Tag: assassin

Killing Ruth: The Snuff Dialogues

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★★
“Editing. It’s a choice.”

As soon as I saw the running time of this was one hundred and thirty-one minutes, it immediately went onto the back-burner. I have a busy life, and I’ve going to devote close to two and a quarter hours to a low-budget movie, it is going to be when I have a lot of time to spare. My qualms were obvious, and proved very well-founded. This absolutely had no need to be so long. Indeed, it feels like a first draft, which became a shooting script, and everything filmed then ended up in the end product. Entire scenes are superfluous, and those which aren’t could use between “some” and “an oce-lot” of tightening up.

It’s the story of Ruth Keeley (Huljak), who comes home one day to find her father shot dead in his car. She eventually discovers that he had been a hit-man, working for Rod Porter (Jackson), and ends up following into the family business, as it were. On one job in a hospital, she ends up befriending Mrs. Connors (Wallace), the patient in the next bed to her target, and starts sharing her life with the old woman, who offers zero moral judgement. That includes her relationship with long-suffering boyfriend Cameron (Sanzari), and the quest to find out who was behind the death of her father, and why. Which turns out to be exactly who I expected, from about two hours previously.

The idea at its core is not a bad one. There’s something to be said for the idea of an assassin being plain and unremarkable, allowing them to slide past without attracting attention. Ruth is certainly that, being a waitress until her change in career direction, and Huljak is a good choice. She’s incredibly normal, and about as far from the Luc Besson-style of supermodel hit-woman as you can imagine. I’d like to see a film where we have a hitwoman dealing with everyday issues in between violent killing sprees, such as figuring our taxes, or dealing with annoying neighbours. This, however, is more interested in low-key conversations – and by “low-key”, I mean too many scenes which, to borrow a Python quote, wouldn’t “voom” if you put four million volts through them.

Even Wallace, who brings value to everything she’s in, isn’t able to energize things adequately. Not helping: the film brings in ideas, then discards them again, almost at random. For example, Ruth’s late father shows up and talks to her for a bit, then just… doesn’t. Or she gets a mysterious letter from her father’s killer; an angle which the movie forgets about entirely for a good hour, before bringing it back in, semi-randomly, at the end, to try and achieve closure. Long before that point, this had been reduced to the level of background radiation. It was on, and I was in the same room as it. Much more than that, I can’t commit to. But it definitely fails as action, probably as a thriller, and largely as drama too.

Dir: Nicholas Kinsey
Star: Irena Huljak, Dee Wallace, Kevin Jackson, Patrizio Sanzari

The Secret Weapon

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★★★½
“Woo’s the boss.”

After enjoying The Kill List, I thought I’d dip my toe again into the new wave of Thai girls with guns films with this, and it’s another solid entry. As there, the main influence seems to be Hong Kong action cinema of the nineties; this in particular falls into the category of “heroic bloodshed.” But there’s a clear nod to Nikita as well. Joy Phaendin is a soldier whose father, Maj. Gen. Phaendin (Sawasdee), is a member of a special operations team, killed while on a mission. Filled with a desire for revenge, Joy signs up for the same unit, under the command of Maj. Gen. Nakhom (Midaim), and becomes a “Busaba” for the government. This is “A person without a name, without a face, without friends, without a history.”

Being one requires absolute obedience to three rules. #1: When accepting a mission, you have to complete it without any hesitation or question. #2: Do not leave any trace that will lead back to the organization. #3: If you need to give your life on a mission, you must do so. The training is particularly brutal. When it comes down to the final two candidates for the spot, they’re ordered to kill each other. Joy is saved here by the other girl, known only as #34 (Wongtipkanon), taking her own life, the two women having formed an attachment. Joy a.k.a. #29 is then tasked with taking out, one by one, the organization who were responsible for her father’s death. Or so her commanding officer says, anyway.

You will not be surprised to learn that this is hardly the truth, the whole truth or nothing but the truth. When she spots a tattoo matching her father’s on one intended victim, Joy realizes there’s more going on that she has been told, and pulls her shot. From here on, it’s a wild ride of betrayal, deceit and counter-deceit, as well as an awful lot of slow-motion – again, it’s clear the makers have seen a lot of John Woo films. A good rule of thumb is, don’t believe anything the film tells you. This is true straight from the off, with a fifteen minute sequence where Joy is playing the part of a property agent, that is not what it seems. 

Thereafter, much the same applies, and it does become a bit of a stretch. Having one character “come back from the dead” is pushing it; when it happens more than that, you’ll get a sad shake of my head. It’s a pity, since there is a good deal here to admire, such as its bleakly downbeat attitude which goes through to the rolling of the credits. Yoosuk is okay in the action scenes; she’s more than okay when being super-intense. For example, when marching towards the bad guys, spraying automatic gunfire, with the blood of someone dear, spattered across her face. Enthusiastic squibbing is the order of the day too, and I was definitely left interested in seeing further examples from this promising new source.

Dir: Nopachai Jayanama
Star: Pichana Yoosuk, Napassakorn Midaim, Wanchana Sawasdee, Ticha Wongtipkanon

The Kill List

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★★★½
“Dressed to kill.”

For a TV movie, this is very impressive. When you hear that phrase, I usually think of something which appears on Lifetime or, worse still, Hallmark. But it seems that Thai television is made of sterner stuff. This plays much tougher, more like something you might see on AMC or FX. The story may not be particularly original, but it’s done with enough style and energy to make for more than passable entertainment The heroine is Angie (Rittapinun), an orphan who was brought up by her uncle and trained as an assassin. Her latest mission involves the retrieval of a data chip which contains a list of all the members in the organization of which she’s part. In the wrong hands, it could be disastrous.

Except the mission goes wrong, and the chip ends up in the hands of a hooker, Nina (Pitaktrairong), whom Angie let live because she was reminded of her sister, not seen since the day their parents were killed. This gets Angie disavowed by the organization, and they send further killers after her. Meanwhile, detective Sam (Asavanond) is hot on the trail of Angie for all the corpses left in her wake. Policeman and hitwoman are – probably inevitably – forced to team up, because the conspiracy behind things has tentacles considerably closer to home than is comfortable for either of them. It all leads to a confrontation where the truth about Angie’s bloody childhood is revealed.

Yeah, there’s not a lot here which you won’t have seen done before. It seems to be inspired mostly by Hong Kong movies like Naked Weapon, and that’s certainly not a bad place from which to start. It is refreshingly free of romance: I kept expecting Sam and Angie to fall for each other, but their relationship is kept strictly professional. [Sam, instead, is heavily crushed on by a policewoman at the station] I was a little disappointed that the film does not follow through on the bleak tone for which it appeared to be heading. Too many people who are supposed to be dead, turn out not to be, though there is at least one fairly unexpected fatality.

The action isn’t bad, even if I was amused by the Imperial Stormtrooper level of marksmanship displayed, as a way of getting round the whole pesky firearms problem. Rittapinun snaps off some nice kicks, making an especially good first impression with some high-heeled kung-fu, aided by enthusiastic stuntwork from those she’s fighting. While there does appear to be some doubling for the more gymnastic moments, it’s done well enough to pass muster. An occasionally over-melodramatic moment or two don’t harm proceedings too badly either, and the makers keep things moving along at a brisk pace, with few pauses of excessive length. I found the performances hit their mark, even if there’s nothing particularly novel about the characters: cop who gets 48 hours to solve the case, troubled assassin with a heart of gold, etc. This is still pretty serviceable and I enjoyed it – though after Ninja: Prophecy of Death, anything would seem an upgrade.

Dir: Chalerm Wongpim
Star: Thikumporn Rittapinun, Sarawut Mardthong, Netchanok Pitaktrairong, David Asavanond

Beautiful Weapon

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★★½
“The world’s laziest assassin.”

By that, I am referring to the unnamed heroine of this film, because she doesn’t have to leave the house. She works as a hitwoman for Yakuza boss Yasuhiro Kokubu (Katô), and he delivers the targets to the front-door of her rural home, on the pretext of her being their entertainment. She then gives them the Black Widow treatment, having sex with them, before a couple of post-coital shots. She barely has to get out of bed, literally. In some way this makes sense, since she’s blind – I guess it’s nice to see the disabled being given equal opportunities in the assassin field. But she’s not exactly happy with her lot; her cleaner and handler Masahiko Yoshizawa (Murai) is concerned about her spiralling into alcoholism.

Of more immediate concern though, is Kokubu’s paranoia, which has convinced him that his trio of killers need to be disposed of, before they become a liability. His sent one assassin to visit her, only for her to prevail. So he follows up by dispatching the other one, Kenji Sakagami (Kusakari), to finish the job. Except he had followed the first killer and knows all too well what’s going on. Unsurprisingly, he suspects that once he kills her, his name will be next on his boss’s list, and so makes other plans, which involve him escaping with his target. However, Yoshizawa will need to be handled, and Sakagami also needs to convince her of his genuinely good intentions.

As you can imagine, given her static nature, it’s not exactly action-packed, though does ramp up nicely down the stretch. Until then though, it’s of an angsty drama, with more than the normal amount of sex. The focus is perhaps more on Sakagami than anyone else, with the heroine being quite passive. While this is perhaps inevitable, given her particular set of circumstances, it doesn’t make for thrilling cinema. The director seems fond of depicting things in real time, which is a bit of a mixed blessing. I could have done without a lengthy depiction of Sakagami’s first journey out to her home, but when the love-making between them gets a similar treatment, it’s an interesting variation on the way such things are usually depicted.

This is the first of the series which would give us Beautiful Beast a couple of years later, but is a little lower key and, in general, less interesting. The elements are all reasonable enough in themselves, it’s just that they are combined in a way which occasionally borders on the soporific. Action is probably not a secondary consideration here, likely ranking below both the drama and the eroticism, and very much of the “blink and you’ll miss it” kind. The finish is strong, though this too seems over-extended beyond what it might merit. As a portrait of a damaged assassin, it just doesn’t convince, perhaps because we do not spend enough time with her, and even her blindness doesn’t matter much. 

Dir: Kazuo ‘Gaira’ Komizu
Star: Masumi Miyazaki, Masao Kosakari, Kunio Murai, Takeshi Katô
a.k.a. XX: Beautiful Weapon

Scarlett Cross: Agents of D.E.A.T.H

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★★
“Hot, Cross buns.”

To be honest, I enjoyed this a good bit more than the rating above would indicate – probably another star or so. But I have a particular tolerance for cinema with rough edges, which I know not everyone will share. This is such an entity. I can’t really recommend it, since most people won’t be able to get past the micro-budget anesthetics, which the film rarely bothers even to try and hide. But I could appreciate the obvious passion that went into this. Put it this way, if I had twenty quid with which to make a movie, it could end up looking something like this. Probably not with such a kick-ass poster though.

I suspect we credit Meadows there, since it seems he did everything else. Specifically, he wrote, directed, shot, edited, produced this and was stunt co-ordinator too. Plus he plays foul-mouthed gangster Danny McQueen. Unlike most such cases, there’s no obvious deficiency in any of these areas. It’s all adequate: if there’s a weakness, I’d say it is the audio, which is especially weak in the fight sequences. “Seventies kung-fu movie” bad. Mind you, the fights themselves occasionally are two people, clearly trying to hit each other’s weapons, rather than the opponent. On the other hand, there are times where things do come together reasonably well. The titular heroine (Clatworthy) looks the part and seems competent enough for a job as an assassin working on behalf of the British government… Or is she?

The story-line beyond that is kinda fractured. It’s described as an anthology, and there do appear to be various “chapters”, which are or more or less loosely connected to Scarlett’s quest for her own identity. And her survival, since it seems that some parties are keen to dispose of her, because that whole “identity” thing poses a potential threat to said parties. There’s a side-plot about a woman who is seeking revenge for all the abuse she suffered at the hands of the church, which does at least give us the immortal line, “No, I’m deadly serious. We’re dealing with a fucking killer nun!” This kind of self-aware sarcasm is likely when this is at its most effective.

This needs to embrace its exploitative elements to a greater degree, though I wonder if the version I saw (on Tubi) was edited. I did read one review which said, it “opens rather salaciously with a truly bizarre, literally titillating, yet oddly engaging fight sequence, not for the children. In fact this movie if rated would probably be an NC:17.” Not the movie I saw. One rather chaste shower scene was about the extend of the mature content, and the violence – lots of digital muzzle-flash – is along the same lines. That CGI does play against the grindhouse aesthetic for which Meadows is definitely aiming, down to the fake film scratches. As a debut, however, this is not without premise, so let’s see where he goes from here.

Dir: Dean Meadows
Star: Kat Clatworthy, Maria Lee Metheringham, Tayah Kansik, Hannah Farmer

The Watcher, by Matthew Hattersley

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Literary rating: ★★
Kick-butt quotient: ☆☆☆½

Somebody really liked Killing Eve… If you’re going to write a story about an amoral female assassin, working for a shadowy group, who becomes involved with a woman she’s supposed to kill, then you are basically inviting such comparisons. These are unlikely to be favourable to your work. I’m just sayin’. This started off okay: however, a single sentence at the 46% mark was basically a large neon sign as to how this was going to end, and proved exactly the case, as this collapsed in a slew of implausibility. Now, I’m not a trained assassin, so can’t comment on those elements. However, I do work in IT, and it’s clear the author does not. For instance, if someone was to leave our company on bad terms, their access would be immediately removed, as a top priority, so they couldn’t… oh, waltz in thereafter and download all our highly sensitive data. Sheesh.

Anyway, back on the amoral female assassin front, we have “Acid Vanilla”, the operational name of a killer working for private company Annihilation Pest Control. They’ve been contracted to tidy up after an executive of tech company Cerberix was seen  strangling a hooker. The employee who witnessed it, Spook Horowitz, and footage of the murder, both have to be disposed of. However, Acid is already teetering on the edge of burnout, and when her target informs her about the realities of the case, the hitwoman decides she is on the wrong side. She and Spook set out to take down Cerberix. This means her boss at APC will send a steady stream of other employees in their direction, in an effort to cover up the widening mess this contract is causing. It needs to be cleared up before Cerberix’s upcoming and much-ballyhoed announcement of their new venture, due to be live streamed across the globe in a few days.

Yeah, if you can’t tell the eventual direction, I don’t know what to say, and Horowitz has to be the least convincing depiction of a “hacker” I’ve ever read. Neither her, nor the relationship with Acid, are credible, and the further the book goes on, the more these elements take centre-stage. It’s a shame, since Vanilla herself is a decent character: the child of trauma, inevitably, yet not a pure psychopath either, and with significant mommy issues, let’s just say. Particularly as a first book, Hattersley should have stuck to establishing her, rather than bringing in the Jiminy Cricket-like character of Horowitz, who can also get whatever information is required by the plot with a couple of mouse-clicks. There’s no shortage of action, to be sure, although it felt almost like a running joke the way Acid inevitably took out the bad guys with head-shots (so many skulls exploding like ripe fruit…), while they only ever aimed at her and Spook’s bodies. Definitely one of the more baffling 4.25-star ratings on Goodreads.

Author: Matthew Hattersley
Publisher: Boom Boom Press, available through Amazon, both as a paperback and an e-book
Book 1 of 7 in the Acid Vanilla series.

The Hit Producer

  By

★½
“This hit is a miss.”

Made on a shoestring in Ireland, the nicest thing you can say is probably, this doesn’t look as cheap as it was. If only you could say the same for the script, which seems to be trying to be Guy Ritchie, only to end up nearer to Guy Fieri. It’s not a terrible idea, if rather stretching belief. Katelin Ballantine (Doherty) is a film producer, trying to raise funds for her latest movie. To that end, she is hanging out, unwillingly, with sleazeball businessman, Felim Shaw. What she doesn’t know, is he is deep in debt to local mob-boss Edmund Murren (Fleming). He kidnaps them both, forces Katelin to kill her potential investor, then threatens her family to make her continue in her new career as his assassin, alongside former friend and now Murren associate, Henry Furey (Kealy).

Two years later, she’s splitting time between that and her ongoing film production work. But her underworld identity becomes known to Murren’s rivals, and she is cut loose as a liability. With Henry her only ally, and the police now also closing in, Katelin has to try and survive, keep her family safe and stay out of the authorities’ hands. Only, none of this manages to mesh into a coherent, or even interesting, whole. For example, the film producer angle seems to exist purely for the purpose of the title, and doesn’t add anything of note to the main story. Given this set-up, it might have made sense had it been filmed in Los Angeles, or better yet, Hong Kong, where the overlap between the movie industry and organized crime is well-known. Dublin? Not so much.

As mentioned, I didn’t hate the idea. We used to know someone who… let’s just say, had a not dissimilar, sharp divergence between their day job and main source of income. But the execution here is just terrible, with the makers unable to decide what kind of tone they are aiming for, and even less ability to deliver it. It crams too many characters in, leaving none of them able to make an impact; I simply did not care what happened to anybody. Even Katelin is a botched heroine, in part because the movie skips entirely over the two years where she goes from sniveling wreck, whimpering by the side of the grave she has just dug, to a hard-nosed killer.

I suspect it either needed to give us that transition, or begin with the latter and perhaps fill in the back-story down the pipe. Instead, the film basically ignores what is arguably the most interesting element, in favour of murky betrayal and shenanigans among the Irish underworld. There’s little or nothing here we haven’t seen before, and almost always done better to boot. The action is nothing to write home about either, leaving my attention and interest to peak, more or less at an admittedly stylish opening credit sequence.

Dir: Kevin de la Isla O’Neill
Star: Michelle Doherty, Neill Fleming, Fergus Kealy, Susan Barrett

Kill Boksoon

  By

★★★½
“Joan Wick”

There’s a lot to admire about this South Korean film, though a couple of fumbles stop it from achieving the heights it threatens to do. You’d be forgiven for thinking it’s a knock-off of Kill Bill going by the title. But it’s as much a pun on the name of the heroine, Gil Bok-soon (Jeon). She has been an assassin since she was 17, and has worked her way up to be the top employee of the MK. ENT corporation, run by Cha Min-kyu (Sol). They are one of a number of competing companies offering killers for hire, but to ensure standards, certain common rules have been agreed, e.g. no kids, and are adhered to by all. Well… Kinda…

Bok-soon has a teenage daughter, Jae-yeong (Kim), from whom she has kept her career secret. But Bok-soon is still concerned Jae-yeong might follow in her footsteps, especially after she stabs a schoolmate in the neck. Bok-soon also breaks one of those corporate rules when she refuses to kill a politician’s son. This kicks off an escalating series of problems, largely driven by Min-kyu’s sister, Min-hee (Esom), a director of MK ENT, who had long resented Bok-soon’s special relationship with her brother. Bok-soon eventually finds herself on the receiving end of a contract, despite Min-kyu’s best efforts to avoid such a scenario, while also having to handle the teenage drama of Jae-yeong, and keep her personal and work lives separate. 

I enjoyed the world building here. It feels a little like John Wick in its creation of a shadow society of assassins, operating by its own rules just beneath the surface. There is a peculiarly corporate feel to this one, perhaps a reflection of South Korean culture. For example, Bok-soon hangs out at a restaurant with some employees of “rival” companies, shooting the business breeze. The place is run by a former assassin, and it’s all very convivial – at least until the contract on her comes out. What follows is likely the action highlight of the film (not least the fate of the poor, unfortunate owner). I also loved Bok-soon’s way of foreseeing how fights will go, like a chess master thinking moves ahead. A similar skill was seen in Zhang Yimou’s Hero; this ramps it up.

Less successful is the family drama. I’ve a low tolerance for whiny teenagers (I’ve lived through it!), and this all felt too soap-opera for my tastes. I get that the daughter’s secret is intended as a parallel for her mother’s, but it’s too obvious and generated more eye-rolling than emotional connection. With an extended running-time of 137 minutes, it certainly feels like unnecessary padding. I’d rather have learned more about the world of the assassins, rather than Jae-yeong’s (largely self-inflicted) schoolyard angst. But even discarding that, there’s still plenty to appreciate here, with Jeon’s strong performance at its core. If this were to follow John Wick in becoming a franchise, I certainly would not complain. 

Dir: Byun Sung-hyun
Star: Jeon Do-yeon, Sol Kyung-gu, Kim Si-a, Esom

Family Blood

  By

★½
“Bloody hell.”

Tubi TV has become a goldmine of obscure, weird and, very occasionally, wonderful content for me. When I say “obscure”, I mean their selection includes films like this, about which the IMDb has only the barest of information. No external reviews; no user reviews; not even a rating. The film exists, and at the time of writing, nobody on the Internet has apparently noticed. To be honest, there is  good reason for this: it’s another one of those modern blaxploitation vehicles, which seem to exist mostly for the director’s pals to show up on the soundtrack. Yet even by the low standards of that genre, this is technically inept, with woefully shoddy audio and almost no storyline to speak of.

What there is, occurs ten years after the event – not that you’d know it, if it wasn’t for a caption saying “TEN YEARS EARLIER”.  Det. Lens Smith (Stagger) tells the story of his ultimately unsuccessful efforts to locate a group of women assassins, operating at the time in Las Vegas. There was Dawn (Jaye), Phoenix (Cantrell)… and it then appears the group ran out of proper names, with the others being called Red Death (Douglas), White Tiger and – I kid you not – Yellow Fever. I have to repeat, there’s really no plot here. One of them is married to another LVPD detective. There’s some light bickering among the women. At the end, Det. Smith gets up and walks away, vowing to re-open the case. That’s it. 

Pluses are hard to find. It’s barely an hour long: that’s one. Initially, I thought it might eschew the usual crap rap, with the first murder accompanied by electro-Celtic bagpiping, which was at least different. This didn’t last long, unfortunately. There are occasional moments of droll humour, referencing the Die Hard and Lethal Weapon franchises, and one victim gets an extra bullet, for having had the temerity to touch his assassin’s ass. Though most of the killings are uninteresting or even unintentionally laughable. What assassin worth their salt, would climb to the roof of a building to try and shoot their victim on the sidewalk with a silenced handgun? I know nothing about guns and still realize that’s flat-out stupid.

As is sadly common, the audio is about the worst aspect. The talking head interview of Det. Smith is the only time where this is acceptable. Anything outside is doomed to be muffled; anything inside is equally inevitably afflicted with a tinny echo. I had to keep my finger permanently hovering over the volume button, turning it up whenever anyone was speaking, knowing that at any second the crap rap would burst out and send my ear-drums to Bleeding Town. In the end, I enabled the closed captions instead. Problem solved. The women are reasonably attractive, and keep their clothes on, with nothing more than a bit of cleavage to show for your troubles. It’s all, very definitely, not one of Tubi’s finest moments.

Dir: Bowfinger Stagger
Star: Kevin Stagger, Marlo Jaye, Porsha Cantrell, Ta’Sha Douglas

Steele Wool

  By

★★★
“Puts the ‘hard’ in hard of hearing…”

Daphne Wool (Varela) has finally had enough of her abusive husband, so has killed him, chopping up the corpse and keeping it in a storage locker. Which actually is a good thing, because it turns out he was wanted by the Mob, and there was a price on his head. For their “help” in carrying out the hit, Daphne and pal Tony Steele (Cappello) are rewarded, but things go further. Daphne becomes a full-time assassin for the gangsters, learning to kill with everything from a paper-clip up, while Tony acts as her facilitator. However, they quickly become a liability to the organization, and are given a “poison pill” contract, being sent to kill weapons inventor Vincent McCabe.

The approach here is very much light in intent. Witness how Daphne’s training is largely watching movies like La Fille Nadia [sic], or the way in which she does, in fact, use a paper-clip as the instrument of one target’s demise. The film does a decent job of countering this with an awareness that this is a dirty and unpleasant business, as when she visits (from a distance) the widow of a target and their now fatherless child. It is a difficult balance for a movie to strike, and I’m not convinced Cappello gets it right, resulting in some awkward lurches in tome from the comedic to the supposedly heart-felt. Both come off a bit flat: I never got past a wry smile, and was never completely engaged.

This is not Varela’s fault, nor that of her character. Daphne is played gloriously against all the tropes of the female assassin: it’s no coincidence her most effective undercover disguise is an estate agent. Add to this, Varela is deaf: this element affects, yet does not define, her character and that’s exactly the way disability should be portrayed. It is even worked nicely in to the plot, with one of McCabe’s weapons in development being a sonic cannon. However, I’d like to have seen more of her in action; perhaps for budgetary reasons, this is limited, or perhaps Cappello just wasn’t interested in that aspect.

This brings me to the other issue: Cappello the director is too much in love with Cappello the actor. The latter wears out his welcome well before riding to the rescue of the supposed heroine, in McCabe’s underground lair. This is a shame, since Daphne is such a gloriously unconventional character, the reverse should have happened. Tony is never interesting to begin with, the script (also by Cappello, naturally) forgetting to give him any particular reason to exist, beyond Daphne needing someone to talk to. Having him become the hero for the finale, feels forced and unnatural. This is not enough to derail an excellent concept, or negate what I think is likely only the second disabled action heroine on this site, after Ready, Willing and Able. Yet it’s definitely a pity.

Dir: Frank A. Cappello
Star: Cami Varela, Frank A. Cappello, Nicholas Ontiveros, Arina Manta