Tag: USA

6 Guns

  By

★★★½
“Hannie Caulder with less cleavage. And no Christopher Lee.”

The Asylum studio are infamous for producing ‘mockbusters’ – straight to DVD look-alikes of big-budget movies, designed to benefit from their publicity budgets. These have included their own versions of Sherlock Holmes and War of the Worlds, but they do make their own original works, including cheesy delights such as Mega Python vs. Gatoroid, starring 80’s popsters Tiffany and Debbie Gibson. They come in for a lot of flak as a result – some justified, some not, for this is neither mockbuster nor cheesy, and is surprisingly solid, if you want a straightforward Western tale of revenge. Selina Stevens (Mears) has to watch as her husband and two young sons are killed by Lee Horn (Mead) and his gang; she is brutally raped and left for dead, beginning a decline into alcoholic despair. Having reached bottom, she meets bounty-hunter Frank Allison (Van Dyke), and asks him to teach her how to shoot – conveniently, just as Horn’s crew start to make their way back to town. The townsfolk’s repeated affirmations that they feel safer with Frank around, might have been a bit premature.

Ok, ‘original’ might be a bit of a stretch, as the storyline is more than a bit reminiscent of Hannie Caulder [which I must get round to reviewing at some point], though sensibly reins back the glamour Raquel Welch provided there. On its own merits, however, this is based on a solid trio of central performances, with Mead particularly memorable as the black-hearted thug – in an interesting twist, it’s revenge which also triggers his initial assault on Stevens’ family. Selina’s transition to a gunslinger is nicely handled; she doesn’t exactly become a sharpshooter – but when opportunity presents itself, can shoot a fairly stationary target at shortish range, which is credible. Against this its low-budget nature is highly-obvious, with the “town” inhabited by about 12 people, and the action in general could have been spliced in from any randomly-selected 1950’s oater.

This remains a decent tale, satisfactorily told, with interesting characters, good performances and more than a local resonance, given its placedropping of Arizona names. And in case you’re wondering, no, there are not six guns in the movie, despite the title [depending on the count, there might be five or seven…] Still, you’d be hard-pressed to argue that this doesn’t fall in the upper echelon of the studio’s movies: this kind of thing should escape from The Asylum more often.

Dir: Shane Van Dyke
Star: Sage Mears, Barry Van Dyke, Geoff Meed, Greg Evigan

Colombiana

  By

★★★
“The revenge and hit-woman genres could cross-pollinate each other. Just not here.”

There are moments where this seems to have the potential to break out beyond its story, but once you get past the strong central core, the script has very little to offer. Cataleya (Saldana) narrowly escapes death when her parents are killed on the orders of their gangster employer, Don Luis. She flees from Colombia to Chicago and is raised by a family friend, but never forgets where she came from, and has revenge on her mind. Grown-up, she becomes a hit-woman, but has a side-project of payback. She has an occasional boyfriend (Vartan) who knows little about her, and a dogged FBI agent (James), intent on tracking down the mysterious, elusive killer. Y’know: all the usual baggage that goes along with being an assassin.

The action, however, is what rescues this, and when the heroine is in motion, it’s generally fluid and effective. There are two sequences in particular that stand out: Cataleya’s hit of a gangster in prison, and the final showdown where she goes to Don Luis’s headquarters, and takes on… Well, to borrow a famous line from another Besson script, “Everyone!” They are well-staged, with Saldana showing flexibility and athleticism of an impressive degree (Besson’s fondness for parkour also shows up). However, between these two, there isn’t much to speak of; a third sequence, involving a swimming-pool filled with sharks(!) fails, mostly because you’re wondering why the hell Cataleya opted to swim across said pool rather than – oh, I dunno – walking around it?

The background stuff doesn’t work either, particularly the efforts to give her a normal life, which seem both perfunctory and contrived, and Vartan’s role is entirely pointless in emotional terms. I suspect, going by past history, Besson would have been better off directing this himself, not giving it to the man who handled the eminently forgettable Red Siren and Transporter 3. This might be as close to a Leon sequel as we’ll ever get. However, a while back, probably nearly 15 years ago now, I came up with an idea for a film about a woman who witnessed her family being killed, and a decade later, came back for her revenge. I even got as far as starting on a script. While I’m probably biased, I’m pretty sure it was better than Colombiana.

Dir: Olivier Megaton
Star: Zoe Saldana, Lennie James, Michael Vartan, Jordi Molla

Sweet Karma

  By

★★★½
“Hang on: I thought revenge was sweet, not karma? Oh, well: never mind.”

After she gets word, back in their native Russia, that her sister has been killed in Toronto, Karma (Bechard) vows revenge on those responsible. This pulls her in to a seedy, dangerous world of sex trafficking, with women being lured from Eastern Europe to the West, with the promise of legitimate jobs, only to forced on arrival into working as strippers or worse, by the criminal elements who organize and run the business, with a fist of iron. As Karma stabs, shoots and bludgeons her way up the chain of command, those at the top grow increasingly restless. Initially, they think a rival gang is responsible, but the evidence eventually convinces them Karma is, indeed, a bitch,

This was better than I expected, with the obviously low budget working more for the film than against it, enhancing the ‘grindhouse’ feel that you have here – Karma is mute, which adds a definite resonance of Ms. 45 or Thriller: A Cruel Picture, though little more than that. It’s certainly not short on nudity and violence, but rarely topples over the edge into gratuitous, being largely necessary to bring out exactly how callous those are, treating the women as nothing more than slabs of meat, as in the scene where the girls “learn” pole-dancing.

After the initial death – an assault using office supplies, whose aftermath has Karma puking her guts out into a waste-paper basket – it does take a little while to get back to the nitty-gritty. There’s also a mis-step towards the end, where attention is diverted from the heroine, to an undercover cop (Tokatlidis) who is none too pleased to have his case threatened by an avenging angel. And some of the dialogue is a little too Tarantino-esque, e.g. burbling on about hockey. Well, it is Canadian, I guess.

However, the pluses generally outnumber the minutes, with some imaginative deaths, not least the pimp lured into a bathroom and offered “cocaine” by Karma. Bechard, despite her lack of dialogue, does a good job of putting across the determination she feels in pursuing her goal, and I liked the throbbing techno soundtrack which underscores proceedings. I’m also pleased to see it avoid the faux trappings of some recent genre entries, such as Machete. I was expecting something a good deal shinier, shallower and, well, shittier; instead, it’s a grubby and fairly serious look into a world which we probably would rather ignore.

Dir: Andrew Thomas Hunt
Star: Shera Bechard, John Tokatlidis, Frank J. Zupancic, Christian Bako

No Contest II: Access Denied

  By

★★½
“Second time’s the not-so charming.”

In many ways, this is a shameless rip-off of a shameless rip-off, trying to recapture the success of the original. It’s not quite as successful, lacking the gleeful sense of energy which help its predecessor overcome its (obvious) limitations. Once more, Tweed plays action actress Sharon Bell, this time filming her latest work in Eastern Europe. She arranges for the film to do some location work in a gallery owned by sister, Bobbi (Heitmeyer), which is just about to open an exhibition, showcasing artefacts that were looted by the Nazis in World War II. The gallery is taken over by Eric Dane (Henriksen) and his crew, who seal the place off from the outside world, intent in stealing a lethal German nerve agent hidden in the base of one of the sculptures. Unfortunately, inside at the time are both sisters, along with the movie director Jack Terry (Payne), who is scouting the place out.

To be honest, the plot makes little sense. Why does Dane – who has apparently had access to the statue for quite some time – wait until it is installed in the gallery, behind a hefty security system, before going after the nerve-gas? And when he does, his subsequent actions and plan seem to be designed more to artificially generate tension for the movie plot, than any practical purpose: for example, his decision to leave one of the canisters, attached to an unstoppable time, in an air-duct, while he is still present in the sealed building. Meanwhile, the heroes prove adept at fashioning tear-gas and lethal blow-darts from everyday materials (or, at least, everyday materials for an art gallery).

If you don’t look too hard, this is still passably entertaining, with the art gallery providing an interesting location for some battles (the cat-fight between Sharon and Dane’s henchwoman comes to mind, ending on a piece of unfortunately-pointy artwork). Henriksen us good value as ever in the psycho role, e.g. shooting people because they can’t deliver Shakespeare to his liking and, while Payne is better known as a villain, he does decent work here in a more sympathetic role. However, the film doesn’t use them as effectively as before, and the film needs to be less obviously stage-managed towards its conclusion, which is obvious well before it happens. The flaws are likely not much worse here – just a little more obvious.

Dir: Paul Lynch
Star: Shannon Tweed, Lance Henriksen, Bruce Payne, Jayne Heitmeyer
a.k.a. Face the Evil

No Contest

  By

★★★
“No originality, no budget… But no disaster, either.”

An almost-entirely shameless Die Hard rip-off, this stars Tweed as Shannon Bell, the host of a beauty-pageant, which is interrupted by Oz (Clay) and his gang, who take a half-dozen of the beauty-queens and Bell hostage, up in the penthouse, and demand $10 million in diamonds for their release. Bell manages to slip away and, fortunately, her character is an actress, famous for playing action heroines [yeah, it’s all a bit ‘meta’ – except, it came out in 1992, largely before ‘meta’ became popular…]. So she gets to go all John McClane on their asses, crawling round air-ducts and assisting ex-federal agent Crane (Davi), who was bodyguarding one of the participants, who is a politician’s daughter, but popped outside the building for a fortunately-timed smoke.

The script is hackneyed, certainly, but it’s a stellar B-movie cast, that works well, and largely keeps things entertaining. This is where the thought has gone in. While Oz is undeniably brutal, he is as far from Hans Gruber as can be imagined, a foulmouth sleazeball rather than a suave sophisticat, and Bell, similarly, is the opposite of McClane, despite her action pedigree (one character describes the roles she plays as, “Bruce Lee with boobs”). Endearingly, she bursts into tears after she has to kill someone. Davi, of course, was in the original, playing Special Agent Johnson [“No – the other one…”], and we’ll watch anything with Piper in it, after They Live. It’s clear Tweed is not exactly in the realm of Lee, but does credibly enough to paper over the cracks, action-wise, and perhaps surprisingly, keeps her clothes entirely on.

Things do fall apart at the finale, which is convoluted and strained, to say the least: the film is much better when sticking to its basic premise – or, more accurately, someone else’s basic premise. But, having sat through much the same film with Anna Nicole Smith in the lead, this is an enormous improvement. Certainly, it’s cheap and cheerful, the kind of thing you can imagine seeing in an early 90’s videostore, with an appropriately lurid cover. But it is entertaining, and given the sights of the makers were clearly aimed no higher than that, has to be judged a success.

Dir: Paul Lynch
Star: Shannon Tweed, Andrew ‘Dice’ Clay, Roberto Davi, Roddy Piper

The Gene Generation

  By

★★★
“Well, I guess it’ll do until Neuromancer shows up.”

In a dark, grim future, Michelle (Ling) is an assassin, taking out DNA hackers for pay. However, her income is drained as fast as she earns it by her Jackie (Shen), her brother, who has a gambling addiction. To try and pay off his mob debts, he breaks into the apartment of their next-door neighbour, Christian (Newman), a renegade DNA hacker himself, and steals a device on which he was working. The “transcoder” can take a subject’s DNA and, more or less, rewrite it, thereby having the potential to end disease – yet it could also be turned into an enormously destructive weapon. Needless to say, when word gets out that Jackie has this device, everyone wants to get their hands on it.

I liked the visual style, even if it’s so Blade Runner, that Ridley Scott should be cut a fat cheque for its use. And Bai Ling may be in her forties, but is still capable of kicking ass in an impressively competent (and occasionally hyper-bloody) manner: witness the way she disposes of a bunch of evil minions, surrounding her, guns pointed, in about two seconds flat. Let’s just say, Cleric Preston would be impressed. Throw in some impressive industrial beats – VNV Nation leader Ronan Harris provided additional music – and you’ve got something that, at its best, is a very nice slab of cyberpunk.

However, the weaknesses are both severe and obvious. The plotting is clunky and muddied: it’s based on a comic-book (The DNA Hacker Chronicles), but some apparently important points are not explained, while others that appear important are never mentioned again. Jackie is also incredibly annoying; it wasn’t long before Chris and I were wishing a rapid death on this entirely unlikeable jackass. If the film-makers had been wise enough to find another, entirely separate way of bringing Michelle and the transcoder together, we’d have been a great deal happier.

The negatives and positives operate in sharp contrast to each other: the good stuff is really very good, but the bad moments are on the “root canal” level. The unevenness left us with a sense of wasted opportunity; the elements were there for something with definite cult-classic potential. However, they simply succeed in making the failings all the more obvious.

Dir: Pearry Teo
Star: Bai Ling, Parry Shen, Alec Newman, Michael Shamus Wiles

Sweet Justice (1993)

  By

★½
“Well, that’s 1 Gb of disk-space I won’t get ba… [Delete] Oh, never mind.”

Sunny Justice (Carter) is a former soldier, who is somewhat estranged from her sister, but who returns to town when the sibling – who also happens to be the mayor – dies under mysterious circumstances [savaged by a dog]. Turns out she was about to blow the whistle on developer Billy Joe Rivas (Gorshin), who has both designs on the town, and who has been using his mine as a dump for toxic-waste. The local sheriff (Singer) had bedded both sisters, but he refuses to act, and federal authorities prove no willing, so Sunny calls up some of her old pals, who were part of an all-female Special Forces unit, to take matters into their own hands. Rivas doesn’t take kindly to having his money-making scheme interfered with, and calls in reinforcements of his own, using his East-coast mob connections.

Awful. Mind-numbingly awful. Carter is best known as the female lead in Tremors, one of our all-time favourites, but this is a terrible combination of bad acting, poor scripting and terrible action sequences. It can’t even make up its mind what it wants to be, with a couple of sex scenes that don’t even have any nudity. Meanwhile, the largest-breasted ex-Special Forces girl (Michelle McCormick) is working as a go-go dancer. Not that she shows any flesh either, though I was amused by the way the inevitable training montage is interrupted for an entirely gratuitous hot-tub scene.

None of the actresses are convincing as ex-soldiers, having arms like twigs, though there is sporadically some half-decent martial-arts action. My interest was briefly piqued when Sunny uttered the immortal line, “I want to put the squad back together,” but there are just too many moments worthy of scorn for this to last. The two dog-attack sequences could hardly have been less credible if they’d just lobbed a Chihuahua at the victims using a catapult, and the final battle consists almost entirely of stuntmen falling off roofs out of shot. I’m left to presume Cynthia Rothrock must have rejected this one, and she was entirely right to do so.

Dir: Allen Plone
Star: Finn Carter, Frank Gorshin, Marc Singer, Kathleen Kinmont

True Grit

  By

★★★½
“Forty years later, the Duke has become the Dude, with a small Duchess.”

Based on the original source material – which was very much focused on John Wayne – and the trailers, you’d be forgiven for thinking of this as just another macho Western. However, I read some pieces which suggested that wasn’t the case, with the story [as in the original novel] told from the viewpoint of teenage girl Mattie Ross (Steinfeld), who hires drunken Marshal Rooster Cogburn (Bridges) to hunt down the outlaw (Brolin), who killed her father. That is indeed the case – despite Steinfeld getting an Oscar nomination for Best Supporting Actress, while Bridges was listed for Best Actor. Go figure.

For Ross is one of the most impressive teenage girl characters to appear in a recent Hollywood film, being resolute, smart, brave and resourceful: that’s clear from the scene where she completely out-haggles the businessman with whom her father had been dealing. You can almost imagine Mattie growing up to become Marge Gunderson in the Coen’s Fargo: there’s much the same dogged determination, in a form which causes those who oppose Mattie to severely underestimate her. More in tune with her age, I was also reminded of Lyra Belacqua from The Golden Compass, whose heroine also found herself with an unenviable task, and had to man girl up and get through it. Here, from the moment Mattie plunges into the river on her horse, while Cogburn and Texas Ranger LeBoeuf (Damon) watch from the far side, she’s in a completely different, alien world.

I was much less impressed with Bridges’ performance. Fair enough that he chose not to try and reproduce Wayne’s iconic role: however, the route in which he chose to do so is unfortunate, not least because it’s largely inaudible. He mumbles every line so badly, you’re largely reduced to picking words out where you can, and trying to work out what he said by the other characters’ replies. It’s only right at the end that he comes across as being much more than a drunken buffoon, and it’s difficult to fathom why Ross picked him rather than LeBoeuf, who projects a far more compelling air of confidence. With Wayne, there was a sense of faded, decrepit glory: Bridges’ version of Cogburn is less a has-been than a never-was.

That said, there’s something refreshing about the way this is…well, not refreshing. By that, I mean there is little or no attempt to re-invent or “reboot” the Western genre: it’s lasted for approaching a century, so the basic tenets don’t really need changing. So while there are some understated moments of humour, e.g. the last words of the men about to be hanged, the focus is clear: Mattie and her goal of extracting justice on the man who killed her father. It’s a simple story, well told.

Dir: The Coen Brothers
Star: Hailee Steinfeld, Jeff Bridges, Matt Damon, Josh Brolin

Hanna

  By

★★★★
“Jason Bourne: The Next Generation.”

“What did your mother die of?”
“Three bullets.”

That matter-of-fact answer, provided by Hanna (Ronan) over dinner with a friend and her family, sums up the character perfectly. While Bourne was seeking to recover his identity, this 16-year old girl never had one to begin with. She was brought up in the wilds of Finland, hunting deer, learning languages and training in hand-to-hand combat with her father, Erik Heller (Bana); she knows nothing of music, for example. Eventually, she is deemed ready, and the switch is flipped on a transmitter, revealing their location to Marissa Wiegler (Blanchett), Heller’s former CIA handler, and putting the pieces into play. Turns out Wiegler and Heller go back to before Hanna’s birth, and he has been waiting all this time to unleash his daughter against the woman who played a very important part in her development. Wiegler captures Hanna, but she escapes, and makes her way from Morocco to Berlin, and the intended rendezvous with her father, Wiegler and her minions in hot pursuit.

I liked this a good deal. As well as Bourne, it blended in a lot of elements from traditional fairy tales. Wiegler is Hanna’s wicked stepmother (the dynamic between the pair is particularly interesting), and Bana like the hunter in Snow White who disobeys orders, refusing to kill her. Regrettably, at no point does Hanna hang out with any midgets, even cool ones like the Half-Pint Brawlers. But she certainly proves more than capable of handling herself physically, as is shown in her escape from custody: dealing with the rest of humanity…well, maybe not so much. There’s also more than a touch of Run Lola Run, with the heroine galloping round Berlin, accompanied by a banging techno score (here, by The Chemical Brothers).

It might have benefited from showing Hanna’s skills a bit more; there’s nothing quite as cool for her as the sequence where, in a single camera-shot, her father comes out of the station, goes into a Berlin subway and wipes the floor with four minions. However, it easily qualifies for inclusion here, and Ronan’s performance grounds this and gives it an emotional heart in a way not often found in the genre.

Dir: Joe Wright
Star: Saoirse Ronan, Eric Bana, Cate Blanchett, Tom Hollander

Sucker Punch

  By

★★★★½
“Suckers for punishment?”

Before getting to the film, what’s perhaps even more interesting is the critical reaction: it has been a long time since I’ve seen a film provoke such savagery, e.g. the Chicago Tribune’s Michael Phillips, who wrote: “The film abdicates so many basic responsibilities of coherent storytelling, even coherent stupid-action-movie storytelling, director/co-writer/co-producer Zack Snyder must have known in preproduction that his greasy collection of near-rape fantasies and violent revenge scenarios disguised as a female-empowerment fairy tale wasn’t going to satisfy anyone but himself.” Ouch. That’s far from the only example, and covers the common planks used to whack Snyder: incoherence, faux-feminism and dubious sexual politics.

There’s not even any genre love lost. Joe Wright, director of the somewhat similarly-themed Hanna, which came out two weeks after Sucker, tore into it: “I probably shouldn’t say this but the posters for recent films with girls kicking arse – there’s one out at the moment – there’s girls in the poster in bikinis and crop-tops, and they’ve got pigtails and they’re dressed up as schoolgirls. They’re being sexualised, this is supposedly ‘Girl Power’ female empowerment and that’s bullshit. Female empowerment is not about sex, that is the point of female empowerment. It’s about brains and not objectifying women.”

It’s worth pointing out Wright hadn’t seen the film, but I can’t say I support his position of laying down canon law on what does or does not constitute “the point of female empowerment”, or accept that sex is incompatible with it, as he states. There’s multiple routes to the goal, just as the Camille Paglia approach to feminism differs from the Andrea Dworkin one. It’s not a Spandex leotard – one size fits all – and to denigrate another piece of entertainment (which is, after all, what both Hanna and Sucker Punch are) for an alternative approach seems petty and mean-spirited. There’s room in the playground for both. Of course, I’m not someone who relies upon Hollywood to provide any kind of moral compass: if you do, I’d say you have far bigger problems than Sucker Punch.

But those who like it, really like it. It’s rated at 6.6 on the IMDB, from over 25,000 votes, so it’s not just studio shills. Compare other critically-savaged and commercial genre “failures”: Barb Wire (3.1), Catwoman (3.2), Ultraviolet (4.0). Sucker is more in line with something like Underworld (6.8), and the reaction on Twitter is also far more positive. Star Cornish may have a point when she said, “It’s so stylised, so specific; there’s no other film like it at all. When you have something totally new, it’s going to be judged to the 10th degree… When you’ve got a totally new concept, it’s a love or hate relationship.”

That’s not necessarily a bad thing. Even if it fails, I’d rather have a film with ambitions, that tries something different, rather than another Judd Apatow/Seth Rogen “comedy”. There’s some parallel to be drawn between Snyder and Dutch maverick Paul Verhoeven. You could link Snyder’s Dawn of the Dead remake to Robocop, while 300 and Starship Troopers are both pseudo-fascistic tributes to the glory of war – and Sucker Punch would be Snyder’s Showgirls, a critically-reviled flop, damaged by its rating. Except here, it’s the PG-13 which hurts, but we’ll get more into that a little later.

The movie itself is imperfect; by some measures perhaps not even the “best” GWG film I’ve seen at the cinema this month. However, it is thoroughly cinematic and can only be admired as such – I’m far more likely to pick up the Blu-Ray DVD of this than Hanna. An un-named 20-year old (Browning) is sent to a lunatic asylum by her stepfather, after rejecting his attentions and being made the scapegoat for the death of her younger sister; her lobotomy is scheduled for five days time. Turns out the asylum is a high-end brothel where our heroine – nick-named “Baby Doll” – and the other girls are kept to perform for the pleasure of various high-rollers. Baby Doll plots an escape, the tools necessary lifted by her accomplices while she entrances the staff and customers with her dancing. During these, Baby Doll retreats even further, to fantasy worlds to do battle against dragons, robots, samurai warriors, etc. But which “reality” is real?

There’s more doubt over that, than which reality Snyder likes: hands-down, it’s the one filled with carnage, and his love for it shows. It’s only April, you could nominate these as the best four action sequences of the year, and I wouldn’t argue. My personal favourite sees the five girls storm the trenches in World War I, taking on steampunk-powered German zombies, with the aid of a rocket-powered walking tank. Remarkably, as cool as that sounds on the page, seeing it on screen is even better. Yes, all bear more than a passing resemblance to video games: they still work, possessing an elegant flow to them. And while none of the heroines will make Zhang Ziyi lose sleep, nor are they left looking horribly out of their depth, a major fear on hearing a High School Musical star was involved.

Since Baby Doll is explicitly stated to be 20, this doesn’t strictly fall into the category of “teenage action heroines,” but her hair, clothes, make-up, etc. all are designed to evoke the spirit of what Chris disparagingly called, “schoolgirl porn” – but the PG-13 rating means it can get absolutely no closer, so really, what’s the point? At least Showgirls delivered the goods: Baby Doll’s fantasy world might as well have been an office, college dorm or, frankly, convent, instead of the world’s most demure brothel. Reports indicate it took seven submissions and the removal of 18 minutes to get past the MPAA, so I have to ask. Should a film that, on one level, is about an abused girl forced into prostitution by her step-father, share a rating with Harry Potter And The Goblet Of Fire?

However, I do like a little more plot and better characterization with my action sequences. I think Baby Doll probably sings more than she speaks in the film. Browning is responsible for the cover of Sweet Dreams, which backs the immensely creepy opening that paints, in swift efficient brush strokes, the lead-up to her arrival at the asylum. It’s almost as if Snyder says, “Well, that’s that out of the way,” and there’s nothing anywhere near as effective the rest of the way. The rest of Baby’s posse don’t even get the benefit of that, and remain little more than lingerie-clad chess pieces, to be moved around the board of Snyder’s (undeniably impressive) imagination. Same goes for the plot, which has the action sequences more grafted on, than flowing naturally from the plot.

Overall, however, for all its undeniable flaws, this is a rare beast: an action film where women [rather than a singular woman] take center-stage. I’m hard pushed to think of anything like it out of Hollywood since, perhaps, The Descent, and this is clearly on a much bigger scale. Unfortunately, the luke-warm box-office probably makes it unlikely anyone else will follow suit, though I get the feeling it will do very nicely on DVD. It’s certainly close to a unique movie, for its combination of style, content and execution, and I tend to think/hope that the passage of time will be kinder to it, than most contemporary critics.

Dir: Zack Snyder
Stars: Emily Browning, Abbie Cornish, Jena Malone, Vanessa Hudgens

"It’s certainly close to a unique movie, for its content of style, content and execution, and I tend to think/hope that the passage of time will be kinder to it, than most contemporary critics."