Review Category: DVD/Blu Ray

THE LEGO NINJAGO MOVIE

The original LEGO Movie took the world by storm back in 2014, proving its naysayers completely wrong and becoming a worldwide cultural smash; The LEGO Batman Movie was also incredible in its own right, and now we have The LEGO Ninjago Movie, which is based on the popular children’s franchise, LEGO Ninjago: Masters of Spinjitzu, which ran from 2011 to… well, it’s still going to this day! This theatrical movie is influenced by the show, but is really its own thing with no narrative ties to its source material, even right down to having a completely different cast. The story is that the city of Ninjago is frequently attacked by the evil Lord Garmadon, and it’s common knowledge that high-schooler Lloyd is his son and he’s constantly bullied for it, but nobody knows that he and his gang are colour-coded, elemental ninjas that defend the city from Garmadon.

All this is set up within the first third of the movie, and is easily the weakest part since it is basically nothing but set-up that is crammed with so many familiar clichés and tropes, whether it’s the bullied outcast, the superheroes with secret identities theme or having giant robot fights within cities. Some of the narrative beats and jokes present in this film are clearly aimed for a younger audience demographic, especially with its teen dialogue, yet there are some of the familiar jokes as seen in previous LEGO movies with the characters being self-aware of their plastic-toy form and world. Also, while the other two LEGO movies are superior with their characters, story and humour, this film actually looks better and much more creative than the other movies, right down to its city design, as well as making every animated element feel distinctive so as to make it easier to distinguish and make out.

When it gets into the final two thirds, this is where the movie truly shines; the narrative is much better paced, the humour becomes wittier and sharper, and it almost becomes an entirely different movie altogether. The father-and-son dynamic between Lloyd and Garmadon is pretty much the main crux of the movie, and this storyline could’ve easily become schmaltzy and tired, but it actually worked remarkably well. Yes, it did wrap up perhaps too simply and neatly by the end, but it was still sweet and didn’t detract from what came before. In terms of the characters present in this film, Master Wu is the typical wise mentor with a mischievous and sardonic wit about him, and Jackie Chan is wonderfully cast in this role and is way better utilised here than he was in all three Kung Fu Panda movies combined (take note Dreamworks!). While Lord Garmadon is in the same vain of villains that are self-aware of their own proud-to-be-a-villain nature, he is very entertaining and Justin Theroux’s dry smooth tones are brilliantly put to good use here. Dave Franco does a credible job as Lloyd, and his character is pretty much the emotional centre of the movie as he tries to cope with his father issues, but his friends, however, are just there… they aren’t terrible in any way, but they are just there…

Overall, this isn’t as flawless or consistent as the previous two LEGO movies, and there is plenty here to pick apart, whether it’s the baggy first act, the side characters being underdeveloped, some clichés becoming tiresome, and the live-action bookends to the movie being somewhat unnecessary in the grand scheme of things. However, this is still a solid LEGO movie with a great voice cast (especially Jackie Chan and Justin Theroux), the second and third acts being superior, the animation is improved from before, and is, in the end, an enjoyable viewing experience for all ages. Sure, this may not connect with all audiences in the same way the previous two movies did, and if these familiar tropes and clichés were to carry on into other LEGO movies then they would start to be repetitive and become just another recycled franchise, but there are certainly no signs of that as of now, and if you give this movie a chance, you might find something of value here.

However, it’s completely baffling that certain critics prefer the subpar Cars 3 and Despicable Me 3 to this, and it is mighty annoying that the absolute worst animated movie of the year with The Emoji Movie still managed to make more money than both this and Captain Underpants, so thanks for that hate-watchers!

THE LEGO NINJAGO MOVIE / CERT: U / DIRECTOR: CHARLIE BEAN, PAUL FISHER, BOB LOGAN / SCREENPLAY: VARIOUS / STARRING: JACKIE CHAN, DAVE FRANCO, FRED ARMISEN, KUMAIL NANJANI, MICHAEL PENA, OLIVIA MUNN, JUSTIN THEROUX / RELEASE DATE: FEBURARY 12TH

CURSE OF THE WITCH’S DOLL

Curse of the Witch’s Doll is a film containing far more intelligence and innovation than you’d think from simply watching the trailer or looking at the poster. It’s being sold as a conventional evil doll movie but, through a series of twists and turns, it turns into more of an anthology consisting of three distinct segments, all tenuously connected by the titular witch’s doll.

Having each segment organically flow into the next is actually a pretty great concept, but sadly, the execution lets it down. The individual stories feel disjointed and the pace stalls every time the film shifts gear as it begins telling a new story.

Despite the fact that it looks less like an ancient relic of evil and more like something you’d find in a pound shop during the week leading up to Halloween, the doll itself is striking and mostly used to great effect. The qualifier ‘mostly’ is there because there are a few instances where the film lingers just long enough for us to notice how bad the motion-tween effects used to animate the thing’s face are, but for the most part, the doll offers some legitimately startling moments.

One thing that would have benefited the production greatly is a better performance from Claire Carreno, who portrays the witch. Her role mostly boils down to providing the doll’s vocals and, whilst her acting is completely in line with the wooden, emotionless delivery found from the cast throughout the film (suggesting a strange directorial decision rather than a low quality of actor), the doll could have really come to life if the actor behind it had an interesting voice and was willing to chew the scenery a bit more.

The film is largely an impressive effort from its micro-budget and first-time filmmakers, but all of their hard work is frustratingly ruined by a complete and utter lack of anything close to a satisfying resolution or conclusion to any of its three narratives. It’s almost like watching a parody of Lost, where every time the audience asks a question, the film responds with a shout of “Look, over there” before trying to distract them with a proverbial smoke monster until the clock runs out. The film’s final moments are so cack-handed that the nasty taste left in your mouth completely overwrites any positive memories you had of what preceded it.

And that’s why Curse of the Witch’s Doll is so incredibly frustrating. Despite also being known as Conjuring the Witch’s Doll, this isn’t, like so many of its peers, a simple cash-grab designed to make money out of people confusing it for another film. A great deal of effort and talent seems to have been spent on making the most of limited resources.

If you’re a big horror fan and you consider the journey more important than the destination, you should consider checking this one out. If, however, you find the ending to be arguably the most important part of a film, then beware: not only does this film not manage to stick the landing, but it doesn’t even try to land in the first place. It just flies until it runs out of fuel, crashes into the ocean and leaves us to search for the black box. Roll credits.

CURSE OF THE WITCH’S DOLL / CERT: TBC / DIRECTOR & SCREENPLAY: LAWRENCE FOWLER / STARRING: HELEN CREVEL, PHILIP RIDOUT, LAYLA WATTS / RELEASE DATE: FEBRUARY 6TH (US)

BLADE RUNNER 2049

It should never have worked. Blade Runner is not only a favourite of countless fans, but a groundbreaking point in sci-fi history. A sequel would at best rehash its highlights, at worst sully its memory. And yet, as November 2017 neared, signs started to emerge that we might be getting something special, not least the success of Denis Villeneuve’s Arrival. When his Blade Runner 2049 finally came out, the response was a collective sigh of relief. With it now reaching home media, it’s time to ask: is it really that good? In brief: yes.

To bring everyone up to speed… Thirty years after Rick Deckard ‘retired’ Roy Batty and went on the run, K (Gosling), a replicant who works as an LAPD Blade Runner, finds the remains of a female replicant who died giving birth. An artificially created person being able to reproduce has wide-ranging consequences, so K is tasked with finding the child. This mission will put him in the crosshairs of the sinister Wallace Corporation, and eventually lead to Rick Deckard himself (Ford).

A shift up in scale, then, from the 1982 Blade Runner, accentuated by the story taking K out of neon-drenched Los Angeles and to the waste-covered ruin that San Diego has become, followed by the nuclear ghost town of Las Vegas. It’s a shift that Villeneuve and his team manage beautifully, with immensely impressive detail put into every frame and stunning cinematography from Roger Deakins. Everything feels true to the original and yet perfectly updated; “the same palette, but by a different painter” as Villeneuve says in one of the Blu-ray’s extras.

This broadening also applies to the story, which takes the core themes of Blade Runner and pokes at them from every direction. It’s a film about what it is to be human, and about the nature of memory. Yet it’s also a very personal film for K, who finds himself with as many questions about his own identity as fans have ever had about Deckard’s. The subplot following his relationship with holographic AI Joi (De Armas) would make a poignant film on its own.

And the really good news is, Blade Runner 2049 sustains repeat viewing. In fact, it gets better. With the initial nervousness out of the way, it’s well worth putting your feet up and taking 2049 in again, to properly appreciate the depths of the story and the craft behind every frame. Plus, knowing the big twist before it comes adds a whole new layer to K’s quest. With this, Denis Villeneuve pulled an Empire Strikes Back – a follow-up that not only lives up to, but substantially expands upon, the first.

Sony has gone all out with the home media releases, and there are a few different variants to get your hands on, including a gorgeous 4K limited edition complete with Blade Runner whiskey glasses. That said, the basic Blu-ray, which we reviewed, has impressive extras, too. Three short films, initially released online, bridge the gap between the two movies. These haven’t been made cheaply; not only do they provide useful backstory to 2049’s world but they look like proper Blade Runner instalments and even feature Jared Leto and Dave Bautista reprising their roles.

The twenty-minute doc Designing the World of Blade Runner, meanwhile, provides some fascinating behind-the-scenes insights, while six Blade Runner 101 featurettes explore facets of the film’s world. Overall, this is a seriously impressive package of a seriously brilliant film and the first must-buy of 2018.

BLADE RUNNER 2049 / CERT: 15 / DIRECTOR: DENIS VILLENEUVE / SCREENPLAY: HAMPTON FANCHER, MICHAEL GREEN / STARRING: RYAN GOSLING, HARRISON FORD, ROBIN WRIGHT, ANA DE ARMAS, JARED LETO / RELEASE DATE: FEBRUARY 5TH

THE DEVIL’S WELL

All too often, low-budget indie flicks come with an unspoken caveat. A caveat that precludes the viewer from too high a critical eye. We are left able to make almost only patronising comment on the product, ignoring the ropey acting because the script was no good, or reasoning the lack of tension was due to a collusion of poor editing and directing. The indie aficionado will always find something to place a film in the pantheon of the gods, but the lay person is left to remark ‘It was ok. If only they had more money’.

The Devil’s Well should get a full theatrical release up and down this fine country. There is nothing here that you wouldn’t see in a production financed by one of the big studios. In some cases better. Jason Blum, you need to watch this. That caveat can kiss The Devil’s Well’s sweet, sweet ass.

A year on from the disappearance of one half of a paranormal investigating couple, a documentary unit go in search of Karla Marks around the site of the titular well. Believed to have murdered his wife, this is Bryan Marks’ chance to clear his name.

The first third of the film is told through talking heads – the police, family members, Bryan himself – before slipping in to more familiar found footage territory. The best comparison would be Blair Witch meets AHS: Roanoke meets Most Haunted, but that would do the film a disservice. Where Roanoke tried (and failed) to do the documentary thing, The Devil’s Well absolutely nails it. During the talking heads sequence, the actors give the perfect uneasy vibe of real people unsure how to behave in front of a camera. The latter part of the film continues this with note perfect examples of a director, tech guy, etc. without ever falling back on woeful genre stereotypes. A true ensemble piece, everyone gets their moment on camera and all of them hit the mark.

There are no big kills to provide the scares; instead, the simple plot, fantastic editing and understated direction do all the work here, so deftly as to almost go unnoticed. Writer/director Kurtis Spieler has created an intelligent, creepy, cult movie in the finest sense of the word. Classic, too, in that it doesn’t rely on gore splattered deaths or jump scares to provide the thrills. Instead, it just slowly ramps up the tension all the way to the end and even then doesn’t really let you go.

You can watch this without having to worry about being forgiving, because you won’t need to be, and the film certainly won’t ask you to be. This could, and really should, stand proudly next to the likes of Insidious, Paranormal Activity and other modern horror franchises. In an era when that F-word is bandied around all too often, in the case of The Devil’s Well, we can only hope.

THE DEVIL’S WELL / CERT: TBC / DIRECTOR & SCREENPLAY: KURTIS SPIELER / STARRING: BRYAN MANLEY DAVIS, CHRIS VIEMEISTER, DAVID ALEXANDER, KRISTEN SEAVEY, JON GREGORY, LAUREN SOWA / RELEASE DATE: JANUARY 23RD

MY ENTIRE HIGH SCHOOL SINKING INTO THE SEA

There’s something horribly hypocritical about the so-called “hipster” movement, that while it venerates the artefacts and techniques of the past, also screams “cool!”, “modern!” and “liberal!” from its every pore. It’s a trend that idolises the individual over the environment, and that fetishises a lack of accomplishment, spurning advances in science and technology (while secretly utilising them to achieve its aims) in order to celebrate a kind of ostentatious mediocrity. It feigns to be intelligent and enlightened, while being instead intolerant and deeply conservative in nature.

With a title like My Entire High School Sinking into the Sea, it’s no surprise to discover that Dash Shaw’s debut feature is as arrogant and lacking in self-awareness as it is stifled by being a product of its developmentally arrested High School philosophising. Which isn’t to say that Shaw is unaware of what the criticisms of this film will be, rather that he attempts to claim superiority over any such opinions by flagging them up in his script, only to have the self-named protagonist Dash deflect them by, get this, repeating them – and without having learned anything from the experience. It’s the kind of egotism that understands concepts but not their concomitant application in real life. Hipsterism in a nutshell.

In a plot that does score some political points – albeit undermining them by promoting its nerdish, intellectual underdogs over the “jock”, a euphemism for those who go out and achieve rather than simply being content to sneer at the achievements of others – a reporter on the school newspaper discovers that the principal has concealed his under-investment by faking a safety report, and that Tides High is in danger of falling into the sea. Which is, of course, exactly what happens.

The rest of the movie falls into the trap of essentially aping The Poseidon Adventure on the budget of an amateur YouTube upload – which is basically exactly what this is, a muddled extended video that outstays its welcome long before it gives you enough reason to care about its characters’ predicament. The animation, such as it is, is as likely to provoke either headaches or bemusement in any viewer who isn’t already versed in Shaw’s comic-book stylings prior to tuning in.

Aiming to be a synthesis of Wes Anderson and Richard Linklater, My Entire High School suffers from all of the issues that Anderson largely avoids, eventually settling for being a kind of low-rent Whit Stillman as if produced by children. It’s mostly pretty horrible, although possibly compellingly so if you’re in the right frame of mind. Unless, of course, you’re one of the chosen it’s so desperately aiming to please, in which case it’s like unsliced bread made of purest organic vinyl.

Special Features: The Art of and The Making of My Entire High School / Five shorts

MY ENTIRE HIGH SCHOOL SINKING INTO THE SEA / CERT: 15 / DIRECTOR: DASH SHAW / SCREENPLAY: DASH SHAW / STARRING: JASON SCHWARTZMAN, REGGIE WATTS, MAYA RUDOLPH, LENA DUNHAM, SUSAN SARANDON / RELEASE DATE: FEBRUARY 5TH

STRANGLED

When a series of horrific murders targeting young women occur in the small town of Martfu, a determined detective becomes obsessed with freeing a potentially innocent man from prison and catching the real culprit before he strikes again. Little does he know, however, that the case has its roots deep in conspiracy and corruption which could potentially see him lose a lot more than he ever imagined. Based on real-life events, Strangled is a social, political and psychological thriller set at the height of socialism in 1960s Hungary. With the Soviets having taken control and the effects of the failed uprising still being felt, dark secrets and betrayals are slowly uncovered in this throwback thriller.

Directed by Arpad Sopsits, Strangled is an unflinching piece of work that doesn’t hold back. With scenes of necrophilia and strong sexual violence, some might argue that the film has a tendency to overstep the mark into exploitation. What one may perceive as a gratuitous depiction of misogynistic murder could just as easily be argued by someone else as being a true representation of the crimes committed. Either way, the effect it has on the audience will leave many feeling uncomfortable, which is a brutally authentic emotion to have when watching a sordid thriller of this nature.

The cinematography by Gábor Szabó perfectly captures the gloomy aesthetic of the time with the brutalist concrete structures contrasting with the serene rural backdrop of Martfu. The visual imagery is enhanced further thanks to Márk Moldvai’s score which is the perfect accompaniment to the events that are unfolding onscreen. Whether it’s the foreboding beat of the killer stalking his prey or the high-octane tempo of a chase, Moldvai’s music manages to bring out the most of every situation. The performances by the cast are strikingly bold and although they may at times be verging on a little caricature, the script does enough to keep proceedings grounded, giving each of the characters enough room to breathe.

With the country having suffered from Communistic rule, it’s interesting to learn about the sensitive political climate of the time. Add to that a judicial system which was put into complete disarray due to various levels of corruption and incompetence and we’re able to get an idea of just how complicated the situation in Hungary really was. Where Strangled really shines however is when conveying how powerless many of the characters are due to the charade of a competent police department having to be maintained at whatever the cost. It’s thanks to the script which refuses to buckle under pressure that Strangled is able to cover so much of the time period whilst still being an enjoyably dark thriller.

Overall, Strangled is a success thanks to its no holds barred approach to its subject matter. Although some may find it distasteful, genre fans will be happy to see that Arpad Sopsits has crafted a deeply mesmerizing film which will keep viewers hooked to the bitter end. Although the pacing can at times be a little uneven and the performances maybe a tad overcooked, Strangled does what all good factual films set out to achieve and makes you want to read more about the real story. So if you’re looking for a meaty thriller to tuck into then look no further and give this one a watch!

STRANGLED / CERT: 15 / DIRECTOR & SCREENPLAY: ARPAD SOPSITS / STARRING: KAROLY HAJDUK, GABOR JASZBERENYI, ZSOLT ANGER / RELEASE DATE: FEBRUARY 5TH

DRAGON BALL SUPER SEASON 1 – PART 2

Back in the late-1990s and early-2000s, Dragon Ball Z was the flagship of Cartoon Network’s Toonami segment. Divided into sagas rather than seasons, Akira Toriyama’s manga-turned-anime was the Japanese answer to Superman. The protagonist, Son Goku, discovers in the first episode the secret of his otherworldly strength and superpowers. In the words of his biological brother Raditz, “You were born on planet Vegeta …. You are a Saiyan … a space fighter.” Later in the series, we learn the fate of planet Vegeta; it was destroyed by the Saiyan’s Galactic overlord Frieza, a shape-shifting monster with enough power in his pinky finger to crack planets open like an egg. But it wasn’t just his godlike strength that set this villain apart from all the previous chief antagonists of the series. All the way through Dragon Ball, all the other main villains Goku had faced had redeemable qualities, after showing them mercy all of them were converted into good guys; allies like Tien, Piccolo, Vegeta, even Yamcha, all started out as villains but were turned to the light by Goku.

Frieza was the first nemesis the Saiyan was forced to kill because he just wouldn’t accept mercy and refused to change. (Although, technically in the Android Saga we learn that Frieza survived by being transformed into a cyborg by his father King Cold.) So, when it was announced that the character was being resurrected with a major power boost and new final form for Dragon Ball Z: Resurrection F, fans that had grown up with the anime were drawn back to finally see the rematch they never saw in the original anime but always wanted to see. They were not left disappointed and Dragon Ball Super Season 1 Part 2 retells and expands on the events of the film.

Highlights for longtime fans include finally seeing a new Super Saiyan transformation, as well as finally seeing Super Saiyan Vegeta fight against Frieza; and in a surprise departure from the film version of the new saga, Frieza’s underling Captain Ginyu also makes a return. Fans who grew up with the series will love reliving their childhood, and in the extras we even hear Ian Sinclair, voice of Whis, talk about how 20-odd years ago he was a fan of the anime and how excited he is to be a recurring character in the new series.

The extended runtime makes the series version the preferable version of the Resurrection of Frieza storyline in almost every way. There are, however, some problems with the quality of the artwork compared to the original movie which the saga is based on.

DRAGON BALL SUPER SEASON 1 – PART 2 / CERT: PG / DIRECTOR: VARIOUS / SCREENPLAY: AKIRA TORIYAMA / STARRING: MASAKO NOZAWA, RYO HORIKAWA, MASAKAZU MORITA, NAOKI TATSUTA, HIROMI TSURU / RELEASE DATE: JANUARY 29TH

DRAGON BALL Z MOVIE COLLECTION FOUR: SUPER ANDROID 13!/BOJACK UNBOUND

The Dragonball Z movies can be confusing for fans obsessed with continuity too much. Trying your best, it is just impossible to fit them in somewhere between the events of the anime series. For this reason it is best to view them as “what if?” stories, and watching them from that point of view in this set we get two of the best “what if?” scenarios. In Super Android 13! it is: what if the leader of the Red Ribbon Army, Dr Gero, somehow cheated death to create a faction of androids even more powerful than androids 16, 17 and 18?

The Android Saga is arguably the best story arc of the whole Dragonball series. Seeing the Prince of All Saiyans, Vegeta finally transform into a Super Saiyan, as well as the introduction of his half human son Trunks, who came from an apocalyptic future destroyed by Androids 17 and 18 that looked like it came straight out of the Terminator films. Because of this saga’s popularity with fans, it was a natural fit to have the Z fighters return for another battle with a new band of android killing machines.

In Bojack Unbound, the “what if?” is: what if an alien even stronger than Perfect Cell invaded the Earth? The film uses a martial arts tournament setting, a plot device often employed in the anime series. Fans will enjoy the bouts between Tien and Trunks, as well as Piccolo taking on Krillin. The film is also only second time we see teen Gohan use his Super Saiyan Two transformation.

While the two films could have benefited from more remastering for the Blu-ray release, the Funimation dub is far superior to the Pioneer releases of other Dragonball movies. Those older English dubs were so ridiculously bad they were good!

DRAGON BALL Z MOVIE COLLECTION FOUR: SUPER ANDROID 13!/BOJACK UNBOUND / CERT: PG / DIRECTOR: DAISUKE NISHIO, YOSHIRO UEDA / STARRING: MASAKO NOZAWA, TOSHIO FURUKAWA, MAYUMI TANAKA / RELEASE DATE: OUT NOW

BLUE WORLD ORDER

Blue World Order opens strong with some extremely kinetic, frantic cinematography and stunt work. It’s a low-budget affair, but the film makes great use of what it’s got to work with. They may not have the money for any huge special effects, but there’s an undeniable, madcap joy to watching something as simple as a stuntman hanging off the side of a cliff.

The obligatory post-apocalyptic exposition-dump is even handled very well and offers just enough fresh ideas to keep you interested for the first few minutes.

Sadly, the film runs out of steam as soon as the plot actually tries to kick in. The basic premise is a man trying to save his young daughter who seems to be the key to a cure for the virus that plagues mankind. If this sounds cliched, it’s because it is. Given that the film’s inception dates back to 2012, we can forgive them for treading on material covered by the likes of The Last of Us, but the idea of a grizzled man protecting a child who holds the key to mankind’s survival was pretty well worn ahead of then. You only need to look at genre powerhouses such as The Road and Children of Men to see almost everything that this film has to offer done a lot better.

We say almost everything because neither The Road nor Children of Men have car-chases utilising a fleet of DeLoreans. The film’s climactic scenes are torn straight from Mad Max, but far less impressive because, let’s face it: Fury Road set an absurdly high standard for driving stunts.

The use of DeLoreans seems to be this film’s way of standing out from the pack, but as an absurdist, comedic element introduced towards the end of an otherwise fairly po-faced affair, it doesn’t really work. Especially when you begin to think about the practicalities of these post-apocalyptic bandits acquiring and running so many old and notoriously unreliable vehicles.

In between the opening and conclusion, the film is mostly made up of extended sequences involving the main characters wandering through various Australian fields. The landscapes are beautiful, but the acting and dialogue far too bland to sell us a tale completely and utterly lacking in originality.

The film’s virus allows people to control others using a sort of remote control device. It feels as though the intention was to explore notions of autonomy and free will, but the results are much more akin to Spock’s Brain than they are The Manchurian Candidate.

Blue World Order began life as a short created as part of a weekend-long filmmaking competition. After some festival attention, an IndieGoGo campaign was launched to fund the feature, only managing to bring in a rather meager 15% of the intended $50,000 budget before, presumably, finding some more money through other means.

Ultimately, there’s a lot of talent on display here. We would have no trouble believing that the short film that spawned it is absolutely terrific; it’s just that this film largely feels like a short film stretched out to feature-length. Between a great opening and fairly thrilling finale, the film stops dead for an hour.

BLUE WORLD ORDER / CERT: TBC / DIRECTOR: CHE BAKER, DALLAS BLAND / SCREENPLAY: CHE BAKER, DALLAS BLAND, SARAH MASON / STARRING: BILLY ZANE, BRUCE SPENCE, JACK THOMPSON, JAKE RYAN, STEPHEN HUNTER, KENDRA APPLETON / RELEASE DATE: OUT NOW

KILL ORDER

Kill Order marks the directorial debut of James Mark, a veteran stunt coordinator and fight choreographer whose work you may have seen in Scott Pilgrim vs. the World, Pacific Rim and 2014’s RoboCop.

It’s difficult to figure out who this film was intended for. Its young lead (Chris Mark) and initial high-school setting (not to mention a title shared with a well-known young adult novel) suggest that the film had a youthful audience in mind, but the frequent violence and matter-of-fact headshots suggest otherwise.

The story is essentially that our protagonist, David, goes to school only for the class to be stormed by men with guns who are only interested in him. Their attack causes him to go Super Saiyan (indicated by a dodgy, glowing, blue eyes special effect) and fight back, leading to a man hunt across the city with David beating up everyone who attempts to stop him along the way. Throughout all of this, David is dealing with some traumatic memory fragments that he doesn’t understand but would seem to indicate why he has supernaturally powerful martial-arts abilities.

It’s basically The Bourne Identity, but instead of amnesia, the kid only had the memories specifically related to his super-soldier powers wiped. Having said that, that comparison might be somewhat unfair to The Bourne Identity, because that film actually does contain some story and character development.

That’s not to say that Kill Order’s writing is devoid of quality. Despite the dominant clichés, there are a handful of genuinely interesting supernatural elements that get thrown into the mix as things progress and help to keep the proceedings vaguely fresh and interesting.

Truly, the film’s biggest sin is a complete lack of resolution. We have no idea about the likelihood of a Kill Order sequel, but the climax of the film certainly seems to be relying on one which makes for a fairly unsatisfying experience.

Kill Order is largely exactly what you’d expect from a film written and directed by a professional fight choreographer in that it boils down to a series of fight-sequences flimsily draped over the loosest plot imaginable.

To be fair to it, the fight scenes are produced to a very high standard. They’re not quite on par with stuff you’d see in Daredevil or Oldboy, but they’re still all very impressive. Each one has clearly been meticulously planned and rehearsed to the point that they’re thoroughly entertaining, if frequently overlong, standalone pieces. They’re also peppered with wire-work, predominantly used to allow David to pick up and throw his enemies across the room in a way that’s far more satisfying that it should be.

It’s definitely a film where you can tell that the budget was well spent. CGI is used sparingly and largely only exists to compliment practical stunt-work, David’s iffy blue eyes notwithstanding.

Overall, Kill Order feels less like a feature film and more like an expensive show-reel for James Mark’s stunt choreography. If that’s all you’re hoping for then the film should leave you very satisfied. If, however, when you watch a movie, you need a reason to care about the people beating each other up, then it’s a frustrating film that doesn’t reach its full potential.

KILL ORDER / CERT: TBC / DIRECTOR & SCREENPLAY: JAMES MARK / STARRING: CHRIS MARK, ALAIN MOUSSI, DANIEL PARK, MELEE HUTTON, DENIS AKIYAMA, JONNY CAINS, SCOTT CAVALHEIRO, JESSICA CLEMENT, AMOS CRAWLEY / RELEASE DATE: FEBRUARY 6TH