have no means to buy weapons. When LaRoche finds out about that treasure, he imprisons Christianne’s uncle and tries to find out the secret code (embedded in Monte Cristo’s famous sword) that will lead him to the treasure.

Well, this is definitely not an adaptation of the Count of Monte Cristo novel by Alexandre Dumas as the title claims. As a matter of fact, it just uses the famous name, probably hoping to dupe audiences into believing they would see something based on the literary source. Casual name dropping is so much fun (e. g. Lady Christianne has a very big dog that she calls “Richelieu”!). It’s of course a typical product of its time, somewhere between the pirate movies, that were already on their way out of Hollywood, and before the glut of biblical epics that would soon invade the silver screens.

In Germany we call that genre “coat and sword“, I think in English it’s being called “cloak and dagger“? [Jim: I think those are more like spy movies: these would be… swashbucklers?] At that time these kind of historical adventure movies were very much en vogue. In 1948 The Three Musketeers with Gene Kelly had come out, and in 1952 Stewart Granger cemented his star status with Scaramouche. What makes this film stand out (and qualifies it for inclusion on this site) is the already mentioned fact that “Countess Christianne“ is the main hero here. In dark garb, she rides through the night, persuading the citizens who have almost given up on their revolt to continue the good fight, and appears with her large black hat and mask like a female version of Zorro.

Yes, the movie can’t entirely escape the attitudes of its time: There is the dashing charming Captain Renault (Montgomery) who, in a running gag, can’t for the life of him remember the name of the bar maid, with whom he obviously once had an affair. He seemed to have had quite a number of them. And of course, he’s attracted to Lady Christianne.

When he enters her private rooms, after she has just redressed as her normal self again, he takes – unasked – a seat and puts his shoes on the table. He also forces a kiss on Lady Christianne. When she snaps, “You don’t behave like a gentlemen should!“ he answers, “Well, you don’t behave like a woman should!“ You are left a bit baffled wondering how women in 1951 were supposed to behave when being kissed involuntarily, by an unknown stranger, who just entered your home through the window? But then even her nanny seems to agree (“A young lady shouldn’t run away from a man, she should catch one!”). How things have changed since that time!

Though, the Captain (to whom Lady Christianne is of course attracted to) is not really on the side of evil LaRoche. He is just bound by duty and will, in the end fight, and kill LaRoche as you expect from a man in love with the beautiful lady. So there is hope for this guy! The movie’s budget and time must have been very limited. Essentially, the feeling is you have just 4-6 locations, with one being the local pub, another the home of Christianne and her uncle, and one some grass fields with a bit of woods between those. But the movie never gets boring. Though it’s from 1951 it has enough movement, dynamic and intrigue to keep your interest through its short 76-minute run time.

Countess Christianne does enough riding, fencing and chandelier-swinging to be rightfully included in the genre of female action heroines. Yes, she is not alone: Captain Renault comes across like a second-class Errol Flynn, supporting her and hinting as to her “true motives“ for cross-dressing and fighting (“You don’t fight against the king! I think, you are fighting against your female nature!“). Though Renault kills the big bad, she still has a mind of her own, riding with the Royal dragoons and killing off LaRoche’s right-hand man, Major Nicolet (Conrad).

I don’t know any of the actors in this historical adventure movie: Rita Corday was only in movies for a short time, from 1943–1954. On the other hand, Montgomery (of whom I’ve also never heard) had a very long movie career from the early 30’s to somewhere in the 80s. The only actor I recognize is William Conrad (playing the supporting role of Major Nicolet) who would later become a well-known TV-star thanks to his many series (Cannon, Nero Wolfe, Jake & McCabe). Here he is quite young but appears in good form when fencing.

Overall, Sword of Monte Cristo is a nice little classic movie that doesn’t hurt, yet isn’t a “must-see“. But considering the era it was produced in, it’s noteworthy: how many genre films do you know from this time where a female would be the main character? Though, it’s still no match for Anne of the Indies, which came out the same year.

Dir: Maurice Geraghty
Star: Rita Corday, George Montgomery, Berry Kroeger, William Conrad

Goodbye Honey

  By

★½
“Trucking terribly written.”

There is a good concept here. Unfortunately, rarely have I seen an idea so conspicuously derailed by dreadful execution. Let’s not get ahead of ourselves though, and begin by focusing on the positives here. Dawn (Morgan) is a truck driver who is on a cross-country route, and pulls off the road into a remote, wooded location for an obligatory rest stop. Barely has she come to a halt, when a terrified young woman, Phoebe (Gobin), shows up outside her cab, demanding help. She claims to have been abducted, and been held nearby. But she managed to escape from her kidnapper, who is now hot on her heels, with evil intentions. However, is the new arrival speaking the truth or is she dangerously deranged?

It’s safe to say, you have my attention with this set-up, and Morgan is nicely unarchetypal as an action heroine, both in her middle-age, and a world-worn appearance which is about as unglamourous as you could imagine. She’s likely the best thing about this, and her performance was good enough to stop the whole thing from imploding entirely. This matters, because the script appears almost intentionally crafted to wreck any suspense or interest, resulting from both the premise or the lead performance. Within a few minutes of Phoebe’s arrival, Dawn has lost the keys to the truck and had her phone broken. Given the character is intended to be a highly competent, no-nonsense sort, this just doesn’t work. 

There are then two major mis-steps in terms of story-telling. A pair of stoner dudes show up, and the film grinds to a halt as Dawn has to deal with them. It’s painfully obvious they have nothing at all to do with Phoebe’s situation, and it’s embarrassing how shallow the writing for them is. Then, after they have mercifully departed the film, we get a lengthy, entirely superfluous flashback, telling us in detail how Phoebe was abducted, and what life was like in the cellar where she was kept for months. Guess what? We don’t care. It doesn’t matter, and adds nothing at all to the situation at hand. The final straw is the revelation of a connection between Dawn and the kidnapper, Cass (Kelly), which completely defies belief. I may have snorted derisively.

Inevitably it leads to him showing up and a confrontation between him and Dawn, where we learn the truth about Phoebe’s claims. Guess what v2.0? By this point, I didn’t care about then either. The film was on the screen, and I was looking in its general direction. But it would be a stretch to say I was paying any kind of attention, There is something to be said for a low-budget film cautiously writing its story within the limitation of what can be afforded: here, that’s a truck and a forest. However, the failure to convert that into anything meaningful or interesting thereafter, must also be laid at the door of the writers. 

Dir: Max Strand
Star: Pamela Jayne Morgan, Juliette Alice Gobin, Paul C. Kelly, Peyton Michelle Edwards

The Assault

  By

★★★★
“Assault on Shelter 13”

This was a very pleasant surprise. I wasn’t expecting much from this, especially after seeing Wynorski’s name – let’s be honest, he is best known for bargain basement soft-port. That said, he does occasionally hit one out of the park, such as the sublime Deathstalker II. This is definitely one of his better entries, even if it is, by and large, a low-budget version of Assault on Precinct 13.

Lisa Wilks (Ryan) witnesses the murder of her boyfriend by mob boss Blade, but is too scared to testify. Stacie (Randall), a detective on the force. is told to take care of her, and when Lisa says she’s too scared to go home, takes her to an isolated women’s shelter run by Stacie’s sister, Cindy (Dobro). However, Blade is intent on making sure Lisa doesn’t change her mind and sends his minions to storm the shelter and terminate the threat. However, he reckons without the pluck and resilience of the residents, bolstered by Stacie, as well as ex-army maintenance man, Mike (McCoy).

This has its share of questionable moments. The firing of a good twenty bullets from a hand-gun without reloading would be one, and then’s there’s the supposed two-minute countdown to the climactic explosion, which takes closer to six minutes to happen [I know, because I rewound and timed it]. But there’s a breezy energy which I found highly enjoyable, and the characters, if briefly sketched, are effectively drawn. For example, Toni (co-writer Melissa Brasselle) plays a Latina with a grudge against Stacie, for putting her boyfriend in jail. Or there’s Sandahl Bergman from Conan the Barbarian, as a paranoid schizophrenic, convinced the government is out to get her.

These are simple traits, yet prove entirely usable for plot purposes. We don’t need or want much more than this – it’d only get in the way of the action. There’s certainly no shortage of that, with wave upon wave of faceless minions storming the house, as the inhabitants try to board it up and repel any who make it through their barricades. At points, it feels almost like Night of the Living Debbies, with the thugs playing the role of the zombies. This being a Wynorski movie, there is the contractually obligated strip-club scene. However, showing unexpected restraint to keep its PG-13 certificate, the employees go no further than their undies, and are even strippers necessary to the plot, as that’s where we first meet Stacie, working undercover to expose a protection scam.

You do have to take as read the casual approach for the authorities, the first hour spent dispatching a apparently procession of cop cars into the area, who then either fail to notice anything, or vanish off the grid – because they’ve been mown down. Blade’s tactics, too, seem a bit questionable, especially considering how out-gunned the women are. But as a PG-13 actioner, I found this thoroughly entertaining, moving relentlessly forward, and making the very most of its limited resources.

Dir: Jim Wynorski
Star: Stacie Randall, Matt McCoy, Carrie Dobro, Leslie Ryan

Confessions of a Homicidal Prostitute: Demonatrix

  By

★½
“Nice title. Shame about the film.”

I must confess I have not seen Confessions of a Homicidal Prostitute, to which this is a sequel. It’s marginally possible, I suppose, that the character development, story and nuance were present there, and explain why these are all but entirely absent in its successor. I would not, however, be prepared to bet on it. I suspect the original was every bit as mean-spirited as this: and “suspect” is all I’ll ever do, because I won’t be making any effort to track it down. In fact, I probably wouldn’t watch it if my aged mother begged me to on her death-bed. Too harsh? Perhaps. Yet I don’t think I’ve ever seen a flat-out uglier film, in terms of largely repellent people being extremely unpleasant to one another, shot in a way that exacerbates its grimness. In its defence, that may be the point. Again: may. It could also just be torture porn of the lowest-rent kind.

From what I can gather, Lilith (Baun) is the titular hooker; I’m not sure if the weird contact lens she wears in one eye is a tribute to Christina Lindberg and her eye-patch in Thriller: A Cruel Picture? Anyway, she apparently got pushed over the mental edge by abuse, and responded to violence with violence. Here, she introduces gal pal and fellow prostitute Eve (Shenk) to the lair where Lilith carries out her torture and slaying. Eve is remarkably blasé about the whole, potential “accessory after the fact” thing, and politely declines to get involved, saying “I don’t think I could stomach it… Not for me!” This reluctance lasts about 30 minutes into the film, where she gets brutalized by the vicious Jackson (McGinnis). All of a sudden, she’s rather more gung-ho, a tendency encouraged by Lilith (“The empowerment you feel after you kill this bastard, will be indescribable”). After initially both being caught and tortured by Jackson, the pair are able to turn the tables on their captor, taking their revenge and sodomizing him with a metal pole.

They then begin a two-woman killing spree, washing the scum off the streets. There’s a montage sequence here, which is quite effective, and rescues the film from receiving the dreaded one-star rating. But otherwise, we’re dealing with content which is cheap and poorly-executed, and possesses little or no emotional impact at all. Weirdly, given the topic and grindhouse-oriented title, the only nudity present is extremely fake penises being abused. Otherwise, it’s remarkably chaste. Though, to be honest, I’m fine with the lead actresses keeping their clothes on. No worries there. I’m good. With special effects that are largely unconvincing, this doesn’t even work as a gore flick, and there’s no sense of development of plot or characters. I got to the end with no sense of.. well, anything. I was neither entertained, educated or appalled. Overall, it’s the kind of film where I wonder if I’ve spent more time writing this review, than was actually spent making the movie.

Dir: Emir Skalonja
Star: Casey Baun, Krystal Shenk, Paul McGinnis, Richard Ruiz

Loss Prevention

  By

★★★½
“Missing this would be your loss”

After a series of recent films which… well, let’s just say, left a little to be desired, it was a real palate-cleansing pleasure to encounter this. Oh, make no mistake: this is no classic. But, considering the budget was supposedly under $20,000, this operates within its limitations very nicely. The makers sticks to what they can do, and what it does, it does more than adequately. In particular, the movie is populated with a good number of interesting characters, that are fun to watch. The central one is Nik (Uhl), a young woman who dropped out of college and is now scraping by, working behind the bar at The Soggy Weasel, the pub belonging to her father (former wrestler Snow).

However, her slackerish lifestyle is rudely interrupted when one patron drinks too much, and has to be separated from his keys. Unfortunately, the key-chain also holds a flash drive of industrial espionage data, which he was supposed to hand over to Boland (Wells), the operative of a rival company. Boland is unimpressed, and will go to any lengths to retrieve it, providing the bottom line is deemed sufficiently profitable. Fortunately for Nik, also on hand is Brooke (Albert), a thoroughly competent operative of the company who is the data’s rightful owner, and she takes on the defense of Nik and her father. Not that Nik is averse to getting her own hands dirty, as things turn out.

It does take a little while for things to kick off, as we get introduced to the characters. Nik is more than slightly sarcastic, so can only be respected as such, and also a thoroughly unrepentant lesbian – both combine in an entirely unrepeatable comment about breath mints. But Hollywood could learn a lot about depicting sexual identity from this, which makes absolutely no attempt at moral posturing in this area. Instead, it’s far too busy providing a fast-paced gallop around the city of Louisville, ending up in Brooke and Nik mounting an assault on the headquarters where Boland is holding her father hostage. Yet there’s a twist or two to come, with things not quite ending in the massive firefight you’d expect – another way in which this manages to confound expectations.

In its depiction of corporate warfare, this is rather sophisticated for a low-budget action flick. In particular, Boland’s actions are entirely determined by an accounting of the expected profits and loss. For instance, is it cheaper to buy someone off, or kill them, with all the resulting collateral expenses? It absolutely is not personal with him, just a question of what will balance the books most profitably. The same is true, to a slightly lesser degree, for Brooke – if I heard a late line of dialogue correctly, her surname in the film is Shields! This is an approach which plays into the unexpected finale, when Nik comes up with a solution which satisfies everybody. Well, almost everybody… This has not one, but two, action heroines who are fun to watch, and was considerably better than I expected

Dir: Brian Cunningham, Matt Niehoff
Star: Abisha Uhl, Al Snow, John Wells, Lauren Albert

Suga Babies

  By

★½
“The drugs do work”

As usual, I begin with the normal disclaimer, that I’m about as far from the target audience as you could imagine. For this is an inner-city story about a drug war between three rival gangs in South Carolina: the Guardians, the Dynasty and the GeeChees. That said, however, there have been other films, with not dissimilar themes, which I have enjoyed. Most obviously, I am not the target audience for Pam Grier’s seventies output either. But those still kick ass. Even among the modern entries, there have been ones like Candy, which have felt authentic in their depiction of urban life. This, on the other hand, feels more like a no-budget hip-hop video.

About the main positive is that nobody makes a particular fuss about the Guardians being an all-girl gang, under the loose leadership of Naomi (Mott). They’re just part of the landscape, and everyone accepts that. The cause of the war is a new drug called sugar. In an odd twist, this actually makes people who take it better. We are told it literally cures cancer. I genuinely LOL’d at that. However, the interest of the authorities is limited to a spokesman for Big Pharma, who expresses concern at the street muscling in on “their” turf. It might have been interesting if it turned out Big Pharma had secretly released the drug to the GeeChees for distribution, as a test of its effectiveness. Sadly, not much is done with the concept, with this largely being an excuse for more black-on-black crime.

Indeed, that social crisis is expressly referenced during one of the multiple sequences of “The Buzz”, some chat-show. These really add very little, and the same goes for the supposed “courtroom” scenes. As well as being woefully unconvincing, I don’t think I ever worked out quite who was on trial, or for what. It’s all horribly disjointed, for example a lengthy scene that’s just multiple people picking up drugs from a motel room. Add in sequences which genuinely are no-budget music videos, and the dramatic pickings became painfully thin. There’s just one scene that has any impact. Mouse (McCoy) gets picked up by the Guardians and is found to be dealing sugar for the GeeChees. Her impassioned explanation that she did so because sugar helped her family, is certainly the movie’s emotional high-point.

According to the IMDb, the director had made eight feature films since her first in 2020. That’s an admirable work ethic, to be sure. But I can’t help thinking that churning out fewer movies might lead to an increase in their quality, because this definitely feels rushed, in almost every aspect. Maybe this is what the target audience wants? But it would be patronizing to believe their standards can be satisfied with this kind of thing. On the other hand, this wasn’t even the worst thing I watched today (hello, Battered), at least reaching a bare minimum of technical competence. However, that’s scant praise for any movie.

Dir: Felicia Rivers
Star: Diamond Mott, Patrice Jennings, Shakeela Koffey Scott, Samantha McCoy

Battered

  By

★
“Of unsound mind.”

My first surprise here was that this clocks in at a crisp 44 minutes. That’s an awkward length for any film: too short to be a feature, but most festivals that accept short films will balk at a submission of that length, when the time could instead be used to accept three x 15-minute entries [as someone who runs a festival, this is definitely a consideration]. Quite how this got distribution, I’m therefore not sure; but there it was, sitting on Amazon Prime. However, less than two minutes into the viewing experience, I found myself thanking my stars the running time was so brief. Because this is hamstrung by the worst audio I’ve seen on any film in several years. When even an envelope being opened sounds like a burst of automatic gunfire, you’ve got a problem, and there’s hardly a scene here where this aspect is not bad enough, as to be an unbearable distraction.

It is something of a shame, since it has at least the germ of a decent idea. Piper (Paris) is in an abusive relationship, one that ends up with her being sent to hospital. On her release, she joins a support group for similarly battered women, who share video diaries, as part of the healing process. However, revenge eventually becomes part of their therapeutic activities, taking out their anger on the men who abused them, and these prove viral successes. There is potential for exploration here, not least in the way social media can create and inflame a lynch mob mentality – with the potential for it to spill over into the physical world too. Of course, for that exploration to work, you’d firstly have to be able to tolerate dialogue which sounds like it was recorded either in a wind-tunnel or a diving chamber. Not helping matters: characters that might harbour dreams of some day developing and blossoming into shallow stereotypes. And that’s just the women. Do not get me started on the men.

Then there’s a philosophical argument to be had here. We can all agree it’s wrong for men to beat up women. But this movie seems to make the claim – without much in the way of counterpoints being made – that it’s perfectly fine for women to beat up men. Because social justice. Or #MeToo. Or something, it’s unclear. This could be a viable approach, even without coherent and explicit debate, if the film engaged the lizard brain, and made the violence justifiable, even on a visceral level. Yet it fails to do that either. Instead we get a number of scenes which frankly border on the exploitative, offering a dubious counterpoint to the female empowerment narrative being pushed. Ugly camerawork and performances that, at best, do little more than propel forward the story, are other aspects which left me underwhelmed. It also ends in an abrupt and unsatisfying manner, as if Leslie eventually realized this was going nowhere. Shame it took him 44 minutes to reach that point.

Dir: Lewis Leslie
Star: Mia Paris, Paula Marcenaro Solinger, Carly Jones, Heath C. Heine