The Villainess(aka Ak-Nyeo, 악녀, 惡女). an elite assassin goes on a rampage to win back her freedom. This opens with one of the most intense and enjoyable rip-roaring action sequences in recent memory, where no fewer than 50 henchmen are dispatched in a 6-minute point-of-view frenzy of shooting / stabbing / and kick-punching – think of the Oldboy‘s infamous corridor scene, but from Hardcore Henry’s perspective! The film also ends with an equally-impressive action finale involving a bus and a lot of great stuntwork / choreography. It’s peppered throughout with shorter bursts of ultra-violent, and undeniably ‘cool’ blood-spurting over-the-top moments. As you’ve probably guessed, the action scenes are second-to-none… however, they only total around a quarter of the 120 minute runtime; which is a shame as the film if being sold as purely an action film in the same vein as The Raid (the UK poster namechecks Kill Bill, Nikita, John Wick, Hardcore Henry, and Hong Kong Era John Woo!!!). The problem with these comparisons are that – as an overall film – The VIllainess nowhere near as strong as those classics. It’s also lacking in originality in that you can see where shots / scenes / characters have been lifted wholesale from the aforementioned movies; for example, the lead’s backstory is identical to Oren Ishii’s of Kill Bill. The story jumps around the timeline in a manner that is unnecessarily confusing until the final act, where it all kinda (?) fits together. Despite being built from bits and pieces of other action flicks, the action scenes in The Villainess are still inventive, great fun to watch and the spectacle (+ “how did they do that!?” factor) of these alone should entice genre aficionados. It makes it all the more frustrating that these scenes are lost in a flabby, overlong, underwhelming, and melodramatic plot – which could have done with losing around 30 minutes to make it a tighter and more focused / straight-forward action film.
Hatchet: a boatful of tourists go on a haunted swamp tour and end up coming face to face with a local superstition… the murderous Victor Crowley. There’s some strong horror ancestry in here; Kane Hodder (Jason/Leatherface) is the main baddie, with Tony Todd (Candyman/Final Destination) and Robert Englund (among others) popping up in cameo roles. Even though this is the kind of sloppy horror premise you’ve seen a thousand times before Hatchet is different in that it’s very well made: it’s brilliantly lit, boasts supreme gore FX & inventive deaths, and has a cast full of good performances. It takes everything that people love and expect from a slasher film and turns it up to eleven: e.g. you don’t just get to see one pair of boobs, but are treated to entire line-ups of Mardi Gras waps. It’s also got a cool comedy/horror vibe in that if it wasn’t for the brutal ultra-graphic moments of cartoonishly over-the-top deaths, the film would probably be a 12A, as it’s overall quite playful and funny; the wannabe actresses in particular provide more than their fair share of the LOLz. There’s also a beautiful ‘classic’ orchestrated soundtrack that wouldn’t be out-of-place in something like Indiana Jones. Everything comes together nicely to create a movie that’s surprisingly hard to describe or define, but is undeniably fun… it’s not quite a parody, and it’s definitely not a kids film, but it’s a rip-and-roaring “Old School American Horror” – and for once, a slasher that lives up to its tagline.
B-Movie Score: 9/10
The Woman in Black: whilst figuring out a reclusive widow’s estate, a young lawyer awakens a nasty ghost that terrorises the local town. Everything is inherently creepy; it’s a timeframe that we associate with ghosts, the setting is the classic cut-off haunted house, crazy weather, and there’s just something uneasy about staring/possessed/haunted children. It’s well-ececuted with lots of suspense and randomly placed big/noisy jumps; nothing groundbreaking, but very effective. Despite being a tad young, Radcliffe – and his sideburns – do well given there’s a lot of non-speaking sections, and Hinds truly lights up the scenes he’s in. The woman herself is better when not seen, and after the dig-up, the film loses its old-skool fear as the ghost’s behaviour becomes more ‘modern horror’. Being a pansy, for a film rated 12A, this had me in knots all over the place with some truly unbearable moments – it’s definitely not for kids. All characters also suffer from classic horror tropes; why go chasing ghosts, why go back to the house, why dot the townspeople refuse to re-locate? But these are probably better unanswered. Like Hammer itself, The Woman in Black is it’s a classic genre picture, very british, and good to see back on the silver screen.