Month: December 2022

My Day

  By

★★½
“Where the streets have no name.”

Sixteen-year-old Ally (Smith) is living her life very much on the fringes of society. Coming from a broken home, she is now homeless on the streets of London, relying on the dubious charity of questionable friends. Though Ally does have her limits as to what she’s prepared to do, she has no issue with occasional bits of work, delivering drugs for dodgy couple Carol and Gary. It’s this that gets her into trouble: a job goes wrong, after the customer tries to rape her, and Ally flees – without either the drugs or the money. Carol and Gary are bad enough. Yet even they live in mortal fear of their boss, Eastern European gangster Ilyas (Adomaitis). He wants his merch back – and Ally, as interest, for sale to his sex trafficking friends.

Ally ends up in Ilyas’s clutches, increasingly strung out on heroin. Luckily, help to escape comes from a couple of unexpected sources. First is Carol and Gary’s son Kevin (Jackson), who has bigger plans outside the estate on which he currently lives. Then there’s old age pensioner Frank (Kinsey – whom I remember from close to fifty years ago, playing a soldier on classic Brit-com, It Ain’t Half Hot Mum!), who has befriended Ally for his own reasons, is concerned by her sudden absence, and sets out to track her down. Are either of them prepared to cope with someone as morally bankrupt and brutally violent as Ilyas?

This is likely a fringe entry here, considering Ally spends much of the time lying on a squalid mattress, off her head. Yet there are likely just enough moments to qualify, and she has absolutely no aversion to using violence herself when necessary – beyond what any of her male allies can deliver. Although Ally is not a particularly likeable character, there is still enough of a moral code that I did find myself eventually warming to her. The problems here are more in the other cast members, who largely appear to be single-note descriptions, e.g. “kindly old codger,” with the actors not apparently given enough information to flesh them out by first-time feature director Miiro.

I did appreciate a slightly different view of London from the one often shown. Not least, it unfolds on the Western edge of the city, rather than the inevitable go-to when film-makers want to show deprivation, the East End (with an occasional foray Sarf of the river Thames!). Not that it looks notably different: still, it’s the thought that counts. The script somehow manages to end up both a bit too neat, and simultaneously leaving too many loose ends, which may be a result of this being an expanded version of the director’s earlier short. To be honest, it feels fractionally too earnest, in a Ken Loach kind of way, even if depicting a world where everyone is, to some extent, embedded in criminal culture. I suspect that was not the intended point, however…

Dir: Ibrahim Miiro
Star: Hannah Laresa Smith, Mike Kinsey, Karl Jackson, Gediminas Adomaitis

The Girl Who Got Away

  By

★★★
“The plot that got away.”

This isn’t the first movie I’ve seen, in which a woman escapes apparent death at the hands of a serial killer, only for them to track her down years later. However, the twist in the narrative here, which perhaps pushed it over the necessary boundary for inclusion on the site, is that the killer is also female. The victim is Christina Bowden (Johnson), who as a young girl was the sole survivor of Elizabeth Caulfield (Tuckerman) and her “child farm”, for want of a better phrase. Bowden has slowly put her life back together and is now a school teacher. She’s also looking to adopt another troubled teen, Lisa Spencer (McCarthy), and pay it forward. Then she gets a visit from local sheriff Jamie Nwosu (Iwuji).

For Caulfield has escaped during a transfer, and may be heading to finish what she started. Jamie does what he can to offer protection, but the stress is clearly taking an increasing toll on Christina and her psyche. Her relationship with Lisa disintegrates ad she tries to keep her in the dark about her own past.  Then dead bodies start to pile up. At first, it seems Caulfield is the obvious suspect, until the victims become people about whom she wouldn’t even know about, let alone have any reason to kill… If you are anything like me, you’re perhaps a bit ahead of the story, and there are some elements where you wonder why everyone is so slow to put the pieces together.

To the film’s credit it doesn’t stretch these aspects excessively. On the other hand, I still have questions about a number of the developments in the final act, some of which had me muttering “Hang on a moment…” under my breath. I’m prepared to cut it a certain bit of slack, for what had been a slow burn to that point, suddenly turned on the nitrous, and went fairly intense grand guignol. It’s a trade-off I’m usually prepared to make. It does help balance a movie that does feel overlong at 116 minutes, with elements in the early going, that never come to any particular fruition. I’d rather have seen more of Caulfield, who is backgrounded too far to be a truly effective horror threat.

That may at least be somewhat deliberate, as this isn’t exactly the horror movie implied by the poster. It’s perhaps more of a psychological drama, with thriller components. Regardless of genre or marketing, the performances are generally solid though. Johnson does an effective job of playing someone with a rough past, whose future suddenly does not look all that bright either. Over the course of proceedings, it’s certainly one hell of a character arc, and the audience are more or less compelled to go along with her, willingly or not. I can’t say it’s entirely successful as an entity, yet there are moments here that are effective enough. It may have been almost two hours, yet I didn’t feel they were entirely wasted.

Dir: Michael Morrissey
Star: Lexi Johnson, Chukwudi Iwuji, Willow McCarthy, Kaye Tuckerman

Hunting Ava Bravo

  By

★★★
“No business like snow business.”

I do admire a film which does not hang about, and this certainly qualifies. We begin with Ava Bravo (del Castillo) removing a hood to find herself in a very remote, snowbound mountain cabin. A cassette player nearby has a message. She has been abducted by Buddy King (Blucas), a millionaire with a fondness for kidnapping trauma survivors and hunting them through the wilderness. There’s a snowmobile parked five miles North, if she can make it across the winter terrain there. To make it fairer, Buddy has only three bullets for his gun. Oh, and he’s going to be coming up from the basement in ten seconds. Safe to say, this is the kind of start that grabbed my attention. 

It does have some trouble living up to it, with rather too much slack in what follows, even if the running time is under 80 minutes. Things do unfold largely as you’d expect, in what’s another variation on the ever popular Most Dangerous Game concept. Seriously, there have been so many now, I feel I should add a tag for that subgenre. So, we get Eva getting the drop on Buddy, only to find his cassette message was not entirely truthful, and she needs to keep him alive if she wants out. The rest of the film is a struggle between the two of them for dominance, and we learn a little of their histories and what makes them tick.

It probably needs some tighter plotting, e.g. a third party (Medina) turns up when needed by the plot. Though this does get explained, it wasn’t entirely convincing. I have… questions. Let’s leave it at that. This also applies to the ending, where Eva’s geographic knowledge suddenly seems considerably better than it was. However, this is made up for with a decent pair of lead performances, and some sequences which are effective and tense. Del Castillo should be known in these parts as the star of La Reina Del Sur and Ingobernable. This is a bilingual performance, with a chunk of unsubbed Spanish, though it’s mostly cursing.  [Sometimes having a wife of Cuban extraction has its benefits. I’m now fairly fluent in certain phrases you won’t learn on DuoLingo…]

This does come to play in what’s likely the tensest scene. Ava and Buddy stumble across two Hispanic hunters, leading to them both trying to convince the hunters that the other is the dangerous psycho. He has the bruises to support his case, and she is carrying the gun. However, she has the language advantage. It’s a well-written, performed and staged sequence, and shows where the film could perhaps have gone. Moments like this were enough to get me over the less interesting bits of chit-chat, though Ava’s matter-of-fact description of her previous abduction and escape is chilling in its understated nature. If it’s all too uneven to be wholeheartedly recommended, I felt there was enough here to justify its existence. 

Dir: Gary Auerbach
Star: Kate del Castillo, Marc Blucas, Halem Medina