Author: Jim McLennan

The Zwickys

  By

★★½
“Half-baked”

This is distinctly a film of two halves. The first is undeniably more impressive, taking the revenge motif and going in an interesting, and at least somewhat novel, direction. However, not long after the half-way point, the script decides to change direction radically. This leaves behind the grounded entity which we’ve had so far, in favour of something with distinct supernatural tendencies. I’m not averse to these per se. Yet they’re an ill fit with what has gone before, and need to be integrated considerably better. Then, things derail completely for the finale, pulling things out of nowhere to achieve a solution, in a gobbet of exposition that completely lost my interest. So, probably 3½ stars for the first half, 1½ for the second. 

It’s the story of the two titular sisters, Kayden (Arias) and Julie (Bennett) – Americans, but now living in Honduras. So if nothing else here, that’s another country crossed off the action heroine map, with the story unfolding in a mix of Spanish and English. Kayden is married (though I guess, hasn’t changed her surname). Or, rather: she was, until her husband is shot and killed by an intruder, when Kayden is out. The local police are useless, whether through incompetence, laziness or corruption, it’s hard to tell. Kayden decides she’s going to take revenge. There are some problems with this. Firstly, she doesn’t have a gun. Secondly, she doesn’t know who to take revenge against.

It’s here where the film is interesting, because a complete lack of experience isn’t something you see often in the vengeance subgenre. It’s quite striking, along with Julie being the voice of reason, and the film’s strongest scene is probably when the sisters are negotiating for a gun with a local dealer. They’re utterly out of their depth, and I was looking forward to seeing how this might all play out. How would they find the target? The answer? A seance with local shaman Miguel (Lagos). Betcha didn’t see that coming. He’s not even particularly helpful, beyond suggesting that Kayden might actually still be in danger. It takes the instigator – and it’s someone I think we’d barely seen, if at all – to show up at Kayden’s house and explain everything.

While the occult stuff was certainly unexpected, and doesn’t really serve a significant purpose, it was at least entertaining, and Lagos makes for a creepy psychic. Admittedly, digging up the corpse of her dead husband to retrieve his wedding ring was… a bit of a stretch. Still, it’s the final section which truly sinks the film, triggering one of the biggest cases of, “Is that it? Really?” I’ve suffered over the past couple of years. None of it made sense, especially in the light of Kayden’s earlier and unchallenged proclamation that nobody knew her late spouse better than her. When a film has to lie to the viewer like that, it loses almost all credibility. Turn this off after a hour, trust me on that.

Dir: The Valle Brothers
Star: Silvana Arias, Melany Bennett, Edwin Lagos, Sheyla Downing

Extraction, USA

  By

★★
“Wears its bleeding-heart on its sleeve.”

Marni (Johnson) is stuck in the titular town, where oil fracking is causing problems from earthquakes to poisoning the local water supply. She’s barely scraping by as a single mom to teenage son Jason (Strange), working as a bartender for sleazy owner Daryl (McMahan), who has a bad case of wandering hands, and hustling customers at pool. Her life is upended when Steph (Carpenter) comes into the bar, kicks Marni’s ass on the pool table, and the two end up making out in the back alley. When Steph becomes aware of Darryl’s safe full of cash, she suggests they liberate it, to finance a new life for them and Jason, far away from Extraction.

Naturally, things do not go quite as planned. The first attempt ends in failure, though  do discover the source of Darryl’s unreported income. [There’s a huge plot-hole here, in that they’re seen in Darryl’s office, and end up having to knock the witness out. They would surely have been identified, yet the matter is never mentioned] Realizing her actions could put Jason at risk, Marni regrets her decision and breaks up temporarily with Steph. They reconnect and decide to make a second attempt, this one a higher-risk plan involving kidnapping Darryl and forcing him to open the safe at gunpoint. [Though weirdly, they buy Airsoft guns mail-order for this. Was Walmart closed?] However, getting the cash might not be the end of the matter.

The main issue is, it feels like the makers are more interested in checking off boxes as a good diversity and liberal ally. Fossil fuels, male chauvinism and big business are bad. LGBTQ, people of colour and feminist activism are good. The plot? Secondary, with the robbery not even being suggested until virtually the half-way point in the film. The problem is, it doesn’t quite have the impact intended on me. For example, Marni complaining about her student loans, resulting from her taking a useless degree, is not the sympathetic flex Yonts believes. Choices have consequences, sweetheart. Did she take on this voluntary debt before or after having Jason? Neither inspire pity here.

I found all these elements and questions a distraction from what should be the meat and potatoes of the plot – or given the film’s sensibilities, the tofu and garden salad of the plot. There’s a whole thread where the drugs are being sold to the oil company to make their employees work harder and… I can’t even. Crop the whole thing down to a tightly-focused heist, and we’d all be much better off. The performances are fine, certainly good enough for that,  though I’m trying to work out the ages here too, since Marni seems way too young to have a son of that age. I initially thought she and Jason were brother and sister.  The problems here are very much on the scripting side, with an ending which is as unsatisfying as the rest of it.

Dir: Mike Yonts
Star: Leanne Johnson, Marlee Carpenter, Chase Strange, Derek McMahan

Red Sonja (2025)

  By

★★★
“Better red than dead?”

It has been forty years since the first crack at adapting the Marvel comic series, in turn inspired by Robert E. Howard’s character, Red Sonya of Rogatino. The first stab, released in the wake of Conan, starred Brigitte Nielsen, and was pretty bad. There have been rumblings of further attempts over the years, with a Robert Rodriguez version, starring Rose Macgowan, gaining traction in the late 2000’s. Though given the dreck in which Macgowan has appeared, it’s probably for the best this never came to fruition. Instead, we have a lower profile – read, smaller budget – version from director Bassett, who previously gave us mercenary Megan Fox, and lead Lutz, who was totally awesome taking her Revenge. 

Indeed, that would make a fine “Matilda Lutz overcomes impalement to take vengeance” double-bill with this. The reboot isn’t bad at all. It certainly is miles better than the eighties version, mostly because of Lutz. She may not be quite as muscular or buxom as the comic-book version. But she does bring the required intensity, and that goes a decent way to making this watchable. The supporting cast are good too, although I was less convinced by the plot in general, which is little more than a grab-bag of clichés. We begin with the quick slaughter of Sonja’s village, then see the adult Sonja (Lutz) roaming the forests of Hyrkania. These are under threat from Emperor Dragan (Sheehan) and his psycho sidekick, Annisia (Day). 

After being captured, Sonja is made to fight in gladiatorial combat. She helps the other captives escape, and they fight a guerilla war to prevent Drakan from obtaining the other half of a mystical tome which has great power. Sonja is almost killed by Annisia – the impalement mentioned above! – but brought back by Ashera, the forest goddess, to face her enemies again. Pretty rote fantasy stuff, in other words. It’s the stuff around the edges that is more fun and, beyond the lead actress, is where the improvement is biggest over the Nielsen version. 

I enjoyed the arena scenes, which felt like Spartacus with monsters. Always nice to see Rhona Mitra (Doomsday), though her role is briefer than I’d like. I also liked Day, whose portrayal of Annisia is entertainingly unhinged, like a psycho version of Lady Gaga. Her relationship with Dragan doesn’t play out as I thought, and I would have preferred more places where the script confounded expectations in this way. I was a little disappointed by the fights, which aren’t as hard-hitting as I expected. Although they feel workmanlike and competent, the hits only seem to have much impact on a couple of occasions. Some editing might have helped: 110 minutes feels longer than necessary.

On the other hand, for a reported $17 million budget, it looks decent, and Bulgaria offers some impressive backdrops on which to paint things like the largely-CGI arena. There are occasional moments of self-effacing humour which help, such as the scene where Sonja gets her battle bikini. The end clearly wants a sequel: however, the very token cinema release (one midweek screening in theatres!) suggests the studio had little faith in it. A pity. I’ve definitely seen much worse, and would welcome further tales of Hyrkania. 

Dir: MJ Bassett
Star: Matilda Lutz, Robert Sheehan, Wallis Day, Luca Pasqualino

Country House

  By

★★½
“Well, that’s different.”

The title above is the one by which it appeared on Tubi, though everywhere else calls it Aggression. I guess both are appropriate, in different ways. Neither shed a great deal of light on proceedings here. Then again, you could argue, the film itself is largely deficient in the area of enlightenment too. It takes place in rural France, where Sarah (Nicklin) has been reunited with her sister Marie (Duchez), after twelve years living in England. The circumstances are not happy, the visit being the result of their father’s death. However, there appears to be a dark past surrounding the circumstances of Sarah’s departure. Meanwhile, Marie is mute, although this does not play into the scenario which unfolds. 

After a chunk of small-scale family drama, things kick off with a home invasion staged by Chris (Torriani) and his colleague (Jacquet), who doesn’t seem to have a name. As is common in these cases, one of the criminals is “nice”, while the other is a psycho. And similarly, Marie is timid, and inclined to run, while Sarah is… not. I probably don’t want to say much more, even if simply by not saying more, I am in fact… saying more. Let’s just add, the original title becomes considerably more relevant. That, alone, would be something we’ve seen before in the home invasion genre. However, it’s just the start, because things go entirely off the deep end, in terms of motivation especially.

Just do not expect anything orbiting in the same solar system of a coherent explanation. The only other review of this I could find (in French) called this a giallo. After a first half where I was very hard-pushed to spot the similarity, I can see where that’s coming from. It has the same air of unfiltered madness, as well as suddenly switching to a lurid colour scheme, which makes as much sense as the plot i.e. none at all. One second, a scene will be lit in neon blue; the next shot, taking place in the same location, will be mint green. You could say this is a striking and brave choice of artistic palette. Or you could say it’s pretentious bollocks. I’d not argue either way. 

It is, I suspect, the first Lovecraftian home-invasion movie. Admittedly, after watching it, you may well understand why this is the case. I did like Nicklin, who has been seen here previously in Sister Wrath, and does the best she can in terms of selling the insanity inherent in the script. I could potentially have enjoyed the madness, had it bothered at least to attempt an explanation. Instead, the lack of anything close comes over as lazy film-making. I do appreciate a good swerve, and this undeniably ends up somewhere very different from what I was expecting. However, when you unexpectedly pull the rug out from under your audience, you need also to provide somewhere for them to land.

Dir: Rick Jacquet
Star: Sarah Nicklin, Marie Duchez, Cédric Torriani, Rick Jacquet
a.k.a. Aggression

Choppa City Queens

  By

★½
“Black to very basics.”

We return to the prolific well of Jeff Profitt, last seen here with Keisha Takes the Block. And by prolific, I mean that the IMDb lists now fewer than thirteen upcoming projects he is slated to direct. Fortunately for my backlog, most of these do not appear to be candidates for the site: I do confess some curiosity as to what Trap House Pizza is about. Anyway, both Choppa and Keisha are among the six features he directed in 2023, a number he exceeded last year. Quality is clearly subsidiary to quantity, and this has much the same problems as the last film we covered here, In particular, it’s mostly talk and not enough action.

You have three friends: Leah (Robinson), Jada (Alysha) and Shanice (Collins), all of whom are out of work and seeking a way to make money. Leah literally stumbles across a cache of weapons belonging to gun dealer Ricky (Profitt), and convinces him to let her sell his merch in the ‘hood. For the “Choppas” of the title are Kalashnikov AK-47’s, the weapon of choice for the discerning gang-banger. After the initial sale goes well, Leah gets a bigger order, and has to ask for the guns on credit. Which is a problem, first when Leah’s buyer delays paying for the weapons, and then Shanice’s boyfriend Ray discovers what she’s doing, and decides he wants in on the action. That eventually leads to the only bit of AK action this provides.

The skeleton of a decent movie is present here. It’s possible to read the above synopsis and see how it could be done in an exciting manner. For instance, tensions escalate among the group as the lure of the profits from their new, illegal, but hopefully temporary business, drags them over to the dark side, when the trio only wanted to make a living. It’s a classic tale of the slippery slope into criminality, with the net of the authorities closing inexorably around the participants. Unfortunately, the resources here do not allow for anything like that. It’s telling that the women are buying just three (3) guns at a time, and there are absolutely no cops to be found here at all. 

Meanwhile, the script is strictly of the Point A to Point B variety, without real energy. The trio of lead actresses are okay: there are a few scenes where you can believe they genuinely are friends. The main problem on the performance side is Profitt himself, who is a contender for the world’s least convincing gun-runner. Used cars? Perhaps. Cellphones? Certainly. But now illegal firearms. He’s also very white, and I speak as someone whose skin colour is legally classified as “transparent.” If they’d made him an Aryan Nation type… that would have been a wrinkle. That, however, would be too much like hard work for a film which seems to be uninterested in anything except the path of least resistance to an underwhelming ending.

Dir: Jeff Profitt
Star: Tuckeya Robinson, Jasmine Alysha, Chanel Collins, Jeff Profitt

Robbin

  By

★½
“Robbed of two hours of my life.”

I’ve seen worse films, to be quite clear. Technically, this is perfectly acceptable, with an apparently reasonable budget, put to decent use. But I don’t think I’ve seen one which has been more annoying. It manages to hit that sweep spot of being both incredibly stupid, while also congratulating itself for being very smart in its attempts at social commentary. But the annoyance extends beyond that, to purely instinctive reactions like really bad hairstyles sported by some players. I can’t explain these responses, and am not interested in analyzing or defending them. But they certainly played their part in my steadily increasing irritation at the plot, characters and execution, over an excessively long running-time of one hundred and sixteen minutes.

The heroine is Robbin (Serayah) – and, yes, there are two b’s there. She is a former bank employee, who was falsely accused of stealing two million dollars. With the evidence stacked against her, she took a plea agreement rather than risk a long jail sentence. When she gets out, she decides the best way to respond is… by actually stealing from the bank. Yeah. Let that morality and wisdom sink in. She assembles her old crew from the South Central ‘hood where she grew up, and they begin planning their heist. But one theft is deemed insufficient payback, and another, even bigger robbery is planned. This is despite the increasing attentions of the police, including a detective (Lee), who has known Robbin and her friends since they were kids.

Far and away the worst thing here is the script, also by Stokes. It demonstrates a repeated, startling level of ignorance about how banks work, how computers work [authority check: I spent over a decade in IT with HSBC], and how the police work. For example, in the world of this movie, a detective under announced and active investigation by Internal Affairs for corruption, is not only allowed to keep working on the case concerned, she then gets to lead a raid on the suspects’ base of operations. #NotHowCopsOperate Hell, you could possibly also throw how criminals work onto this heaping pile of no-knowledge, since at one point a robber clearly asks a bank cashier for “No unmarked bills.” Um… shouldn’t that be “No marked bills”? 

Then there’s the whole clunky parallels to Robin Hood, beginning with the heroine’s first name. All her team – fresh off robbing a convenience store, I note – suddenly acquire altruistic reasons for their move into big-ticket crime. Add on a nasty racial strand, where just about everyone black is good, and everyone white is malicious and evil, to an almost tiresome degree, and you will perhaps begin to see from where my irritation stems. “Tubi Originals” are well-known for setting a low bar, to put it kindly. This falls short of reaching that bar.  If it weren’t for the fact that Tubi is a free service, I would seriously be contemplating cancelling my subscription.

Dir: Chris Stokes
Star: Serayah, Erica Pinkett, Jadah Blue, Robinne Lee

Fight to Live

  By

★★★½
“One tough mother.”

Bec ‘Rowdy’ Rawlings is an Australian mixed martial-artist, who fought in the UFC for a bit, and then became the first woman to win a bare-knuckle boxing world title. This documentary covers her life, from growing up as a teenage tearaway, through motherhood transforming her character, her discovery of mixed martial-arts, a disastrous and highly toxic first marriage, and escaping that to become eventually the Bare Knuckle Fighting Championship federation’s Women’s Featherweight World Champion. Phew. That’s quite a lot to get through in less than eighty minutes. The film does a decent job of covering its bases, through interviews with Bec, and her family and friends, plus no shortage of archive footage of Rawlings, both in and out of the ring.

Everyone in it, but Bec in particular, comes over as down-to-earth: it might be an Aussie thing. Certainly, she makes for an interesting contrast to the more… outspoken American and male MMA fighters, like Conor McGregor. Rawlings seems almost humble, speaking of the respect she has for anyone tough enough to get in the ring. Admittedly, this is likely in contrast to her early years when she was very much on the path to delinquency. Particularly awkward, since her sister was a police officer, who remembers getting a radio call describing a suspect, and knowing immediately that it was her sibling. But parenthood flicked a switch, and Bec realized after having her first son Zake, she needed to take responsibility for her actions.

However, life took a darker turn in her relationship with fellow MMA fighter, Dan Hyatt. For three years, he abused her, both physically and mentally. At one point in the documentary, the interviewer asks for specifics of what he did, and… Well, to be honest, it feels unnecessarily invasive, and almost exploitative: I didn’t feel like the details added anything. Eventually, she was able to escape the situation, and it certainly appears to be a case of “What doesn’t kill you, makes you stronger.” While the recovery process took a number of years, she can now look back on the horrors of that period in her life, and as Rawlings says, it happened to her, but does not define who she is, an awesome attitude.

To be honest though, I was more interested in the sporting side of the documentary, which follows Bec as she prepares to defend her title belt in Cancun, Mexico, against Cecilia Flores. She won – hey, it’s on her Wikipedia page – although it’s a little odd that this fight took place back in February 2019, but the film basically ends there, with only a couple of captions covering the five years between then and its release. I had, again, to check Wikipedia for more up-to-date information. After spending time fighting for Bellator, she’s now back fighting for the BKFC, winning her last (at time of writing) bout in January 2025. More power to her, both in the ring and as a mother.

Dir: Tom Haramis
Star: Bec Rawlings, Adrian Rodriguez, Mal Van, Jacqui Rawlings

Get My Gun

  By

★★★½
“Inside out.”

You could accuse this film of pulling a bait-and-switch. The first thirty minutes are set up to point emphatically towards one scenario. It then goes off in a completely different direction for much of the final hour – one very clearly inspired by French New Wave of Horror masterpiece, À l’interieur (Inside). Then it circles back around to kinda-sorta tie up the loose ends. Fortunately, I came into this one with almost no preconceptions. A poster of a nun wielding a shotgun? That’s all it took to add this one to my watch-list, and whatever happened thereafter was alright with me. Providing it delivered on the promise of a heavily-armed Sister of No Mercy on the advertising, at least.

It does, somewhat – though I have reason to doubt her nun authenticity. It’s Amanda (Hoffman), whom we first see forcing a man into the trunk of her car at the point of her boomstick. We then flashback to her working as a hotel maid, alongside BFF Rebecca (Casey). One day, Amanda is raped by a hotel guest (Jousset), whom we recognize as the man getting trunked, and ends up getting pregnant. She decides to keep it – that’s a discussion in itself – but to offer the baby up for adoption, and the selected parent is Dr. Catherine Gilden (Rubino), who initially appears perfect. Key word there: initially. Because Catherine becomes too stalkery for Amanda’s tastes, so she breaks off the arrangement. Which is where the film makes a sharp right.

Admittedly, in the annals of poor decisions, Amanda escaping her stalker by going to a remote cabin owned by Rebecca’s dad, is probably not the best idea. Anyone who has ever seen a horror movie can predict how well this works, i.e. not at all. After a brief homage to The Shining, we’re off to the races, with Catherine and Amanda engaged in a no-holds barred battle over the unborn child. Well, some holds barred: Inside, now that was truly no-holds barred, most memorably when Beatrice Dalle tried to excavate the disputed foetus with scissors from its mother. Nothing so extreme here, although this does have its moments. For good reason does Amanda proclaim, “Why won’t you fucking die?”

I would probably have to admit, this is rather more fun than the early going, though the relationship between Amanda and Rebecca feels genuine. You will probably learn more about the process of cleaning hotel rooms than you wanted to know, and it feels as if the makers suddenly realized the movie they originally set out to make wasn’t very interesting. I feel the second half makes up for it, and it’s clear by the end, when we circle round to her assailant, that Amanda has been changed by her experience. I certainly have questions, not least about Rebecca’s fate, and its definitely not as grindhouse as it thinks it is. But as a nasty slice of female empowerment, I reckon this certainly has its moments.

Dir: Brian Darwas
Star: Kate Hoffman, Rosanne Rubino, Christy Casey, William Jousset

True Story Of A Woman In Jail: Sex Hell

  By

★★
“Bad behind bars.”

With that title, you’ll understand why it’s one I opted not to make part of family movie night. I mean, you can’t argue with the forthrightness, though I’ve little doubt it’s as “true” as most films which make that claim i.e. barely at all. However, the bigger problem is that it’s fairly borderline “pinky violence”, being considerably more interested in the pink than the violence: it’s arguably more of a roman porno. It’s as if someone presented a checklist of cliches from the woman in prison genre, and asked the director to cross them off as rapidly as possible. The resulting speed-run lasts barely more than seventy minutes, especially impressive considering the amount of time devoted to soft-core sex couplings, in various combinations.

We begin with the arrival in prison of serial re-offender Harumi Matsunaga (Seri*), a prostitute now on her fourth stay, and the taciturn Mayumi Hojo (Kozue), sent to jail for… Well, the film holds back on that information for a while, so I’m not going to spoiler it. After the obligatory induction into prison life, her silence quickly brings Mayumi into conflict with her cell’s resident top dog, Sadako Nogawa (Hiromi*), and the pair butt heads. Inevitably, eventual mutual respect develops, especially when a key is found, which could give both women the opportunity to escape the hellish environment of the facility. 

The gap between these and the likes of Female Prisoner #701: Scorpion, made three years earlier, could hardly be greater, and its not in this film’s favour. It begins with Kozue’s fairly bland portrayal of the heroine, in sharp contrast to Meiko Kaji. Given the absence of a strong central character, the film subsequently feels more like porn. Albeit porn with decent production values, though an apparently loose grasp on the concept of “informed consent”. Though I was somewhat impressed with the scene in which a guard has sex with an inmate being held in solitary confinement, through a slot in the cell door. The inventive means by which prisoners are checked for contraband – it involves a custom set of stairs – was also momentarily interesting.

But it’s mostly about sex: what else would you expect, from the director of the similarly-imaginatively titled, White Rose Campus: Then Everybody Gets Raped. And a great deal of sex too – in a variety of configurations, be it straight, gay, or solo. Let’s just say, in hindsight, giving the sexually repressed prisoners clay might have been a questionable decision by whoever is in charge of leisure activities.  You’ll be left to tick off the items from your list. Sleazy prison doctor? Check. Extended sequence in the shower? Check. Revenge on the person responsible for incarceration? Take a guess. It’s all extremely formulaic, and doesn’t do it with enough energy to overcome its limitations, despite a funky soundtrack, courtesy of the Downtown Boogie Woogie Band.

Dir: Kôyû Ohara
Star: Hitomi Kozue, Meika Seri, Maya Hiromi, Rie Ozawa
* – There’s discrepancies between who plays who listed in reviews, and those in the IMDb. I’ve gone with the latter. 

Blast

  By

★★★
“Not a bomb.”

To some extent, Sonia (Arnezeder) is the very antithesis of an action heroine here. For she spends the vast bulk of the ninety minute running-time, sitting in the driver’s seat of her car. Admittedly, this is for good reason, because somebody has wired an anti-tank mine into the car’s circuitry, in a number of diabolical ways. There’s a countdown timer, anti-tamper device and it’s also liable to be triggered if the weight in the car drops below a certain amount. Making matters worse, her two kids are in the back. The reason is because of her work in bomb disposal, part of a charity that disarms mines in the Ukraine, a task which has made her certain enemies.

Fortunately, she’s not alone. Her other half, Fred (Kiwitt), is there for moral support, and – probably more helpfully – colleagues from her agency are also present, in particular Igor (Bukvic) and Camile (Mortensen). Together with Sophie, they have to figure out both a solution to the immediately explosive situation, and find out who’s responsible. There are no shortage of candidates, and no shortage of strong female characters either, even beyond Sophie and Camile. These are involved on both sides of the scenario, as it eventually turns out. Though I must confess, I’m a little uncertain about the motivation of those involved. In particular, why the rather complex approach taken here, was deemed to be the most appropriate method. Sometimes, simpler is better, when it comes to evil plans.

That said, it’s a film which doesn’t hang about. Barely a couple of minutes pass before Sophie and her kids are sealed in, with a literal ticking clock. Though we do know this won’t be the end, because the countdown is for only half an hour, it sets the tone early. Peirani-Vignes then does a solid job of keeping the tension high, for the rest of the way. Every time you think you know where this is heading, the script, by the director and Pablo Barbetti, finds a new wrinkle to go in a different direction. As noted, I… have questions about some aspects. However, these did not stop me from remaining engaged, in particular during the front two-thirds of the film.

It did seem to struggle down the stretch. You know there’s inevitably going to be some heroic sacrifice needed. It wasn’t the character I expected: a bit of a mixed blessing, because I really wanted to see them get some degree of payback and/or redemption. Considering the entire movie takes place in an underground car-park, it feels impressively unrestricted, and the calm behaviour of the players is in sharp contrast to the ever-looming lethality of the situation. You will probably learn more than a little about the art and science of bomb disposal. While I cannot vouch for the authenticity of the information, it has the ring of plausibility. In the context of a thriller such as this, sounding legit is what matters. 

Dir: Vanya Peirani-Vignes
Star: Nora Arnezeder, Pierre Kiwitt, Radivoje Bukvic, Sara Mortensen
a.k.a. Déflagrations