Tag: USA

Mulan (2020)

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★★★
“The most expensive straight-to-video release ever.”

Okay, that’s perhaps a little unfair. When this began filming, back in August 2018, who could have predicted that the summer this year would be all but wiped out [seriously: the second quarter in North America, the total box-office was $4.8 million. Last year, the same period brought in $3.3 billion] As films scrambled to re-establish themselves, finding new slots for hopeful release, post-pandemic, there were inevitable casualties, as some were left without seats when the music stopped. Probably the biggest loser was the latest of Disney’s live-action adaptations, based on the beloved animated feature of 1998.

Despite a budget estimated at $200 million, it had the misfortune to be originally scheduled just before everything went to hell. Indeed, it even had its world premiere on March 9th, but the broader release was bumped, first to July, then August, before it was cancelled as a theatrical release in the United States, instead being used as a pay-per-view title on Disney’s streaming service, Disney+. Matters were likely not helped by online comments made by the film’s star against the anti-Chinese protests in Hong Kong, which triggered calls for a boycott of the film. It was notable, even before the film was commercially available, that the Google ratings of the film were largely 1/5 or 5/5, as competing armies of review bombers sought to skew the results to their desired outcome.

As with most things which provoke extreme reactions, the reality sits somewhere in the middle. This isn’t the first live-action adaptation of the legend I’ve seen. There was previously a 2009 adaptation from Hong Kong, starring Wei Zhao as Hua Mulan. Our review of it concluded, “There’s a nice balance between the action and emotional aspects… Heavy is the head that wears the general’s helmet is the moral here, and it’s driven home effectively enough, thanks mostly to Zhao’s solid performance.” It merited 3½ stars, a little above this, though that may simply be due to the newest version being more directly compared to the animated version. That’s inevitable, especially when Disney have sampled songs from it into the new soundtrack.

And make no mistake: I love the animated version: to me, it’s the best of the “new wave” of Disney features which began with Beauty and the Beast. It has a huge emotional range, perhaps more than any other Disney film outside Pixar, and can switch on a dime, going from cheerful song to grim destruction without jarring. I will also say, this is the first I’ve seen in Disney’s live-action adaptations of their animated catalog. All the others seemed entirely redundant, but this one seemed to offer scope for a different take on the subject. It does deliver on this expectation, but I can’t help feeling that, overall, more was lost here than gained.

The live-action version certainly doesn’t manage the same breadth of emotion. For example, there are moments here which feel like they should be comic – except they’re just not funny. It’s a Very Serious tale [capitals used advisedly], almost to the point of solemn, with this Mulan at times feeling like a duty-driven automaton. It’s a thoroughly different portrayal, considering the story is almost identical. When the Chinese empire is threatened by Mongolians, under Böri Khan (Lee), the Emperor requires each family to provide one man to the army. Rather than succumb to an arranged marriage, Mulan (Liu) takes the place of her father in the draft. Though her ruse is eventually discovered, Mulan proves key to the defeat of the invaders.

This edition, however, has no musical numbers, no comic relief sidekick dragon and no romantic interest for Mulan in the shape of her commander [this was apparently excised for #MeToo reasons, but doing so ended up angering some in the GLBTQ community. Yes, apparently, Mulan/Li Shang gay ‘shipping is a thing. Who knew?] Instead, it adds Xianniang (Li), a sorceress who assists Khan, but who sees in Mulan a younger version of herself – someone forced to repress their abilities and true nature, in compliance with social norms. Their scenes have some potential in terms of dramatic conflict, but there just isn’t enough screen time for their relationship to have much impact.

It’s something the film needs, to overcome what it otherwise a distinct lack of emotion. Crouching Tiger showed a martial arts film can still connect to the viewer’s heart, and this never comes particularly close to doing so. The heroine here largely operates in a vacuum, as far as relationships go, even after her true identity is revealed. This may have been an issue recognized by the makers of the animated version. The presence of Eddie Murphy’s Mushu there now makes a great deal of sense, providing that necessary outlet, and acting as a foil for the heroine throughout her journey.

Yet, boy (or rather, girl), does it look nice. Outside of a couple of moments of slightly flaky CGI early on, such as the young Mulan jumping from a roof, this is a beautiful spectacle, clearly influenced by the likes of Hero in its use of colour. The action is well-choreographed; having Yen as leader of the Imperial army doesn’t exactly hurt, even if you wonder why he can’t defeat the invaders single-handed. After all, I’ve seen Ip Man… [Also in supporting roles, Jet Li plays the Emperor, and the matchmaker is Cheng Pei Pei, of Crouching Tiger, Hidden Dragon fame, but more relevantly here, was one of the first Hong Kong action heroines, in 1966’s Come Drink with Me] I’m definitely sorry we were robbed of the chance to see this on a big screen, as that’s the scale it deserves.

Most of the above was written within 24 hours of watching it, but now, with less than 72 hours having passed, I am seriously struggling to recall many particularly memorable moments. Overall, I can’t say I felt like the two hours were wasted, and it’s perfectly adequate as a big-budget, epic bit of wire-fu. Although, “perfectly adequate” feels like a disappointment, considering what I was hoping for, and this is not going to replace the 1998 film among my favorites, songs or no songs. 

Dir: Niki Caro
Star: Yifei Liu, Li Gong, Jason Scott Lee, Donnie Yen

Ready, Willing and Able

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★★★
“Puts the ‘able’ in disabled.”

This is certainly something of a novelty and/or a gimmick. But it’s none the less reasonably effective for it. Templeton – who is a woman, despite her first name, given to her after the character of Christopher Robin in the Winnie The Pooh books – suffered from polio as a young child. This left her with a badly damaged right leg; despite this, she pursued an acting career, and became a regular on soap The Young and the Restless for eight years. While I’ve seen a few disabled action heroes – Daredevil was blind – as far as disabled action heroines go, it’s basically her and Imperator Furiosa from Mad Max. And Charlize Theron wasn’t genuinely short an arm, so advantage Templeten. Though, sadly, she appears to have passed away in 2011.

She plays Samantha ‘Sam’ Martin, a former CIA agent who is confined to a wheelchair after a mission goes wrong. Back in civilian life, she goes for a job as the manager for at corporate security firm F.R.T.R.I.S. The owner, Lamont Vaughn (Steve DuMouchel), quickly terminates the interview without giving Sam a fair change. As revenge, she seeks to show how the company’s security sucks, by breaking into their HQ. Doing so, she finds evidence indicating that F.R.T.R.I.S are involved in shady business, involving chemical weapons. Attempts to alert the authorities go nowhere, so Sam puts together and leads a team of her old colleagues to find irrefutable evidence of Vaughn’s wrongdoing. However, the CEO quickly becomes aware of her efforts and takes countermeasures.

For the majority of the time, it plays considerably more like a TV movie than a genuine feature, to the point where you can almost see the commercial breaks. Just as I was certain of that, there is suddenly a gratuitous sequence where Sam meets one of her team in a bargain basement rock/strip-club. This, along with occasional spots of non-televisual language, suggest it was more likely straight-to-video. The most laudable thing is how Sam absolutely refuses to let her disability stop or even slow her down. She can take out a mugger or chase after an attacker – though I must admit, the sequence where she zip-lined off the roof of the F.R.T.R.I.S building, in her wheelchair, was probably a bit of a stretch.

The final third becomes more or less a single, extended set-piece, covering the team’s infiltration into the F.R.T.R.I.S lair, and subsequent battle with their operatives. Turns out, in a twist, someone with whom Sam is quite familiar is working for the other team, though I can’t say it’s a particularly stunning turn of events, dramatically speaking. It’s all handled competently enough, though again, is never able to achieve escape velocity from the gravity well of mediocrity. I’d probably rather have seen Sam going solo, and exercising more ingenuity and inventiveness rather than her having to rely on her colleagues as much as here. That said, it’s still something you won’t see every day.

Dir: Jenni Gold
Star: Christopher Templeton, Rus Blackwell, Steve DuMouchel, Mike Kalvoda

Nemesis 5: The New Model

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★½
“Left longing for the subtlety of Albert Pyun.”

It has been twenty years since Nemesis 4 apparently signalled the end of Pyun’s cyborg saga. I was therefore rather surprised when a fifth installment cropped up on my radar. Not directed by Pyun, admittedly, but he had given his blessing to it continuing under the guidance of Ferguson. It’s one of those things which probably seemed a good idea at the time, and there are elements that occasionally teeter on the edge of working. However, there’s far from enough content here, and the execution turns into into a fan film for the Nebraskan rivet-head community, with the severely limited appeal that implies. 

In the future, the Red Army Hammerheads are waging a war against the Los Angeles Police Department and their allies. Among the latter is Ari Frost (Craig), a part-human, part cyborg, who was trained in the ways of a warrior by Alex Sinclair (Price). That’s one of those nice elements, having the star of Part 4 show up to pass the torch on; seeing her was a bit like seeing Linda Hamilton pop up in the trailers for the new Terminator movie. Ari and her pals are being hunted by various elements of the R.A.H., dispatched by their leader (Novak), before she can stop them by… Well, you’ll have to watch it to find out. Which is code for “I completely lost interest and stopped paying attention.”

The director seems to think that slapping a random filter on the lens equates to art, and the complete lack of consistency between consecutive shots is enough to give you a migraine. The special effects are mostly bargain basement post work, though the Terminator-like android was decent enough, at least in comparison to most of the rest. The fight sequences leave a great deal to be desired, and the entire film grinds to a halt in the middle, for what amounts to a 20-minute promo film for local venue, the Zero Bar, including the least sexy go-go dancing in cinematic history. That’s a lot, considering the whole thing runs barely an hour between the lengthy opening text crawl of set-up, and equally extended closing credits. And apparently, after the apocalypse, the world will look like downtown Lincoln, Nebraska. Who knew?

Positives are hard to find here. The electronic soundtrack works quite well, including a surprising theme by Velvet Acid Christ, of whom I was well aware previously. Craig isn’t bad either, though when she’s acting alongside her predecessor, you realize that she’s desperately in need of the  sheer physical presence Price brings. Though again, apparently when people get cybernetic implants, they turn into refugees from Hot Topic. Even by the limited standards of what was already a bargain-bin science fiction franchise, this is scraping the bottom of the barrel. To be honest, it would probably have been better for all concerned if they’d left the franchise on the strange yet relatively high note which was the fourth installment.

Dir: Dustin Ferguson
Star: Schuylar Craig, Crystal Milani, Mel Novak, Sue Price

X-Men: Dark Phoenix

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★★★
“I’m SO confused…”

I can’t believe there have been seven X-Men movies now. I think the last I saw was the second, which came out in 2003. Since then, there seems to have been a lot of mutants under the bridge, so to speak – and, it appears, some jiggery-pokery with timelines. That’s the only way to explain the death early on in this origin story, of someone I’m fairly sure was in the films I saw, which took place later in the chronology. Still, all I can do is presume it makes sense if you’ve seen the whole series, and on that basis this was fine. Indeed, by coincidence. we watched this the same day as Black Panther – and if I didn’t already know, I’d be hard-pushed to tell you which was a cultural phenomenon, and which was among the biggest bombs of the year.

It is the first Marvel feature since Elektra with a female lead, so there’s that. In this case, it’s Jean Grey (Turner), who is taken under the wing of Charles Xavier (McAvoy) after losing her parents in a car-crash triggered by Jean’s psychic talents. She joins the rest of the X-Men – though as Raven (Jennifer Lawrence) puts it, “The women are always saving the men around here. You might wanna think about changing the name to X-Women.” On a mission to rescue the crew of a crippled Space Shuttle, she absorbs a cosmic energy blast. This makes her incredibly powerful, yet also unleashes her insecurities, a situation not helped after she discovers that Xavier has been more than economical with the truth. Meanwhile, a group of extra-terrestrials led by Vuk (Chastain) arrives, seeking to use Grey and her powers. It becomes a race between them and the X-Men to find the runaway Grey.

Push comes to shove, I probably enjoyed this slightly more than Black Panther. It seemed less concerned about making statements, and more about simply providing entertainment. As mentioned, I have to take all plot-logic as read, and also that there’s an explanation for the biggest number of blue people in a film since The Smurfs Movie. I was here simply for large-scale, visually slick imagery, things blowing up and epic fight scenes, and on that level, I can’t say I was disappointed. Sure, the characterizations were often little more than obvious [for example, Grey comes from the “disgruntled orphan” school of superheroes], and Chastain is sadly under-used; that whole “not blinking” thing is sublimely creepy.

Yet it’s hardly alone among comic-book movie, in these or its other flaws, and I couldn’t find anything to justify the dire box-office fate suffered. Sure, it’s never going to be mistaken for a classic, and as a (supposed) wrap-up to the franchise, is probably unsatisfying to ardent fans. However, I am not one of those. As somebody who hasn’t seen an X-Men movie for seventeen years, this was the kind of overblown spectacle I expected – and, truth be told was wanting. Having watched rather too many over-inflated genre entries of late, that seek to be Very Important, I was fine with just seeing subway trains getting hurled around city streets.

Dir: Simon Kinberg
Star: Sophie Turner, James McAvoy, Jessica Chastain, Michael Fassbender

Ava

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★★★
“Haywire. With baggage”

It has been a rough year for action heroines at the cinema. Actually, it has been a rough year for everyone everywhere, thanks to COVID-19. But for the purposes of this site, we have been sadly lacking the kind of tentpole releases which we usually write about over the summer. Wonder Woman 1984, for example, was to have come out in June. But with all venues bar the few remaining drive-ins closed, that was moved first to August, then October [and I don’t know about you, but I’m still not comfortable with the concept of cinema going]. Disney’s live-action version of Mulan opted to bypass theatres all together, and will instead be released on their streaming service.

Poor Ava is suffering a similar fate, going straight to video-on-demand in most places – except, bizarrely, in Hungary, according to Wikipedia. Certainly, given its rather high-powered cast, you would have expected better for this, in a normal world. It still, however, probably ranks as the biggest-profile action heroine movie of the year – at least for a few days until Mulan shows up. To be honest, though, it doesn’t do enough to justify that position. While Chastain is very good in the central role, it’s burdened down by too much drama to be effective, and comes over mostly like a soap-opera adaptation of Haywire.

Ava (Chastain) has overcome a troubled past to become an assassin for a murky intelligence agency, working for Duke (Malkovich). But she is increasingly questioning her work – indeed, literally doing so, having an unnerving habit of asking her targets why someone wants them killed. After a supposedly stealth operation in Saudi Arabia becomes not-so-stealthy, Duke’s protege, Simon (Farrell), takes matters into his own hands, bypassing Duke to put out a kill order on Ava. She’s none too pleased by this, obviously, and seeks to turn the tables on him.

The above paragraph is lean, mean and would have made for a perfectly decent movie. However, the script apparently decides it’s not enough – perhaps Chastain wanted something into which she could sink her dramatic teeth. For we get a whole slew of subplots and conflicts thrown on top. These include, but are not limited, to the following. Ava is a recovering alcoholic. Ava is estranged from her sister (Weixler). Ava had a previous relationship with her sister’s boyfriend, and there are still feelings there. He has a gambling problem. Ava caught her father having an affair, which led to her leaving home. It also caused Ava to break ties with her mother, played by Geena Davis.

It’s all too much, dragging down the plot. Say what you like about Haywire, you never cared that Mallory Kane didn’t have a compelling history, for the film was too busy moving forward to look back. This one spends too much time creating, and then having to tidy up, all these loose ends from Ava’s past. I just wasn’t interested. Though those scenes did give me time to imagine ways this could have worked better.  It would have been way cool if, at the end, Davis had thrown off her motherly trappings, revealed she also used to be a government assassin [perhaps actually being Samantha Caine, Geena’s character from The Long Kiss Goodnight], and teamed up with Ava to take down Simon.

This movie writing thing is a piece of cake.

Anyway, no such luck. The stuff between the drama is not bad, though I have some… questions about seeing the 66-year-old Malkovich going toe-to-toe with Farrell [ditto the 59-year-old Joan Chen and Chastain, actually] Or Farrell’s choice of facial hair and black turtleneck, which give him an unfortunate resemblance to 1930’s fascist, Sir Oswald Mosley. Or Simon’s decisions, including calling up Ava, apparently purely for taunting purposes, then going after her by himself, rather than first sending an escalating series of minions. If the movie hadn’t spent so much time dwelling on all of Ava’s drama, maybe we would have had time for such things.

Despite the relentless slagging delivered over the previous few paragraphs, this wasn’t actually too bad. The lead actress is the main reason why. If the film feels like a cinematic opposite of Anna, where the heroine was little more than a gun-carrying clothes-horse, Chastain is able to carry the weight of all those subplots, and deliver a complex character. She has played her share of action roles previously, perhaps most notably as far as we are concerned, in The Huntsman: Winter’s War, where we said she “kicks surprising amounts of butt.” Here, this aspect is front and centre, and she acquits herself well, even if her hand-to-hand combat against considerably larger opponents could have used a force equalizer or two more, for the sake of credibility.

Two scenes likely stand out. The first (and only!) attempt on her life by Simon’s minion, in a Paris park. And the final battle against him in her hotel bedroom [again, echoes of the similarly-located fight in Haywire between Gina Carano and Michael Fassbender]. Equal credit for those probably has to go to the ever-reliable Amy Johnston, star of Lady Bloodfight, who was Chastain’s stunt double for this. I should also mention Simon’s daughter, Camille, played by Diana Silvers. The ending, though somewhat conclusive, sets up a potential future Camille vs. Ava scenario, which I must confess, I would not mind seeing at all.

Overall, it is worth a look, though its insistence on trying to insert dramatic conflicts into a vehicle that doesn’t need them, becomes increasingly annoying as the movie progresses. When it’s not doing so, however, it is a slick, Bourne-like entity, providing a decent vehicle for Chastain to show off her action credentials. as well as her already-known acting skills. On that basis, it’s a shame I suspect it’s going to end up not being seen by too many people – thanks, Coronavirus! I hope that won’t put her off further exploration of our genre, as it can always use some more high-powered leads.

Dir: Tate Taylor
Star:  Jessica Chastain, John Malkovich, Colin Farrell, Jess Weixler 

Warrior Nun

  By

★★
“Nun-descript.”

There’s probably a decent movie in here. An interesting premise, occupying the nexus where religion and science cross, and some very effective hand-to-hand action sequences, would potentially have made for a decent 90 minutes of fun. The problem is, this actually runs for 10 x forty-minute episodes, and the result is stuffed so full of padding, that it could be used as a sofa. The nuns of the title are members of the Order of the Cruciform Sword, a group which has been fighting demonic entities for centuries. Chief among them is the bearer of the Halo, a divine relic which bestows its owner with great powers, including rapid healing and the ability to phase through solid objects.

When the current bearer of the Halo is killed in battle, it is embedded into another host. This is the corpse of Ava (Silva), a quadriplegic orphan who just happens to be in the wrong (or right, depending on your point of view) place at the wrong (or right, again) time. The Halo resurrects Ava and fixes her up, physically; but she’s certainly not mentally or spiritually prepared initially to become a nun and join the sisters of the OCS. However, her wants and needs are secondary to those of the Catholic Church, and there’s also high-tech company ARQ-Tech. Its CEO, Jillian Salvius. has built a trans-dimensional portal, using “divinium”, a mystical substance that can also be used to create weapons and armour for use by the OCS.

The above isn’t the problem. The issue is all the other stuff which gets added to it. For example, after her resurrection, Ava ends up becoming part of some kind of upper-class squatters’ movement, who jet-set around Europe, staying in unoccupied houses. I have no clue what the purpose of this was supposed to be. And, worse, neither does the show. The young, homeless hipsters basically vanish without trace in the second half, as if the writers realized it was a bad idea to begin with. Similarly, there’s an entire episode in which Ava and OCS colleague Shotgun Mary faff around the Spanish countryside for the duration. Really, after episode 1, you could skip the next five, while we go through the whole “reluctant heroine” thing we’ve seen all too often before.

We could have done with much less of all that, and more… Oh, I dunno: fighting demons, maybe? The action aspects generally seem underplayed, until a final mission where Ava and a small team break into the vaults beneath the Vatican, seeking a relic that… Well, let’s just say, doesn’t turn out to be quite what they expected. But until this gets under way, you might as well have it on in the background, and only pay attention when you hear the sound of fighting [here’s an example of the impressive quality I mean there]. And do not expect anything like a tidy ending either, the show instead delivering the most brutally abrupt of cliffhangers. But it probably says a lot that my reaction to it was mostly apathy.

Creator: Simon Barry
Star:  Alba Baptista, Toya Turner, Thekla Reuten, Lorena Andrea

Gone (2012)

  By

★★½
“But not ENTIRELY forgotten…”

The life of Jill Conway (Seyfried) is slowly returning to somewhat normal, following her abduction by a serial killer in the Pacific Northwest.  She was held in a forest pit, and barely managed to escape with her life. However, the lack of physical evidence and a history of mental health problems, helped cause the authorities not to believe her story. When Jill’s sister Molly vanishes, she’s certain the same killer is responsible, and when the police again fail to take her seriously, begins investigating herself. But when the cops find out this former mental patient is packing heat, Jill becomes a fugitive herself.

This largely falls into the category of competently forgettable. There’s precious little here that will stick in the mind either way, for positive or negative reasons. Seyfried is admirably feisty, refusing to let anything interfere with her single-minded goal of rescuing sis. This persistence and raw guts displayed make her previous escape from the psycho’s clutches that necessary bit more plausible. Post-abduction, Jill comes over as a little unhinged, and you can see why the police might find it difficult to believe some of her claims. Yet this actually works to the benefit of her investigation, because when she starts waving her gun around, you can understand why whoever the business end is pointed at, would be concerned.

There’s just precious little in the way of surprises here. For instance, we never doubt she was telling the truth about her previous experience, or that the killer is indeed real, despite her willingness to lie to anyone and everyone in pursuit of Molly. More ambivalence about this – heck, make Jill the killer in the end! – would at least have separated this from the slew of other “Is her brain making it all up or not?” thrillers. Might also have saved the director from having to resort to one of the oldest cliches in the book, the Cat Attack Scare. The lack of any meaningful background on the killer is also a problem, leaving him a vague threat of no particular intent: why does he dig a pit in the woods for his victims? Any film like this is always going to be compared, probably unfavourably, to Silence of the Lambs. But Jim a.k.a. “Digger” here, is definitely no Buffalo Bill.

This motivation matters, because some of his actions – which, unfortunately, I can’t detail in a non-spoilerish way – are hard to make sense of. I get he’s annoyed that Jill escaped him. But his plan to lure her back into the woods at the dead of night… It offers little a well-chloroformed rag would not have been able to accomplish, with considerably less fuss. The movie did just about succeed in holding my interest, and the lack of any romantic element for the heroine was pleasant. However, you won’t have to have delved very deep into the genre, to find example of this kind of thing, done considerably better.

Dir: Heitor Dhalia
Star: Amanda Seyfried, Daniel Sunjata, Jennifer Carpenter, Sebastian Stan

Sweet Justice (2009)

  By

★★
“In need of significant support.”

Four women run a charitable agency in Texas, helping single mothers track down and obtain child support payments from deadbeat dads. However, they don’t limit themselves to the simple serving of legal papers. The women adopt a more… hands-on approach, shall we say, first luring their targets in with the promise of sex, then threatening them at gunpoint, to make sure they pay up. For obvious reasons, the cops soon take interest in this string of unusual armed robberies. Meanwhile, the city’s white mayor, is dealing with a domestic crisis of her own, thanks to her daughter having had a child by (gasp!) a black man.

Y’know, woeful though this is in many ways, I actually somewhat respect the intent and the topic: at least its heart is in the right place. It seems like I have seen a lot of female vigilante films of late, and too many of them seem to descent into undiluted man-hating. This does a better job than most of avoiding that. There are times when the agency’s female clients are actually wrong, identifying the wrong man as their “baby daddy”, and some men are actually trying to do the right thing as well, such as the father of the mayor’s grandchild. It’s all considerably more even-handed than I expected, and does a decent job of highlighting just how screwed-up the current system is, failing almost everyone involved. However, social commentary, no matter how well-intentioned, is generally pretty low on the list of things I’m looking for on this site.

It doesn’t help that the execution is laughable in most regards, with few of those involved in front of the camera giving any indication of being genuine professionals. To be fair, the actresses generally come off slightly better than the “actors,” who appear to be a selection of wannabe rappers. But the story is ridiculously implausible as well, and morally dubious, too: is armed robbery really an appropriate and measured response to failure to pay child support? You’ll definitely have time to consider such things, during the many slacker-paced scenes. The cops are spectacularly incompetent too, though this is stupidity necessary to the plot, otherwise the vigilante squad would be locked up inside fifteen minutes. This perhaps therefore deserves slightly more slack.

There isn’t even any particular escalation or closure to be seen here. The sole thread which gets properly resolved involves the mayor, who eventually comes to terms with her grandchild’s parentage, and quits the re-election race in favour of her family. That’s nice. The vigilantes just continue on their serene way, as if this were some kind of pilot for a banal TV series. It all feels less like a coherent or interesting feature film, than an excuse for the director to hang out with a few of his pals and some local musicians. To anyone outside that clique, there’s little here of interest, and it’s certainly as forgettable as its remarkably generic title.

Dir: Arthur Muhammad
Star: Tammy Thomas, Reagan Gomez-Preston, Shannon Ashe, Z-RO
a.k.a. Black Angels

Gone by Dawn + Gone by Dawn 2: Dead by Dusk

  By

Gone by Dawn ★★★½
Gone by Dawn 2: Dead by Dusk ★★½
“Stripped to kill.”

I decided I might as well combine these two into a single review. Having watched them back-to-back, even though made and set three years apart, they felt very much like the continuation of a single story about the same characters. The main one is Roxy (Mele), who is a dancer at a Wisconsin strip-club run by the sleazy Stag (Therrien), mostly as a money-laundering front for local organized crime. When he and his pal rape an employee, Alana (Pearce), Roxy along with the victim and another dancer, Crystal (Fierman), decide to take revenge by robbing Stag. That means getting into the safe in his office where the money is, and he’s not exactly going to give up the combination freely. Still, nothing that a piano-wire garrotte round the testicles can’t solve, surely? Except, as usual in this genre, the heist doesn’t go smoothly. Stag’s office quickly begins to resemble a mortuary, as unwelcome guests need to be handled.

This was, to be honest, better than I expected. There is, of course, the usual tension in grindhouse-style films about strippers – wanting them to be seen as more than T&A… while simultaneously being required to depict them as T&A. But the movie manages to strike a good balance here: while certainly not short on nudity, the lead actresses deliver performances which manage to make their characters feel like real people. The script also avoids people having to act like idiots too much, and the issue of the safe’s combination is solved in a way which is actually kinda clever. The low budget is a bit obvious in the limited locations and cast – we don’t get much outside of the club and an apartment – although in some ways, that works as much for the feature as against it. For example, it’s likely a factor in story-telling which certainly doesn’t hang around; maybe 65 minutes between opening and closing credits. And while there may be honour among thieves, there doesn’t appear to be much among strippers.

I didn’t think the sequel worked as well. While Roxy returns, she has been recast, being now played by Matheis – I’m not sure what happened to Mele. Still, I did laugh when one supporting character greets her with, “You look different!” Oddly, while the first film started with Roxy skipping town, the second sees her back, working at the same venue where she was involved in a multiple homicide. I know strippers are renowned for making poor decisions, but still… It turns out, having absconded with nine hundred grand of the mob’s money isn’t a good idea. They want it back, and to this end, have sent a trio of hired killers, named the Three Bears by Roxy. They’re prepared to do anything, up to and including both kidnapping and murder. But Roxy, along with Jesse (Radzion), a friend of Alana’s, and another dancer, Alura (Laventure), plots to turn the tables on the Three Bears, by robbing their boss.

Quite why the mob waited three years to take any action isn’t clear, and it’s just one of the problems with the story. Remember how I said the small-scale worked for the first film? That feels less true here, with the expanded script resulting in a bunch of loose ends and an unnecessarily stretched running-time of 107 minutes. For instance, we are introduced to a pair of cops, but they’re effectively unnecessary, and the same goes for a subplot which has Roxy visiting Stag in prison (one of the few players to return from the first film). Generally, I think I preferred Roxy 1.0 as well; I was just never quite convinced by Matheis in the role of an exotic dancer. The bits that work e.g. the ‘snake in the grass’ are mostly borrowed from its predecessor, though again, the movie does a good job with its characters.

Together, they make for a decent double-bill, though if you’re short on time, you might as well watch only the opener, since the sequel adds little in the way of development.  It’s perhaps telling that I must confess to getting distracted in the middle of GBD 2 by a lengthy article on location Club Pierre, one of the oldest strip-clubs in Edmonton. So, not Wisconsin at all. :) But it probably says something when a movie’s location is more interesting that the film.

Dir: Shaun Donnelly
Star: Gone by Dawn – Saleste Mele, Hannah Fierman, Katelyn Pearce, Jayson Therrien
Gone by Dawn 2: Dead by Dusk – Allana Matheis, Skylar Radzion, Ashley Laventure, Koreen Perry

The Rhythm Section

  By

★★★
“Not really worth the wait”

The action-heroine genre has seen its share of high-profile flops in the past. But this long-delayed entry, originally due out in February 2019, is among the worst, setting a record for the lowest ever opening at the North American box-office for a wide release. It took in only $2.8 million from 3,049 theaters when it opened in January, and ended with a worldwide gross below $6 million, against a budget of $50 million. While smaller in scale, that’s a Cutthroat Island level of failure. Did it deserve such a fate? Well, it’s not that bad. It ain’t great. But it seems almost defiantly unlikable, going against cinematic norms in a way that’s brave – and, I suspect, ultimately foolish. The result is something whose commercial demise is unsurprising, beginning with a title that makes only tangential sense, even after you’ve seen the film.

It’s the story of Stephanie Patrick (Lively), whose family died in a plane accident, causing her to go into a downward spiral. Three years later, she’s a crack whore, when contacted by journalist Keith Proctor (Jaffrey). He tells her the crash was actually a terrorist attack, basing this claim on information received from a source with intelligence connections known only as “B”. After Proctor is murdered, Stephanie finds B (Law) and convinces him to help her acquire the necessary skills to become an assassin. Stephanie then goes after all those involved in the attack, including the shadowy figure known only as U-17. To do so, she takes on the identity of Petra Reuter, an assassin killed by B, and uses the resources of ex-CIA officer Marc Serra (Brown), now working as an intelligence broker.

I think viewer expectations may have played a part here. Reading the above, and with the film coming from the producers of the 007 franchise, you are likely imagining a slick, Bond-esque slice of escapism. It’s not that. First off, Stephanie is… Well, let’s be honest, a bit shit as an assassin. When she asks B how long it’ll take for her to become good, he replies, “Your menopause will be a distant memory.” They don’t have that much time, and the results are consequently rough around the edges, not least because she almost completely lacks the necessary killer instinct. She has the motive, just not the method.

Frankly, she’s very, very lucky to survive the first couple of missions, and that’s only one of the aspects which strains credibility. The makers get a demerit for using Ireland to fake the North of Scotland, and it appears remarkably easy to track down international terrorists. Perhaps the book on which this was based did a better job? Given the gritty nature of proceedings, I was expecting a greater level of intrigue and deception. For example, despite being officially “unattached”, I was predicting B or Marc to still be working on behalf of their former employers, manipulating Stephanie towards their ends. Maybe I’ve just watched too many episodes of Homeland.

There are some impressive elements. Probably the most outstanding is a car chase, filmed to look like one take, shot entirely from inside Stephanie’s vehicle as she flees the scene. It’s almost as good as the one from Children of Men, the gold standard for such things. I also did like Lively’s performance: she has rather more to do here than she had in The Shallows, and acquits herself well, both dramatically and in the action scenes (she smashed her hand up badly while filming a fight scene with Law). However, on reaching the end, I found myself unmoved, and given the general lack of spectacle present, this isn’t one I’ve much interest in revisiting.

Dir: Reed Morano
Star:  Blake Lively, Jude Law, Sterling K. Brown, Raza Jaffrey