Author: Jim McLennan

Light

  By

★½
“Dark, more like.”

Fair play to Woollard and his team for making a feature movie with no resources to speak of. The problem is, watching this, it’s painfully obvious that they had no resources to speak of. Two space-suits and a fog machine are not enough for a film, especially in a genre like science-fiction, which tends to rely on spectacle. Oh, smaller scale works can still be remarkably successful: the night before this, I watched glorious and highly recommended time-travel film Beyond the Infinite Two Minutes. But if you’re not going to offer epic scale, you need to have something else to repay the audience. An hour and three-quarters of watching characters stumbling about in the gloom is not it.

I was lured in by this synopsis: “After crash-landing in an escape pod on a dark and misty planet, a mother is hunted by an alien creature which is drawn to the lights she must use to find her missing son.” That high concept sounds pretty cool, and I hoped I was in line for an action heroine take on Pitch Black, perhaps. It just never materializes. There are, indeed, two women who have crash-landed: Tallie (Lilly) and Nia (Ann-Roche, under the name of Chrissy Randall). It’s the latter who is desperately seeking her son, Luccas, only to be hampered by the presence of the hungry creature.  She and Tallie have some things in common. However, it’s what separates them, which might be more important.

Turns out the pair’s presence on the planet is not coincidental, because the monster’s excrement is a precious stone – think oysters and how they make pearls. Some parties therefore have a definite interest in providing a steady stream of sustenance for it. However, the potentially interesting ideas here are utterly undone by the woeful execution. 90% of the scenes are one or other woman, shot in close-up to try and hide the lack of scale, while they talk to each other over the radio. It’s boring after about ten minutes of this. The bad news is, you’ve got another hour and twenty of the same thing, before they finally come into each other’s presence for a (brief) spot of plot resolution.  Don’t expect to be impressed by the creature, either.

It’s never a good sign when you have to read the director’s comments on Reddit to make sense of a film. I also learned the film was a metaphor for illegal immigration. Yeah. That whirring sounds is this legal immigrant’s eyes rolling. On the plus side, it’s muddied enough in its plotting that this was unclear at the time, so I guess it wasn’t heavy-handed, albeit more through incompetence than design. Admittedly, I may potentially have tuned-out during the scenes which alluded to this moral topic. However, if a film is going to do such a dismal job at holding my attention, I don’t feel responsible for missing out on any nuances of plot.

Dir: Matt Woollard
Star: Christine Ann-Roche, Gia Lily, Tedroy Newell. James Woollard

Kitty the Killer

  By

★★★
“Nice Thai, but not quite a cigar.”

The easiest way to describe this is a Thai version of Wanted. You could make a case that the central character is not female. But like Wanted, there’s easily enough going on around him to qualify for this site. The similarities don’t stop there either. In both films, you have an innocent, totally unaware office worker, who is recruited into an ancient order of super assassins, just as they are going to war. Here, the rookie is Charlie (Ngamnet), an insurance salesman – sorry, he’s a sales manager, as he would no doubt correct you – who is caught up in the affairs, and eventually becomes a member, of a lethal organization known only as The Agency.

In something perhaps nicked from Naked Weapon, they recruit by using orphaned young girls, who are trained in the ways of murder for hire. They form cels, each overseen by a manager, in this case codenamed Grey Fox. The last incumbent, Keng (Semglad), drew the wrath of upper management for his unauthorized actions, and designated Charlie as his heir apparent. Which is news to Charlie, who eventually accepts and after an extended training montage, has to deal with the assassins. The most potent of these is Dina (Thangprapaporn). Though there are a number of others, of various experiences and skills, all the way down to Mina, who must be aged about eight [Yes, their names do all end in -ina, thank you for asking].

Fortunately, their enemies appear to sit back while Charlie gets up to speed, with the subplot about a stolen stone with mysterious qualities conveniently back-burnered. Instead, we watch fairly lengthy flashbacks, detailing the past of various characters. This is the movie’s main weakness, with a middle which is close to being free of action, filling in gaps that we never particularly cared about to start with. Given a running-time of almost two hours, this padding feels especially egregious. It also has a somewhat odd mix of tone, things like Charlie’s reactions to events largely being played for comedy. I guess at least it isn’t the toilet-based humour of certain Asian entries I’ve seen, and I will admit to genuine laughter on more than one occasion.

Pleased to report, the film gets back on track with a strong final act. This brings Dina back to the centre, and sees Charlie and her having to team up to take on the Agency’s #1 killer, the masked Nina (Ying Donnaporn Sukprasert). I can only presume the organization is capped at 26 killers, for alphabetical purposes. I pity the poor assassin called Wina. Anyway, the action is fairly solid, albeit somewhat prone to being over-edited. It’s largely hands-on, with swords the preferred weapon of choice, though I suspect the lead performers are actresses first, rather than martial artists. While it’s far from the most original movie I have seen this year, it does some interesting things with those influences. It’d be a better ninety minute film however.

Dir: Lee Thongkham
Star: Ploypailin Thangprapaporn, Denkhun Ngamnet, Somchai Kemglad, Vithaya Pansringarm

In the Lost Lands

  By

★★★
“Bit of a lost opportunity.”

Well, this crashed and burned at the box-office in no uncertain fashion, taking in less than ten percent of its $55 million budget. While not surprising – dark fantasy doesn’t exactly have a good track record of late – it is a bit of a shame. I loved the look of the film, which is often spectacular, reminding me of things like The Chronicles of Riddick in a willingness to step back and overwhelm the viewer with scale. I am, of course, contractually obliged to watch anything with Milla Jovovich in it, and she’s her usual good value here. Bautista had a solid track record too, and he’s certainly appropriate for the role. But then, there’s the plot…

This all takes place in a harsh post-apocalyptic world, ruled over by Overlord, with his rule maintained by the church and its inquisitors, who tolerate no heresy. That would be the witch Gray Alys (Jovovich), who can compel anyone meeting her gaze to do her bidding. She is tacitly contacted by Overlord’s wife (Okereke), who wants Alys to give her the power to change her form. Doing so means Alys must journey into the Lost Lands outside civilization to find such a shapeshifter, and she hires Boyce (Bautista) as a guide on that quest. However, they are also pursued by church enforcer Ash (Joven), who is keen to bring the blasphemous Alys to heel for her reluctance to toe the line.

The stuff in the Lost Lands is great, and is where the film genuinely lives up to the “epic fantasy” tag. Frankly, that budget seems quite cheap for what you get, with some stunning landscapes and great set-pieces, including one on a cable-car which is likely to be among the best action sequences I’ll cover on the site this year. The problems arise when the film drifts away from the most basic of plot: Alys and Boyce hunting a shapeshifter, while Ash hunts them. That would, of course, be far too simple for a film based on a story written by George R.R. Martin. As you’d expect, the creator of Game of Thrones has a lot of other palace-based shenanigans involving the Overlord and his queen.

These are muddled, confusing and, frankly, not very interesting. This kind of heavy plotting is certainly not in director Anderson’s wheel-house either. If you look at his filmography, his output tends to be at its best when its most streamlined. The same applies, in microcosm, to this film. Give us Milla and Dave slicin’ and dicin’ their way through Ash’s minions, and we will be happy. The further it drifts from this elegant simplicity, the less firm is the ground on which it operates. To the point that, too often, it ends up sinking under the weight of what the script thinks is gravitas, yet in reality is nothing more than stuff we have no reason to care about. 

Dir: Paul W. S. Anderson
Star: Milla Jovovich, Dave Bautista, Arly Jover, Amara Okereke

G20

  By

★★
“Making America Grate Again.”

Amazon Prime doesn’t have the best reputation for its original movies. Indeed, I’m hard pushed to think of one which I’d want to watch again. That record is unchanged after this, a fairly ludicrous Die Hard knock-off which even an Oscar winner like Viola Davis can’t do much to salvage. It’s another in the recent series of “president in peril” films. When your movie takes inspiration from the likes of Olympus Has Fallen, you’re setting the bar low from the get-go. Then cobble together a script involving the three boogeymen of current culture – AI, cryptocurrency and white men. Finally, pretend Kamala Harris won the election, and was a military-trained bad-ass. Given all this, two stars is probably an achievement. 

US President Danielle Sutton is in South Africa with her family to attend a conference and get agreement for her plan to… [checks notes] “empower struggling sub-Saharan farmers through access to digital currency.” Where’s DOGE when you need somebody to shut down this blatant waste of taxpayer money? The conference is taken over by Edward Rutledge (Starr), a formee Special Forces soldier whom I thought was South African, but turns out to Australian. I blame Starr’s ropey accent. He plans to use the gathered leaders to create deep fakes which will tank the economy and boost the value of his crypto holdings. Naturally, President Sutton is able to slide away with the help of Secret Service agent Manny Ruiz (Rodríguez), and… Oh, figure it out yourself. 

I’ll never be averse to a good Die Hard knockoff. Unfortunately, this isn’t much cop. While Davis does what she can, being decent dramatically, and just about credible on the action (if you squint hard enough), she can’t negate the stupidity and cliché-ridden nature of the script. For example, Sutton’s whiny and rebellious teenage daughter, who – what are the odds? – turns out to be a world-class hacker, so can counter Rutledge’s plans, when necessary to the plot. And even Davis looks unconvincing when going toe-to-toe with men significantly larger than her, then straight-up outmuscling them. There are ways to handle this kind of thing, e.g. Air Force One used stealth for its hero more than strength. Director Riggen doesn’t bother, damaging the movie’s credibility. 

It doesn’t help that it’s currently hard to make politicians of any colour seem sympathetic. I have a deep cynicism about them, and frankly, Rutledge makes some credible points in his inevitable anti-government rants. I also felt a rather unpleasant racist tone to the script, with enough of the fights being interracial to leave me going “Hmmm…” Go through this thinking “White people bad”, and you’ll probably be fairly accurate at predicting the script’s twists. If generally competent on a technical level, there are still mis-steps like some obvious CGI. All films in the Die Hard genre are wish fulfillment to a certain degree. This, however, takes it to a near-stupid degree, and doesn’t provide the escapism for which I was looking. 

Dir: Patricia Riggen
Star: Viola Davis, Antony Starr, Ramón Rodríguez, Anthony Anderson

Glow Street

  By

★★½
“Women of Glow, not Women of GLOW…”

This would be a creditable little film, if the makers could ever be bothered to finish it. Yeah, it ends in what is supposed, I presume, to be some kind of cliffhanger. But it botches the landing badly, first by leaping forward two weeks instead of showing us the climax to which things have been leading up. Then, it just… ends, without resolution in any of the major plot threads. It’s a shame, because to that point, if doing nothing particularly new, this is competent in its execution, and I’ve seen a lot worse. It gets the basics right, with a half-decent story and characters: in the urban genre, this is sadly less common than you would hope.

It takes place in Atlanta, where the fictional Glow Street is the centre of the drug trade, with various factions fighting for control, with their battles spilling over into the neighbourhood, where innocent bystanders sometimes bear the brunt. After a brief “Tsk-tsk” about this in a detective’s speech at the beginning, however, morality is hard to find here. Instead, we’re plunged into the activities of Jahdai (Lynn) and her colleagues, who initially act as enforcers for Troy. But after they disobey a direct order from him, in order to take care of some personal business, they are no longer employed. In need of cash to meet their own liabilities, they decide to rob a stash house. Naturally, this doesn’t go as planned.

The main thing this probably has going for it is Lynn. She has some spectacular skin art, so looks the part, and has the attitude to match. Jahdai is certainly not somebody I would want to cross, yet manages to become someone who is not one-dimensional (another common problem in this sub-genre). Indeed, there are a slew of subplots, including a mother with lung cancer, a father who just got out of jail, and so on. It probably takes about forty minutes for the main story – the stash-house robbery, and subsequent betrayal – to kick in. Then there’s Trav (Stagg), the brother of someone killed in an earlier incident, who is out for revenge on Jahdai, largely what leads to the non-ending discussed above.

Escobar does an acceptable job of keeping the various threads coherent, and there’s no shortage of enthusiastic carnage. On the downside, there’s far too much unconvincing CGI blood, while often leaves the film looking like a Grand Theft Auto side-mission. All told, however, I was kept reasonably entertained and engaged, and it definitely looks and sounds like a professional work, rather than shot on somebody’s phone. Until things fall apart at the end, I would have been interested in seeing subsequent tales from this hood. But the writers’ inability to finish the job, leave me wary that further entries might end up pulling a similar trick. Tell me a complete story, dammit – if it’s good enough, I don’t need tricks to drag me back for more. 

Dir: Vincent Escobar
Star: Destinee Lynn, Kierra Shiday, Caleb Stagg, Natasha Eli Pearson

Ark of Ascension, by Michael R. Schultheiss

  By

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

I don’t necessarily expect to understand a literary universe from the first page. These things take time: I get that. But I do expect that, as I go through the chapters, things will become clear. If I reach the end, and am still vague on a number of significant plot points, then something has gone wrong. Sadly, it’s the case here, and that largely hampered the effectiveness of the narrative. In this case, it had a cascading effect. Because I didn’t understand one situation, that rendered a character’s purpose uncertain, and this then meant the heroine’s motivation wasn’t clear.

Her name is Evalla Taryu, and she’s a bounty-hunter, tracking down those who are looking to escape justice, after having previously served in the Commonality Legion. During this military service, her strength, speed, reactions, etc. were artificially enhanced, abilities which come in handy for her new profession. Then, out of the blue, her estranged and fairly disreputable uncle, Kard, contacts her. Evalla’s sister, Ashta, has fallen in with a religious cult, the Disciples of Fire, under their leader Centom. Ashta needs to be rescued, because she is about to become an “ark-ascendant”. What is that exactly? I’m glad you asked. Unfortunately, I don’t know the answer. Some kind of religious transformation, apparently; but exactly what results and why it’s both so terrible and so valuable, is uncertain.

Putting that to one side, Evalla heads off with Kard to the planet in question, only to find Ashta has no interest in being rescued. However, it becomes clear (or, at least clear-ish) that there are a lot of bigger forces at play, and whatever it is that Ashta is going to become, is of interest on a trans-planetary political scale. Kard, who until recently was in prison for treason, has his own agenda too, leaving Evalla to try and negotiate her way through a maze of treachery, family loyalty and religious zealotry. But since we don’t have any real information regarding what’s going to happen to Ashta, we don’t know what’s so bad about it, and consequently why Evalla is prepared to risk life and limb to save her sibling forcibly.

There are some good aspects here. There was previously an incredibly-advanced race, the Makers, who are no longer around: but some of their technology is, and their presence almost hangs over everything that happens. We get a decent amount of action, with Evalla very much able to take care of herself, and I liked that she cares about the taking of life, only doing so as a last resort, in situations of extreme necessity. But there are key pieces of the puzzle missing, in particular from the reader’s perspective. The story almost feels as if it has been built from the top down, rather than the bottom up, and it makes for a frustrating experience.

Author: Michael R. Schultheiss
Publisher: Lyamgallal Press, available through Amazon, both as a paperback and an e-book
Book 1 of 1 (so far) in the Huntress for Hire series.

Sniper Goddess

  By

★★★★
“Spot on target.”

The Chinese title is 狙击之王：暗杀, which Google Translate informs me translates as “Sniper King: Assassination”. I don’t want to assume anyone’s gender, but I think I’m going to go with the alternate title above, as more appropriate, over the one on the poster. Because there’s no doubt about the amazing talents possessed by Anna (Yang), for whom a shot at three kilometers range is barely an inconvenience. We get right into the action with her being committed as a psychopath after begin captured, following her assassination of a drug lord. Yet another drug lord, actually – she has a deep hatred of them, for reasons we eventually discover, and has been taking them out with regularity.

It’s not long before someone tries to kill her in the psychiatric facility, but she’s able to escape (somewhat), with the help of struck-off former doctor, Nasipan (Tao). However, she is forced, with the aid of a nano-bomb injected into her bloodstream, to take a mission for Artest (Mak). There’s a war of succession going on in the country of “Libiwala”, with the prospect of drug production becoming legal in the country – to the joy of crime boss Roger (Lee). Artest requires Anna to liquidate all those in line for the leadership to prevent this. Or maybe encourage this. It’s all a bit murky, and the plot twists and turns until the very last scene, though never gets incoherent.

This one captivated me inside five minutes, with the hellacious firefight in the asylum, culminating in Anna sniping a sniper right through their scope. The action doesn’t let up for long thereafter, with some excellent set pieces involving both weapons and hand-to-hand combat. For the latter, Artest probably gets the bulk of it. But on the opposing side is a henchwoman who makes Gogo Yubari look like the picture of mental balance (I think she may be played by Guo Muhan, but I don’t recall hearing her name), and cuts a striking figure in her long blond hair and sword. It’s just one of the numerous things this film gets right, including occasional moments of comedy that genuinely made me laugh out loud, the movie winking at its own excesses. 

It’s simply a fun experience, with characters you can get behind, and an impressively strong anti-drug message. All the players are given depth to their roles, and the chance to develop them. Even the little kid, playing the third in line to the Libiwalian throne, is not irritating – and that’s high praise coming from me, as far as child actors go. All told, this is one of the most purely enjoyable ninety minutes I’ve spent of late, easily surpassing bigger budget films like Cleaner or The Gorge, and given my expectations, is likely going to be the most pleasant surprise of the year. The whole movie is embedded below. Take five minutes to check out the opening sequence, and see if it hooks you as well as it hooked me!

Dir: Huo Sui-qiang
Star: Yang Xing, Henry Prince Mak, Tao Tao, Lee Dong Hyuk
a.k.a. Sniper King: Assassination

Stuntwomen: The Untold Hollywood Story

  By

★★★½
“Intermittently awesome.”

Regular readers will already be aware of the long history of stuntwomen, going back a hundred years to the serial heroines of the silent era. But there’s still a lot to be learned from this documentary about these fearless, and largely unsung, daredevils. Narrated by Rodriguez, it’s mostly a series of discussions between OG stuntwomen, like Epper, who was Lynda Carter’s double in Wonder Woman (and who passed away earlier this year), and members of the current generation, such as Amy Johnston, of Lady Bloodfight fame. The anecdotes shared by the former are an often fascinating insight into the struggles to be taken seriously, in a time when many directors would rather slap a wig on a stuntman.

In comparison, the modern equivalents seem a little bland. It almost feels like the adversity through which Epper and her contemporaries went, reinforced their characters. I mean: doubling for Pam Grier, as David did, feels like it would be rather more of an influential experience than doubling for Scarlett Johansson. Not that this stops some of the modern stuntwomen from complaining about inequalities in the business. To be honest, this aspect does come off as a little whiny in nature. Rather more inspiring are statements like, “I didn’t want to be respected for a girl. I didn’t wanna be good for a girl. I just decided I was gonna be really good.” That’s the kind of attitude which I respect more than blaming sexism and racism. 

Another slight weakness is, it’s quite easy to lose track of who’s who, especially once you get past the main participants, and people you recognize. Not that there is much chance of failing to recognize Jessie Graff, of Ninja Warrior fame. Though it’s a little surprising Zoë Bell – arguably the best-known of modern stuntwomen, albeit a crown perhaps now passed to Graff – doesn’t merit more than a passing mention. It’s fun simply being a fly on the wall as Graff hangs out with her colleagues, bouncing on her trampoline, or watching renowned stunt driver Evans fake drag-racing with her son, and doing handbrake turns on the roads around their property. As Rodriguez enthuses, “I love that your neighbors are cool with all this.”

It is a little weird that the two male directors talked to are Paul Verhoeven and Paul Feig. Verhoeven is his usual entertaining self, but Feig comes over as almost smugly “right-on”. Mind you, if you’ve seen his painfully earnest Ghostbusters remake, you’ll understand his mindset. The documentary does take a rather chilling turn, though justifiably so, discussing the risks faced by all stunt performers, including fractures, concussions, paralysis and even death. It’s easy to overlook, especially now when we assume everything is green-screened or CGI. Some of the stories from the veterans, of the days when safety standards were… less stringent, shall we say, are staggering. You should certainly leave this with a deeper appreciation for those willing to risk their lives and limbs, purely for your entertainment.

Dir: April Wrig
Star: Jeannie Epper, Debbie Evans, Michelle Rodriguez, Jadie David

Gold Raiders

  By

★½
“The Tomb was already booked, presumably”

To be fair, for most of the time, this was likely hovering around the two-star range. Not brilliant: it was rather obvious why this had taken six years from being shot, to receiving distribution. But there was some heart evident, and I look kindly on projects which appear to be trying. Unfortunately, we then reached the end, which was clearly intended to work as some kind of stone-cold cliffhanger. Regular readers will know my aversion to these in books. It’s far worse in a movie, especially where you know – given the time elapsed – there’s precious little chance of a sequel to provide any resolution. I’m sure the entire cast has moved on to other things since.

It’s the story of the Sierra sisters, Hera (Swenson) and Athena (Lee), who are part of a secret group called The Society. They have been feuding across the centuries against another secret group called The Order. Hera and Athena are now on the hunt for the lost treasure of the pirate Blackbeard, reported to be buried somewhere near the coast of Virginia. The sister think they have a good handle on it, and along with their local guides, head into the swampy territory in search of the buccaneer gold, guided by Hera’s psychic visions, which pop up conveniently, as needed by the plot. Naturally, The Order are also keen to get their hands on it, and not everyone in the Sierra’s party might be entirely trustworthy.

It begins with an unconvincing depiction of Blackbeard’s death and a somewhat rousing battle for a relic called the Eye of Quetzalcoatl. But once we get past that, the bulk of the movie consists of an awful lot of wandering around marshland here, in lieu of… well, anything much. For example, it might have been nice to have learned about the goals of both The Society and The Order, and why they have been pitted against each other for so long. Nah. Let’s instead just have another of Hera’s obscurist visions where figures, whose relevance remains uncertain, make cryptic statements like, “Remember, as I have risen, things can be buried – can be unburied. Your past journeys will reveal the clue to salvation.” Look, can’t you just email her a Powerpoint presentation?

It doesn’t help that, for a centuries old secret organization, the representatives of The Order are… well, a bit crap. There’s only about four of them to start, and let’s just say, rigorous competence doesn’t appear to be a requirement for selection. Mind you, when they do show an evil streak, shooting people dead in cold blood, Hera and Athena are so blase about it, that the moment is robbed of almost all power. Not that there’s a huge amount of power to begin with, even before we get to one of the most “Wait. Is that it?” endings in recent memory. Well played marketing department though, for the poster and changing the title from the original one of Sierra Sisters: The Hunt for Blackbeard’s Treasure.

Dir: Josh Relic
Star: Kathleen Swenson, Celeste Lee, James Blackburn, Sam Barber

Surrounded

  By

★★★
“Putting the stage in stagecoach.”

This is certainly a little different from the usual Western. It takes place a few years after the conclusion of the Civil War. Mo Washington (Wright) is on her way to Colorado to take up a piece of land she bought with her hard-earned savings. To avoid trouble on the journey, she is dressed as a man, though being black is problematic enough at that time. The stagecoach in which she’s travelling – or rather, on which, the driver not wanting a Negro inside – is attacked by brigands, led by notorious bank-robber Tommy Walsh (Bell). After a fierce fight, Walsh is captured, but the coach, complete with Mo’s documents, plunges off a cliff. 

The good news? There’s a ten thousand dollar bounty on Walsh’s head, and Washington is left to guard the fugitive while another passenger, Wheeler (Donovan), goes to fetch the authorities. The bad news? That leaves her alone with Walsh overnight, and there are others interested in the fugitive, including those after the reward, and the remaining members of the Walsh gang. Because he’s the only one who knows the whereabouts of the very large pile of loot, resulting from their last robbery. Mo is going to have to figure out who she can trust. For instance, is Walsh’s offer, to split the loot if she frees him, legit? It would certainly more than cover the losses she suffered when her Colorado land went over the edge.

As with the Hong Kong movies which use the gender disguise thing, it does require a large suspension of disbelief. As soon as Wright opens her mouth, any illusion of her being able to pass for male goes out the window of the stagecoach. On the other hand, gender is almost irrelevant as things unfold. I suspect eliminating the need for concealment would not have helped the intended moral here. The racial element however, is much more pertinent, with Mo having literally walked off her owner’s plantation. Yet there’s more in common with Walsh then it initially appears. Well, providing you accept at face value and trust his story, about being orphaned at age eight by robber land barons. Which might or might not be wise.

It’s in their scenes together where the film is at its strongest, even if they’re just sitting by the campfire, talking. If it feels almost like a play, this is still engrossing, two actors in prime form. Less successful is the arrival of a third party, not least because this leads to a poorly-staged fight, unfolding in near total darkness, where it was impossible to see what was happening. Maybe it worked better in the cinema? At home, it severely took me out of the experience, staring at a blank screen. Fortunately, this recovers to a decent finale, with Mo deciding she is the only person she can truly trust. In the end though, her character seems less fully-rounded than Walsh, despite, or perhaps because of, all the talk. As a result, this only intermittently fulfills its undeniable potential. 

Dir: Anthony Mandler
Star: Letitia Wright, Jamie Bell, Jeffrey Donovan, Michael Kenneth Williams