Author: Jim McLennan

Scarlett

  By

★★½
“Better red than dead.”

I was looking forward to this one quite a bit. Lyde is no stranger to these pages, having a track record of low-budget action heroines to his name: Survivor, 626 Evolution and a couple of entries in the Mythica franchise, including the best of them, Mythica: The Iron Crown. The star here, Melanie Stone, was also a big part of Mythica, where she played Marek the necromancer, so I was excited to see what their reunion might bring. And… s’okay, I suppose. In particular, you will need to be in a very forgiving mood as far as the plot goes. The heroine is Scarlett (Stone), a nursing student at odds with her father, Cal (Krause), a single parent who keeps her on a tight leash and has trained Scarlett in all manner of unusual skills, from martial arts to pursuit evasion. For we know, and Scarlett doesn’t, that her father is a globetrotting spy, who is concerned his pigeons might come home to roost one day.

Turns out, he’s right to worry, and he is kidnapped by people who want a bioweapon he is holding, so they can sell it to the highest bidder. Scarlett has to turn her skills to practical use, locate the people who abducted her father and release him. Except, her first attempt instead frees Sean (McConnell), an associate of her father who had also been kidnapped by the bad guys. Somewhat reluctantly, he teams up with Scarlett as her investigation brings her ever closer to a face-off where she’ll exchange her father for the vial of bio-nastiness. One of the numerous problems with the story is, the twist in the second half is blatantly obvious. I’m usually easy to fool, but spotted it quickly. Even worse, Chris wandered in about half-way and within five minutes, had also nailed it. That Scarlett was apparently oblivious, doesn’t quite jibe with her supposedly razor-sharp abilities, that let her easily out-think and out-fight the professionals the rest of the time.

Stone is not bad, clearly doing a lot of her own action, to decent effect; even simple things like a foot-chase, which sees her leaping fences in a way which would have many actresses calling for a stunt double. However, it feels as if she takes a back seat to her father as things proceed. While Krause is actually surprisingly good, he’s no Scott Adkins – and to be honest, we’re not here for him, but the action promised by the sleeve, which puts Scarlett front and centre. I think this might have worked better had they been a fully-functional and active father-daughter partnership before his abduction (the end vaguely hints at that as a possible future direction). As is, the repeated flashbacks needed to cover her training makes for a bit of an awkward structure, not adding much to  proceedings.  The film is a good idea, and the low-budget is well enough disguised not to be a problem. The script, however, is well below par, and ends up taking the whole endeavour down with it.

Dir: John Lyde
Star: Melanie Stone, Brian Krause, David McConnell

Strider

  By

★★★½
“The loneliness of the long-distance runner.”

This is certainly a borderline entry for the site, in terms of “action”. There’s running. Lots of running, through the very scenic, beautifully photographed New England countryside. And that’s about it. if you’re expecting fisticuffs, gun-play or mayhem… look elsewhere. That, I must stress, doesn’t make this a bad film. Admittedly, it falls close to Generic Sports Movie 1.0.1. Teenager Jody Sue Brightwell (Friedman) is spotted by a “between jobs” track coach, Hannah Dalton (Alexander). as Jody Sue runs on the road, largely to escape the problems of her everyday life – such as an absent mother and her two, hell-spawned younger brothers. Hannah sees raw talent and agrees to take her on, with the goal of getting her ready for the Pinnacle Games, where a good performance could open the doorway to a professional career.

Of course, between here and there, various problems get in the way.  The doubts of her father (Lewis), who knows Jody Sue’s past history of giving up. The approach of Hannah to training, which gives no quarter to anyone’s feelings. Jody Sue’s new boyfriend, Tim (Schneider), who wants to support her, yet ends up being a potentially fatal distraction to her chances. Really, there are only two ways this can go at the end. Jody Sue can triumph in the Big Race, or not, and both are almost inescapably cliched. Either way, along the road (literally, in this case), relationships will be tested, lessons learned, and limits tested. If you’re looking for anything groundbreaking in the story… again, look elsewhere.

But this is absolutely one of those cases where the journey is more important than the destination. Crucially, the characters here all feel incredibly genuine. Thanks to both a solid script and performances that are all good or better, they speak and behave in ways which make them feel real. They’re all – well, with the exception of the Hell-spawn – nice folk, trying to do the best they can. There are no villains here, and while that does limit the scope for dramatic conflict, it makes for an engaging experience. These are people with whom it’s a pleasure to spend time, and that’s perhaps rarer than you’d think in cinema. Despite occasionally awkward gaps in the narrative – why, exactly, is Hannah apparently unemployable? – you should find yourself caring about them as events unfold.

Helping matters, the technical aspects are excellent. The film looks incredibly crisp, as mentioned above, with some great aerial photography work, and the soundtrack does a very good job of enhancing the overall experience. Finally, I actually watched the second half of this while getting in my daily miles on the elliptical in the living-room. It seemed appropriate to be running, while watching a film about running, right? But for whatever reason, I ended up cracking through more calories than I had for several months. I guess this can truly be considered an inspirational movie…

Dir: Mark Lewis
Star: Yelena Friedman, Maggie Alexander, Scott Lewis, Josiah Schneider
[The film is currently available on Amazon Prime]

Savage Creatures

  By

★★★
“Vampires vs. Zombies”

Is it possible for a film to try and cram in too much? This might be guilty of that, being simply too full of ideas. It begins with a serial killer mother and son pair, who are also cannibals, to boot. They think they’ve found their next victims, when they pick up a pair of young hitchhikers, Ursula (Steadman) and Rose (Brown). However, the psychos are in for a shock, because their targets are actually a pair of vampires, centuries old. But, wait! There’s more! Weird meteorites have landed on Earth containing alien creatures, that devour human souls. Those they infect turn into aggressive, zombie-like creatures, that can only be terminated by destroying their pineal glands. And I haven’t even touched on Father Cooper (Travis), and his “nun with a gun” associate, Sister Gigi (Smith, right).

You certainly can’t fault this for its inventiveness, and some of the ideas work very well. For example, the soul-stealing aspect of the aliens fits nicely with the vampires; they’re immune to this, because they have no souls. The two leads have good chemistry, exhibiting the easy rapport you’d expect, from people who have known each other for hundreds of years.Yet, they both have their own traits, and feel like individuals. It’s perhaps this angle which feels most pushed out by all the other stuff, and it is a bit of a shame. The idea of vampires dealing with an alien invasion or the zombie apocalypse is strong enough to carry a film. All the other stuff piled on top, feels kinda superfluous, operating as a series of distractions, rather than adding dimensions to proceedings. That’s especially true, given the relatively short running time of only 75 minutes. 

Ursula and Rose provide a no-nonsense response to their predicament – or, more accurately, series of predicaments. Their fangs are far from their only weapon; indeed, they’re not much use when it comes to destroying pineal glands. Semiautomatics work much better, and the pair wield them with some enthusiasm. For a low-budget entity, the technical aspects are pretty decent. The model alien which gets dissected with cutlery by our heroines (technically, one of them; the other has a bit of a weak stomach) being a particular highlight. 

The other main issue is a lack of escalation. Rather than plot threads being developed, they get replaced. As a result, we reach the end, and almost nothing has been resolved. The aliens are still invading, as the vamps hit the road again. They don’t even seem too fazed by the thought of their food supply being zombified. After all, as one of them points out, there are enough blood-banks in the country to keep them going for a good century. It’s one last piece of invention, in a film that hardly needs it. Yet it seems churlish to complain about too much of that, and this remains a pleasant slice of energetic horror/SF, powered by two heroines with whom it’s fun to spend time.

Dir: Richard Lowry
Star: Victoria Steadman, Kelly Brown, Greg Travis, Kannon Smith

Bad Policewoman

  By

★★★
“School’s out… for ever.”

Yang Yang (Yang) is an impetuous young policewoman, whose career is on thin ice after shooting the target of what was supposed to be a surveillance operation. Her superior officer – who also happens to be her uncle – is forced to re-assign her, and sends Yang to operate undercover as a student in a high school from which girls have been going missing. The leading suspect is an arrogant pupil who has recently been accused of sexually assaulting a classmate. Teacher Wu Xie (Zhou) is a witness in the case, so Yang is also tasked with making sure he isn’t pressured into changing his statement. Fitting in is going to be part of the problem for Yang – despite the help of Molly (Li), who takes the “new girl” under her wing.

The idea of cops being sent undercover to school is hardly a new one, best known in the West through 21 Jump Street. Originally a TV series starring Johnny Depp, this was recently revived as a movie franchise, with a lighter tone. However, in much of the East, the touchstone is 1991’s Fight Back to School, with Stephen Chow as the policeman. It became Hong Kong’s all-time top-grossing film to that point, and foreshadows the comedic approach of the Hollywood movie. Those are some enormous boots to fill, and it’s hardly any kind of surprise that Yang is no Stephen Chow in terms of comedic persona or timing.

That said, it isn’t too bad. The lead actress actually looks like she could still be at school, which is an immediate leg-up over the thirty-something Channing Tatum, who was the least convincing high-school student since Olivia Newton-John. Even her “bad policewoman” attitude isn’t entirely inappropriate, though the film does have an unevenness of tone which is quite frequently awkward. The juxtaposition of a jokey approach with the sexual assault charges has not travelled well to the West [and while I’m at it, why is this apparently Chinese film set in Singapore?]

The action is a bit up and down, too. The best bit is a lighting-fast fight between Yang and someone out to ensure Wu doesn’t make it to court. This contains a sequence where they’re repeatedly throwing the same knife back and forth, snatching it out of the air before returning it in the opposite direction. It’s like a pointy version of badminton, up until the moment where Yang, apparently bored with the whole thing, catches the blade in her teeth. The rest isn’t on the same level, and proceeds in almost exactly the way you would expect. For example, Yang gradually falls for Wu, creating a scandal at the school, and which brings her into conflict with another student who has a pre-existing crush. However, after a run of really bad movies on Amazon Prime, I was delighted to latch onto something capable of reaching the dizzy heights of artistic competence. Sometimes, you just have to take what you can get.

Dir: Kai Jiang
Star: Yang Zou, Zhuo Wen, Mengmeng Li, Naisen Hou
a.k.a. Bad Cop

Savage Justice

  By

★★½
“Justice: yes. Savage? Not so much.”

In an unnamed third-world country, which looks suspiciously like the Philippines, unexpected turmoil catches American diplomats by surprise. Trying to flee the country, the Howard family are caught by the rebel force run by Sanchez (Vernal). Mom and Dad are killed, while daughter Sarah (Montgomery) is abducted by the rebel leader. Fast-forward a year, and it looks like Sarah has gone more or less full Patty Hearst. She has joined the revolution and become Sanchez’s main squeeze – much to the unhappiness of the previous incumbent. But, it turns out, Sarah was only playing a (very) long game, and waiting for the appropriate opportunity. When she goes along on a raid of a nearby town, she jumps ship, instead teaming up with local guy Rick (Memel) to defend the locals against Sanchez and his gang, intent on extracting revenge for her year of abuse. And she knows the location of the perfect arms cache which will help them. Though getting to it might be another matter.

There’s certainly no shortage of action here. The problem is that most of it – in particular, the bits involving our heroine – isn’t very good. She’s not exactly Cynthia Rothrock shall we say. Her fighting skills are more on a par with… oh, let’s say, someone whose main (and, arguably, only) claim to fame is being in Revenge of the Nerds. Oh, she seems game enough, and the enthusiastic approach by director Romero does help paper over some of the cracks. But you wonder how far down the list of picks the producers had to go before settling on Montgomery. I feel it was quite some distance.

Not that this in entirely devoid of pleasures. For example, the arms cache is located inside an abandoned ship, located inside the territory of what can only be described as a midget warlord. Corlon (played by the inappropriately-named Rey Big Boy), and his devoted followers, appear to have wandered in from a Philippino theme-park inspired by Mad Max. When they catch Sarah, Rick and their crew skulking around, Corlon royally proclaims they can go free if she can best his executioner in single combat. Which, of course, she does, thereby gaining the respect and admiration of the little ruler, who is far more interesting than the ultra-bland Rick.

Then there are the Buddhist monks, whom she also recruits. It’s a bit… disconcerting to see these saffron-robed men of peace, laying down suppressing fire from a 50-caliber machine gun, or piloting a power-boat, which has been converted into a kamikaze vessel. These are the weird elements which kept me acceptably entertained, when the main plot and lead actress, largely failed to do so. Disappointingly, we didn’t even get the expected cat-fight between Sarah and Sanchez’s once and former girlfriend. That annoying bastard, Rick, robs us of this small pleasure with a single shot. Nor is Sarah’s battle against Sanchez much to write home about, yet the sheer volume of running gun battles did keep me awake.

Dir: Joey Romero
Star: Julia Montgomery, Steven Memel, Ruel Vernal, Chanda Romero

10: The Secret Mission

  By

★★★
“A video-game, trying to get out.”

The daughter of the American ambassador is kidnapped, and is being held on an island off the Indonesian coast. Conventional attempts to stage a rescue mission end badly, and pressure from the US mounts on the government to do something. Colonel John (Thomas) is in charge, and comes up with a daring plan. Well, to be honest, the word “ludicrous” might be more appropriate, or perhaps that’s just me. He recruits ten models with a range of martial arts talents – silat, wushu, archery, etc. – and in five days, his tough-as-nails second in command, Major Cathy (Anderson) will lick them into a cohesive unit, which can infiltrate the island and mount a daring rescue. “Why do they have to be models?”, I hear you asking. Again, to be honest, this is never exactly explained. Still, for cinematic purposes, we’ll let it slide, since the intent is clear: it lets them kick ass, while looking good doing so.

Any other questions? No? It’s for the best, trust me.

You should probably think of this as an Indonesian equivalent to DOA: Dead or Alive: cheesecake flavoured action, not to be taken seriously in the slightest. There are basically two section to this. The first is the group’s “boot camp,” which mostly consists of Major Cathy putting them through physical and psychological torment. There is a lot of yelling; I don’t know about you, but she certainly put the fear of God into me. Yet it’s also quite impressive, to have someone on the side of the heroines, who clearly doesn’t give a damn about being nice. There’s something almost admirable about her focus on the #SquadGoals, to the exclusion of everything else. Just don’t expect anything in the slightest as far as characterization of the “10” goes. For the vast majority, you’ll get a caption describing their skills, and that’s it.

The second half is almost one extended action sequence, depicting their rescue mission. It does slow down in the middle for a bit, after some of the team get captured. However, it then kicks back into gear for the final 15 minutes, and probably wisely, it saves the best for last. There’s a barn-storming battle, in an increasingly-flooded warehouse, pitting the best of the government forces against the best of the terrorist. The latter include their leader – technically called Paul, but whom should really be called Mr. Shouty, for his habit of YELLING EVERY LINE HE HAS TO DELIVER – and his sidekick, the tall, blonde Jane (Zavialova), whose skills are quite impressive.

As the tag-line at the top suggests, this feels more like an adaptation of a console beat-em-up. In it, you would be able to select one of the ten trainees, taking them through a series of missions under Major Cathy, which let you earn skill points which can be applied to your abilities. You then get to use these as you land on the island, battle your way across, and finally, defeat Jane and Paul to rescue the ambassador’s daughter. I can feel my thumbs twitching. But as a movie? It’s a rather imperfect 10.

Dir: Helfi C.H. Kardit
Star: Karenina Maria Anderson, Jeremy Thomas, Roy Marten, Svitlana Zavialova

Jet, by Russell Blake

  By

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

Born as Maya, the heroine here adopted the name of “Jet” when she became part of a seriously black ops group, part of the Israeli intelligence service known as the Mossad. There, she and her colleagues had carried out thoroughly deniable operations against… well, supposedly Israel’s enemies, though it’s not as if she asks questions. The secrecy wasn’t limited to her work, as she carried on an unsanctioned relationship with David, the man in charge of the group. But eventually, it all became too much: with David’s assistance, Jet faked her own death on a mission and vanished off the grid, re-appearing as “Carla” in Trinidad, where she enjoyed a quiet life for several years. That came to a sudden end when assassins make an attempt to terminate her new identity. Her cover has clearly been blown. The questions are: what happened, who is responsible, and how can Maya a.k.a. Jet a.k.a. Carla restore the balance?

Finding the answers apparently requires her to rack up the air miles, as the resulting narrative goes from Trinidad through Venezuela to Israel, then back via Cyprus to Belize, before finishing off in Monaco. And that’s not even including any globe-trotting in the flashbacks to her time as a Mossad agent. Still, I guess that’s one of the fun things about writing a novel: you don’t have a production budget! While this aspect feels reminiscent of a Bond book, I think Kill Bill is perhaps a greater inspiration here. This is apparent both in the fractured timeline, and in particular, the revelation at the end of the book, which clearly sets up Jet’s direction for the next volume. As well as her being an unstoppable bad-ass, of course.

If the book has a weakness, it’s likely David, whose actions don’t appear to be consistent with each other. It’s hard to be specific without spoilers for “that” revelation, but if he loved Jet as much as some things imply, why did he not quit his job and go be with her when she pulled her vanishing act? This question is somewhat addressed, but the argument, little more than “He’d taken an oath”, falls a long way short of being convincing. I think their relationship either needed to be depicted in considerably more nuanced depth, or considerably less. As an action fan, who tends to roll his eyes whenever romance crops up, I’m leaning towards the latter.

Jet just doesn’t feel like a person who needs anyone else, and Stone’s handle on the action – which is plentiful – is good enough that anything else feels like an unwanted distraction. I felt it was particularly strong at the beginning, as the heroine tried to get out of Trinidad, providing an excellent demonstration of Jet’s abilities. But the raid she and David carried out on the Belize compound was also impressive. Overall, I’d not be averse to reading more – though I’d probably rather wait for the movie instead.

Author: Russell Blake
Publisher: Reprobatio Limited, available through Amazon, both as a paperback and an e-book
1 of 15 in the Jet series.

Cry for the Bad Man

  By

★★½
“Play Freebird!!!“

Despite a very brief running time of only 70 minutes, this still manages to seem talky and overlong. That’s a shame, as it manages to waste a good performance from a genre veteran, playing an action heroine who is not your typical one. The former is Camille Keaton, who is having a bit of a B-movie renaissance in her career, forty years after starring in the notorious rape-revenge film, I Spit on Your Grave. And the latter? Well, Keaton is now in her seventies, but based on this, is still capable of wielding a mean shotgun. And clearly, of taking no shit from anyone. Indeed, you could almost read this as the sundown years of her Grave character, Jennifer Hills.

Though here, she is Marsha Kane, a widow who is faced with fending off predatory offers on her property from local ne’er do wells, the MacMohan boys: Wayne (Peeler), Derrek (Dooley) and Billy, operating on behalf of the family patriarch, Bill. He wants Marsha’s house, and is going to let a little thing like her complete disinterest in selling stand in the way. So he sends his kin to make not-so-subtle hints, knowing the local police are in the family’s pocket. When the threats don’t work either, the boys return at midnight for a more physical approach, only to discover quickly that Kane is more than able to fend for herself. However, her daughter (Konzen) shows up, offering the MacMohan’s potentially useful leverage against her mother.

The title seems to be taken from a Lynyrd Skynyrd song, about the firing of their manager, so I’m not sure of the relevance here. But what could, and probably should be a small-scale version of Assault on Precinct 13, fails to achieve anything like the necessary degree of tension. It instead, collapses in on itself, as the script prefers to concentrate on largely uninteresting chit-chat and extremely slow creeping down poorly-lit corridors. That’s when it isn’t blundering into plot-holes. For example, when the MacMohan brothers arrive for their midnite escapade, they’re greeted with gunfire, injuring one. The smart thing to do would be to back off, call their pals at the police station, and have Mrs. Kane hauled off to prison for attempted murder. Property secured! Meanwhile, on her side, why stop with one? They are literally standing in front of the door, arguing about what to do.

This wastes Keaton, who has a quiet strength about her, as well as hints of a past that were less than squeaky-clean. Though, again – who keeps a copy of their police mug-shot in a box of souvenirs? It also goes to show that action heroines come in more shapes and sizes – and ages – than Hollywood would perhaps recognize. Even when they had Helen Mirren in Red, she was still undeniably glamourous. That isn’t the case here, and it’s all the more refreshing for it. Just a shame it wasn’t put to the use of a considerably better storyline.

Dir: Sam Farmer
Star: Camille Keaton, Scott Peeler, Karen Konzen, Eric Dooley

Mrs. Serial Killer

  By

★★★
“The anti-Dexter.”

This is the kind of film which I’d say was enjoyable, rather than being good. Indeed, if you want an illustration of the difference between the two, this movie is a good example. Sona Mukherjee (Fernandez) is the wife of respected doctor, Mrityunjoy Mukherjee (Bajpayee). But their life is upended when the bodies of six, formerly pregnant, unmarried women are found on their property. Sona believes her husband was framed – possibly by police inspector and former boyfriend Imran Shahid, (Raina). She takes the advice of a dubious lawyer, who suggests that if the serial killer was shown to be still active, that would prove her husband’s innocence. So Sona kidnaps another expectant young woman, Anushka Tiwari (Khan) to provide a seventh victim. Only… well, Sona is a bit crap as a serial killer, and Anushka is a feisty little thing with a black-belt in taekwondo, pregnancy be damned.

I’m tagging this as horror and comedy, on the basis that it shouldn’t be taken seriously in the slightest. I’m fairly sure this approach is quite intentional, though with Bollywood, it’s rarely possible to be entirely certain. But there are just so many ludicrous elements, not least the central premise, that it definitely works best as a parody of lurid potboilers. For example, Indian police have apparently never heard of DNA testing, and feel that one body is pretty much as good as another. It’s also possible to trigger an immediate, devastating asthma attack, by crushing up flowers in your hands, and then blowing them in your target’s face. I thought that kind of thing only ever worked in a professional wrestling ring.

That all said, I still enjoyed it, not least for the way everyone takes it Very Seriously. It’s at its best when Sona and Anushka are facing off, the “killer” initially trying to convince her victim she has been captured by a man – an aspect as poorly considered as the rest of her plan. The contrast between the two make for amusing confrontations, such as Anushka spitting back, mockingly, “Trying to scare me with your psycho stare? I can do better. Here!” I was disappointed that they ended up taking a back-seat during the final act [for if her husband was not responsible for the six corpses… who was?] It’s still no less lurid, combining operatic music and disco lighting, in a basement festooned with a plethora of IV drips, for no reason beyond it looking cool.

It all ends in a final twist which makes about as much sense as the rest of it i.e. not very much. I won’t spoil it, but will tell you, it does not provide what I actually wanted to see, which was Sona and Anushka teaming up to go all Natural Born Killers on the real perpetrators. That would have been too much to hope for. Yet I can’t deny I was still amused enough, and wished Lifetime TVM were more like their South Asian counterparts.

Dir: Shirish Kunder
Star: Jacqueline Fernandez, Manoj Bajpayee, Mohit Raina, Zayn Marie Khan

Wrecker

  By

★★
“Runs out of road.”

This falls victim to the Spielberg Effect. By that, I mean, that any movie directed by Steven Spielberg will inevitably become the yardstick by which future entries of that kind are judged – typically, unfavourably. Killer shark films will be compared to Jaws. Holocaust epics to Schindler’s List. And the genre of movies in which drivers are menaced by unseen truck drivers? Expect comparisons to Duel. And in this case, they are entirely warranted. I guess if you’ve never heard of Duel, this might just pass muster. But you would still be better off watching it, than this lame imitation, which has a nice car (a Mustang) and some lovely scenery (I’m guessing Canadian). That’s all it can offer though.

Gal pals Emily (Hutchinson) and Leslie (Whitburn) are on a road-trip, when they go off-route – never a good idea to take a road labelled “Devil’s Pass”, but that may just be me having seen too many horror movies. On the resulting stretch of road, entirely deserted except when conveniently necessary for the plot, they become increasingly concerned about the repeated presence of a tow-truck, pulling a car, which appears to be stalking them. After a number of alarming incidents, they are driven off the road by the truck, and Emily gets knocked unconscious. She awakens, to find Leslie gone. Driving to find help, she is stopped by a police-car, only for the officer to fall victim to the truck. But at least Emily now has a weapon, in the shape of the cop’s gun.

This kind of thing can work. Spielberg’s not the only one to prove it; The Hitcher (the original version) also occupied similar territory, with an almost supernatural figure menacing a driver, for no real reason. That succeeded, however, based on Rutger Hauer’s villainous charisma. There’s nothing like that here, with the villain entirely unseen; the closest we get to any personality are glimpses of Satanic regalia dangling in the truck. That’s not exactly a lot on which to hang your movie.

The main problem, however, is a script which is ludicrous when it isn’t being entirely contrived. The notion that a Mustang – which we are shown can reach over 120 mph – could not simply zoom away from a diesel tow-truck if necessary, is the most obvious, yet perhaps not the most idiotic element. The ways in which the two women, and indeed, their pursuer, behave, are the kind of actions which would only be carried out by characters in a horror movie. Anyone sensible would seek sanctuary in the nearest busy area, and stay there until help arrives. Our couple do visit such a spot, in the shape of a diner, only to leave it after lunch and resume their journey, because… because the film demands they do. If you’re not able to tolerate such things, you’ll have to hope that the Rockies and an American classic sports car provide enough entertainment. For the plot and characters aren’t going to offer much.

Dir: Micheal Bafaro
Star: Anna Hutchison, Drea Whitburn, Jennifer Koenig, Michael Dickson