Category: Review

The Bluff

  By

★★★
“Back from Davy Jones’s locker.”

Are women pirates in vogue again? It’s safe to say that the startling failure of Cutthroat Island holed that subgenre of action heroine movies below the water. That was over thirty years ago now, and this may well be the first time Hollywood has returned to it since. [I found an indie film about Irish pirate Grainne Uaile which wrapped shooting in February 2014, and still hasn’t received a release] Though even here, there isn’t much high seas action here. Outside of the opening scene, where Captain Connor (Urban) boards a ship run by Captain Bodden (Córdova) and finds gold stamped with Connor’s hallmark, this takes place almost entirely on land, specifically the island of Cayman Brac.

Connor heads there, that being where Bodden’s ship came from, in search of the rest of the gold. This was taken from him years previously by then piratical associate Bloody Mary (Chopra Jonas) , who stabbed Connor in the chest and left him for dead. She is now Mrs. Ercell Bodden, having abandoned the nautical life, and started a family. The arrival of her ex-lover upends her domestic bliss, and forces her back into the violent way of life. It’s all kinda like The Long Kiss Goodnight, without the amnesia thing. She has to protect her crippled son Isaac and rather flighty sister-in-law Lizzie (Oakley-Green), while figuring out how to rescue her husband from Connor’s clutches.

The two leads are probably the best things about thus. Chopra Jonas has been ramping up her action chops since her co-starring role in Citadel – also an Amazon product – and does a good job throughout. Urban makes for a great villain, despite being solidly into his mid-fifties. He still commands a fine screen presence, almost thirty years after playing Julius Caesar on Xena. However, the other elements aren’t quite as impressive – or, at least, not consistently so. Flowers doesn’t have a lot of directorial experience, especially in the action genre, and sometimes that shows. There are some good sequences, such as where Ercell fends off buccaneers in her own home. But others, such as a battle in a cave complex, come over as dark and muddled.

The same lack of consistency hampers the rest of the film. For every cool moment – such as the discovery that there are caimans on Cayman Brac – there are elements that don’t work, like Ercell’s relationship with Lizzie. Another issue is that since the days of Cutthroat Island, the genre has been redefined by the Pirates of the Caribbean franchise. Any pirate movie will inevitably be compared to it, and any hero(ine) to Jack Sparrow. It’s an awkward situation, and it feels as if The Bluff is torn between pandering to this, and being its own thing. Whatever Cutthroat‘s issues – and they were numerous – that wasn’t one. But if this can prove the viability of female pirates again, it’ll have been worth the effort. 

Dir: Frank E. Flowers
Star: Priyanka Chopra Jonas, Karl Urban, Safia Oakley-Green, Ismael Cruz Córdova

Overkill: The Aileen Wuornos Story

  By

★★
“Undercooked and overdressed.”

Less than eleven months after Wuornos was convicted on her first murder charge, this TV movie was broadcast on CBS. If you’re at all familiar with the facts of the case, this won’t have much to offer. It does go a little bit deeper into the police procedural, in the shape of Capt. Steve Binegar (Grimm) and investigator Bruce Munster (James). Interesting that it does depict the FBI’s indifference to the case, the investigation basically being left up to the local cops. This gives credence to an article I read, which quoted an unnamed profiler with the bureau as saying there was no such things as a female serial killer. However, said local law enforcement comes up largely smelling of roses.

I’ve a feeling this may be because some members of the police were actively involved in the production, a fact which caused them some trouble due to the conflict of interest. There were, according to The Selling of a Serial Killer, re-assignments as a result, though nothing more formal appears to have happened. This may also have been based on the story Wuornos’s girlfriend Tyria Moore sold, though I’ve not been able to confirm this. The main problem is simply that a TV movie is a profoundly inappropriate medium in which to tell the story of a serial killer prostitute. Particularly one who was a lesbian, though you would be hard-pushed to work that out here. Aileen/”Lee (Smart) and Tyria (Overall) seem much more like room-mates than lovers.

The limitations of the form mean that we don’t really get to see much of… anything, to be honest. The formative influence of Wuornos’s appalling childhood is only seen in a couple of murky flashbacks. The killings themselves come nowhere near the description of them by the authorities as brutal. The closest we get to the grubbiness required for an authentic portrayal is probably the chaste shower scene in which Aileen examines her wounds, behind which we get entirely inappropriate sexy sax music. Though let’s face it: as the picture above proves, Smart and Overall are both far too conventionally pretty, despite being somewhat uglified up. I did laugh at how even the witness sketch impressions of the pair were prettier than the ones actually used by the police. 

As long as you’re fine with an obviously watered-down idea of the story, this isn’t terrible. The actors generally do a good job: I’m not familiar with Smart, but there are points when she is able to capture the body language and mannerisms of the real Wuornos effectively, and her performance does balance between making Aileen sympathetic and demonizing her. I also liked James, an actor I know more from villainous roles such as his replicant in Blade Runner. Seeing him here as a smart detective certainly felt against type. But the whole endeavour feels like a jar of “hot” supermarket salsa. You expect to get something spicy, only to find it has relentlessly toned down for mass-market consumption. 

Dir: Peter Levin
Star: Jean Smart, Park Overall, Tim Grimm, Brion James

Aileen: Life and Death of a Serial Killer

  By

★★★★
“Lethally blonde.”

This is Broomfield’s second documentary around the topic of Aileen Wuornos, having previously made Aileen Wuornos: The Selling of a Serial Killer. It’s a glorious doc – one of my all-time favorites – but is more tangential, being about those around Wuornos, seeking to exploit her situation for their own personal gain. He thought he was done with the topic, but he was called as a defense witness during Aileen’s final appeal against the multiple death sentences, largely because among those exploiters was her lawyer at the time, Steve Glazer. But around appearing in the witness box, Broomfield decided to make a second documentary, this time focusing on the woman at the centre of proceedings, all the way up to her execution by lethal injection in October 2002.

What I love about Broomfield’s work is, he goes where the story leads him. Some documentarians – and I’m looking at you, Michael Moore – go into production with An Agenda (caps used advisedly). They then craft the end product towards that agenda. To me, that’s less a documentary than propaganda. Broomfield seems to have a much more open mind, and the results sometimes end up going in unexpected directions. Here, it’s clear that he has sympathy for Wuornos, but doesn’t pull any punches about her personality and mental state. He presents footage both of her claiming self-defense and absolutely confessing to having committed cold-blooded murder. The scary thing is, Wuornos appeared to me to be highly credible in each, contradictory situation. Maybe I’m just easily fooled. Sobering.

Certainly, there is evidence of Aileen’s anger issues. During his final interview, we see how she can go from calm discussion to volcanic ferocity in short order, for little or no reason, and storming out while flipping Broomfield the bird. If there had been a firearm to hand during this outburst… Yeah, watching this, the idea of her killing seven in less than a year definitely seemed possible. Rage and easy access to guns is a dangerous combination. But as the film proceeds, it appears Wuornos’s mental situation deteriorates into frequent surges of paranoia, claiming mind-control weapons are being used on her, and that the cops knew who she was after the first murder, and let her continue killing so they could exploit things in the media. 

Should someone so clearly ill in the head be executed? Political considerations – it being an election year, with the governor wanting to appear strong on crime – appear to have overridden any judicial concerns. A cursory mental exam pronounced her fit to die, and the sentence was duly carried out. On that day, Broomfield was interviewed by the media (a classic case of the snake eating its own tail). He said, “Here was somebody who is has obviously lost her mind, has totally lost touch with reality. We’re executing a person who’s mad, and I don’t really know what kind of message that gives.” As someone not averse to the death penalty, this documentary certainly made me pause for thought, and that alone proves its quality. 

Dir: Nick Broomfield and Joan Churchill

Women’s Prison

  By

★★★
“Innocence behind bars.”

It’s always interesting to watch these early entries in the women-in-prison genre, and see the elements which are still staples of the genre, close to seventy years later. Well, some of the elements anyway: this dates from 1955, so is obviously tamer than a kitten on Valium in terms of sexual content. No strip searches. No prison showers. And when it’s revealed that one of the inmates is pregnant, it’s almost as much of a surprise to the audience as it is to the authorities. But it’s still recognizable as an ancestor, thanks to things like the sympathetic prison doctor, new inmate who shouldn’t be there, and the sadistic warden who rules things with an iron fist.

It is an ensemble piece, whose focus shifts throughout. Initially, it seems likely to be the story of “fresh meat” Helene Jensen (Thaxter), who is doing time for vehicular manslaughter, and has a tough time adjusting to life inside. Then it shifts to Joan Burton (Totter), an accomplice to her robber husband, Glen, who is doing time in the men’s prison next door. He has something vital to tell her, and makes repeated attempts to sneak across the border to visit Joan. On the other side of the bars is the power struggle between the warden, Amelia van Zandt (Lupino) and jail physician Dr. Crane (Duff). Her methods are anathema to Crane, who flat-out calls van Zandt a psychopath. He may have a point.

Despite the lack of salacious elements, this is still entertaining fodder. There are a lot of amusing characters among the inmates, from cheerful fraudster Brenda Martin through to black inmate Polyclinic Jones – named after the hospital where she was born! She’s played by Juanita Jones, who’d be Oscar nominated a few years later. Interestingly, despite this being years before the Civil Rights era, the prison is not segregated: the black inmates have their own cell, but otherwise mix freely with the white prisoners. Race is never even mentioned here. There’s an impressively meta moment too, when two guards are discussing a cinema trip. “They never get things right in prison pictures,” muses one, and is told, “I know, but I like to pick out the flaws.”

This happens just before another familiar element: the prisoners riot and take over, after being pushed too far. In this case, it’s van Zandt’s brutal interrogation of Burton which proves the tipping point. Or at least, “brutal” by fifties standards; it’s not much more than a bit of light slapping around. The rebellion leads to tear-gassing and hostage taking, as the women seek to make van Zandt pay, plus Glen roaming around with a pistol. Really, the men’s side need to look into their security protocols, I reckon. For all its innocence in many ways, bordering on naivety, there are still moments which have an emotional impact; I found the death of one inmate surprisingly affecting. Released in Germany as Revolte im Frauenzuchthaus, which I only mention, as “frauenzuchthaus” may be my new favourite German word.

Dir: Lewis Seiler
Star: Ida Lupino, Howard Duff. Audrey Totter, Phyllis Thaxter

Hunting Jessica Brok

  By

★★★★
“What a silly hunt.”

This is a rough, to the point of savage, piece of cinema. If you do not like seeing people get their head blown apart, you should stay away, because that happens more then once here. The provider thereof is Jessica Brok (Jones), who was once part of a black ops operation which went across the border from South Africa into Angola, in search of a poaching ring, only to find far worse. The subsequent ambush wiped out most of her team, though she was able to kill the brother of the poacher’s leader. Over a decade later, she is finished with the business, and living quietly with her young daughter, under a new identity. The business, however, is not finished with her. 

For the leader, Lazar Ipacs (Lukunku), has been harbouring a grudge against Jessica, and has finally tracked her down. With the help of a former colleague, Daniel (Berning), he lures her into a trap and prepares to make her regret… Absolutely everything. But Daniel has second thoughts, throwing Jessica a lifeline which lets her escape. The hunt is on. The only question is, who is the hunter and who is the hunted? After a few lower-tier henchmen are taken out, Lazar’s wife Sherri (Mboya) discovers Jessica has a daughter, and Lazar kidnaps her, intending to use the child as leverage. If you’re thinking that might be a bit of a poor decision, give yourself two points. 

The best thing I can say about this is, while running comfortably over two hours, it doesn’t feel like it at all. There’s not much of a lull: a brief period of peace depicting Jessica’s new life working on a wildlife sanctuary is as quiet as things get. Once she is kidnapped, there is little pause for breath thereafter. It is fair to say that the action here is more inclined towards the comic-book, rather than the realistic. Jessica, for example, takes more damage than any normal human could be expected to survive. She takes an arrow right through the thigh, and basically shrugs it off, while stepping on a grenade booby-trap leaves her with little more than slight tinnitus. However, the same goes for Lazar and Daniel. 

Taken in that spirit, I enjoyed this a great deal, and it’s the first film I’ve watched in 2026 to merit our Seal of Approval. The characters here are broadly-drawn, yet no less effective for it. Credit especially to Lukunku and Mboya, who make a spousal pair who are the stuff of your worst nightmares. The script doesn’t do anything particularly new – especially obvious, the way Lazar and his men spurn opportunity after opportunity to kill Jessica, to the point it begins to feel like a deliberate running joke. Yet it feels like its simplicity leaves the film stripped-down and lean, rather than underwritten. I suspect director/co-writer Orr might be a big fan of Revenge. I am too: there’s much worse from which to take inspiration.

Dir: Alastair Orr
Star: Danica De La Rey Jones, Richard Lukunku, Clyde Berning, Hlubi Mboya

Billie the Kid

  By

★½
“Sadly, they’re not kid-ding.”

I’m inclined to look kindly on this, because I suspect it was a local production, filmed here in Arizona. While the end credits are silent on the topic, there are enough saguaro cacti about, to make it likely the faux Western town and other locations used, were somewhere near me. I recognize an actor or two as well. Unfortunately, it’s not exactly a film I would hold up as a shining example of quality Arizona cinema. While clearly set in the Old West, the movie is stuffed with anachronisms, from haircuts through a terrible British accent to glasses. It consequently never succeeds in establishing a convincing sense of period. This is a bit of a shame, since the Western horror action heroine isn’t one we see often. 

In this case, it’s vampires which provide the darker elements – though these can daywalk, probably because it’s harder to film at night. A small clan are seeking the location of Drakul, a senior bloodsucker who can grant a blessing to his chosen one. Emphasis on “one”, leading to dissent in the ranks. Meanwhile, the bodies they left behind causes local Sheriff Jack Barton (Prell) to assemble a posse. Included is Billie (Hsu), who was languishing in Barton’s jail, but is allowed out due to her tracking skills. There’s also a Van Helsing type, in the shape of black “British” guy – did I mention the accent? – James Underhill (Monroe), who seems to know a lot about them. One might say a suspicious amount.

A simple approach would have worked better here, pitting cowboys against vampires in a straightforward action adventure. But the film diverts too much time and energy into uninteresting areas. For example, it tries repeatedly to generate romantic tension between Billie and Jack. However, when this relies on lines like, “I’m plenty good – and I’m good at plenty”, it’s a struggle which is more uphill than the side of El Capitan. Similarly, one of the vampires (Conran) has taken up with a prospector (did I mention the haircut?), a thread which occupies running-time and little else. The same goes for Billie’s back story, involving sexual abuse and revenge. Couldn’t she just be a gunslinger without a tragic past?

Things grind to a particular halt in the middle, freeing me up to consider whether or not this was better than the infamous and similarly themed 1966 B-movie, Billy the Kid Versus Dracula. Given John Carradine called the latter the worst of the 343 feature films in which he appeared, the competition is tough. This probably isn’t quite as bad: Hsu does what she can with dialogue which is often spectacularly terrible. But much like its predecessor, this fails badly as a Western, and likely even more so as a horror film. I was left with a greater understanding of precisely why the two genres have largely gone their own way. Though the general ineptness in this production certainly doesn’t help.

Dir: Paul Tomborello
Star: Olivia Hsu, Frank Prell, Zion Monroe, Veronica Conran

The Broken Sword, by Jonathan Posner

  By

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

I’m not sure I’ve read a book with a 16th-century action heroine before, so the setting here certainly appears a fresh one. Things take place during the reign of King Henry the Eighth of England, when Mary Fox had been brought up alongside her three older brothers. From them she had secretly learned how to wield a sword and ride a horse, among other unladylike skills. But having now reached adulthood, her father is intent on marrying her off, to the particularly repellent Sir Reginald de Courtney. Mary is having none of that, so packs her bags and leaves the family home.

On the road, she saves Sir John Fitzwilliam and his son, Robert, from a brigand. She then agrees to help on their quest, returning a precious heirloom, the titular weapon, to their family home. However, Sir Reginald is not taking the loss of his bride-to-be lightly, and is in pursuit, with the intention to put Mary back under his control. For at this point in history, a woman had very little independence in the eyes of the law, being little more than property, first of her father, and then her husband. I repeat: Mary is having none of that, and most of the book is basically an extended chase, first back to Sir John’s estates, and then continuing, as Mary heads off on her own.

It makes for a breezy romp, one which won’t challenge the reader, yet definitely kept me wanting to read on. I will say, Mary does not exactly seem like she comes from the middle ages, feeling more like a modern gal transplanted back in time. Apart from odd epithets like “God’s wounds”, the dialogue similarly feels largely contemporary. It’s not Shakespeare, put it that way, although to be fair, most films set in the era play similarly fast and loose with historical accuracy in their speech. We also get the “woman pretends to be a man” trope, as often seen in Chinese films, and looking at the cover, it seems about as plausible here. Which would be “not very”!

On the plus side, romance is very heavily back-burnered. While Mary does eventually grow to respect Robert, after initially referring to him in her mind as “Weed,” she decides not to remain with the Fitzwilliams, instead choosing admirably to carve out her own path. This does cause problems, not least her decision to stick around the very same inn, where she had just escaped from Sir Reginald’s clutches. [I’ve rarely come closer to yelling at my Kindle!] But it does also lead to the opportunity which will be covered in the second volume. I suspect more cross-dressing is going to be in her future there, and I have questions about that too, e.g. You want someone to imitate a boy… why use a girl? All criticism aside, the bottom line is: I was entertained by this, and can see myself investing in the sequel down the road. 

Author: Jonathan Posner
Publisher: Winter & Drew Publishing, available through Amazon, both as a paperback and an e-book
Book 1 of 2 in the Mary Fox Adventures series.

Convoy 48

  By

★★½
“Derailed train of thought.”

I guess this is a slightly different take on the typically heroic stories to come out of Russia concerning their battles against Germany in World War II. Rather than focusing on members of the military, it’s the story of civilians – many with little or no previous experience – who were brought in to keep the railway supply line to Leningrad open. These wee crucial to the city’s survival, as the Nazi blockade threatened to starve the city into submission, being responsible for thee-quarters of the resources going into the city. Naturally, the German forces wanted to cut this off, so subjected the tracks and trains to a relentless bombardment, from artillery, mortars and planes, placing those operating the trains in near-constant danger. 

With a severe shortage of engineers and staff, it’s very much a case of all hands available. Which is how Masha (Tsibizova) and Sonya (Smirnova-Katsagadzhieva), barely out of school, find themselves assigned to the 48th Locomotive Unit, after the most basic of basic training in how to operate a train. This comes courtesy of Georgi (Alekseev), one of the few people around with relevant experience. The otherwise novice crew have to handle dangerous terrain and the ever-present threat of German attack, as they ferry supplies in to the besieged city. Things get murky, when they evacuate orphans out in a Red Cross train: but there are those in the Soviet administration who want to take this opportunity to piggyback on to this, a considerably less humanitarian mission.   

It’s alright, I suppose. But it’s largely predictable, with elements such as the burgeoning romance between Masha and Georgi being straight out of the usual playbook. It’s also so unremittingly heroic as to feel like it might have been a product from the Soviet Ministry of Propaganda, in the later stages of the war. There are a couple of interesting touches: the nearest we get to seeing the enemy is a pilot who bails out when his plane is shot down, and is immediately beaten to death with shovels. Otherwise, the closest to an antagonist is one of the crew who turns out to be a saboteur. It does mean there’s not much sense of direct conflict, with no specific “villain”.

There’s a lot of train stuff here, to the extent that it feels occasionally to border on railway porn. If you are not a train spotter, this could feel overdone, and at a hundred and forty minutes, there feels like a lot of time to fill. Our heroines do get more back-burnered than I would prefer, in favour of their mail colleagues in the second half, though the climactic run, involving the orphan-laden train, requires full commitment from everyone. And, to my complete lack of surprise, no shortage of heroic and ultimate sacrifice. By this point, however, I’d gone beyond my capacity for footage of trains going through the forest, and I’d be lying if I said I cared more than on the most superficial of levels. 

Dir: Fedor Popov
Star: Svetlana Smirnova-Katsagadzhieva, Artem Alekseev, Anastasia Tsibizova, Igor Yasulovich

A Breed Apart

  By

★★½
“Dogged by problems”

I’ve seen a lot of reviews slagging this off as irredeemably bad, and that’s fair comment. Its execution is often lazy to the point of incompetence, and the talents of the cast are largely wasted. And, yet… Was I not entertained? More than I expected, reading those reviews. Oh, sometimes in the wrong way, certainly. But it’s clear the makers were in on the joke. To a certain degree, as with the likes of Sharknado, that critic-proofs it, because it is intended to be stupid and implausible. When you have a dog running around for half the film with a wine-bottle on its muzzle, or canines which can climb trees and ropes… Yeah, it’s clear the creators aren’t letting reality get in the way. 

This is a spiritual sequel to 2006’s The Breed, in which Michelle Rodriguez and her friends land on an island populated by feral attack dogs. Society wasn’t holding its breath for a follow-up, yet here we are. In this version, a film about those events gets abandoned, and 13 years later, influencer Vince Vertura brings five colleagues to the island location to rescue the now thoroughly wild pups. This goes about as well as you would expect, and they quickly start getting turned into doggie chow. Siblings Violet (Curry) and Collins (Steiner), have to try and survive, with the kinda help of Vertura’s personal assistant, Thalia (Gardner), and the other, largely useless, Internet personalities. 

I was hoping for more, based off the poster, and the fact that this re-teams Currey and Gardner, who worked so well together in the awesome Fall. This is not awesome, though I did laugh at the exchange between them:
– What idiots climb up a cellphone tower?
– Someone with a death wish, that’s who.
clearly intended as a knowing reference to their previous film. Oh, and if you are expecting much Hayden Panettiere, given the artwork, you will be disappointed. She shows up at the beginning, then vanishes until the very end. Though she does end up going full Kristi Noem on the dogs, as they besiege the boat on which Violet and Thalia are holed up. [Yeah, I watched a certain South Park episode last night!]

There is some light bow-work from Violet, and it’s certainly a movie that will be appreciated more by cat people, if you know what I mean. You will have to be very tolerant of effects for the dog attacks, which rarely reach the level of anything remotely convincing. Say what you like about The Breed, at least they did use real animals. These are largely bad CGI, and I speak as someone who has seen far too many straight-to-video Chinese films, which set the bar for bad CGI. The Furst’s filmography is littered with movies titled such as Trailer Park Shark or Ghost Shark, and this is not dissimilar. Indeed, at one point a dog falls overboard right into the mouth of a shark. If you don’t find that greatly amusing, this may not be for you.

Dir: The Furst Brothers
Star: Grace Caroline Currey, Virginia Gardner, Riele Downs, Zak Steiner

 

They Call Her Death

  By

★★½
“At no point, does anyone call her death…”

It’s clear what Snell is going for here. This is a throwback to the spaghetti Westerns of the seventies, along with Italian exploitation films from around the same time. I certainly admire the effort which went into this: for example, rather than shooting digitally and applying effects to imitate film, Snell actually shot on Kodak 16mm stock. I did not know that was still a thing, to be honest. Some of the other elements, like the music, also do a good job of reproducing the era – the movie poster is another one. I’ve seen enough of this kind of movie (mostly through Project Kinski), to appreciate what he’s doing.

Unfortunately, I’ve seen enough of this kind of thing, to be able to differentiate the good from the bad, and a fair bit of this skews towards the latter. Molly Pray (Rippel) can only watch as her husband is gunned down in front of her by a bounty-hunter, having been framed for the murder of a lawyer, But she will not accept this, and begins to unravel the threads of the conspiracy, which made Mr. Pray an unwitting victim. And when I say, “unravel”, I mean with extreme, bloody prejudice. She guts some, blows the faces off others, on her way up to the chain to the person pulling the strings at the top. She’s holding a stick of dynamite. We’ll leave it at that. 

If you are looking for a comparison, it would be something along the lines of Hobo With a Shotgun. That’s a film I love dearly, and that might be partly why I’m a little sniffy about this. Because if you compare Hobo to Death, the results do not favour this, almost across the board. Most obviously, while Rippel is decent, she’s barely in the same solar system as Rutger Hauer. The lack of a strong antagonist here is a problem too. Instead, Molly largely chews up one person after another. But because we don’t know much about them – beyond their connection, sometimes tangential, to the death of her husband – there’s a severe lack of emotional impact, even as she’s dismembering them for her pigs to eat. 

Finally, the pacing leaves something to be desired, especially the sections where the focus drifts off Molly, such as to the friendly new deputy, who is generally on her side. Almost any time he was on the screen, I found myself quickly losing interest, and keen for it to go back to the directly focused line of Mully’s vengeance. The reliance on mostly practical effects is laudable, and there are certainly some impressively gory moments of which Lucio Fulci and his ilk would be proud. But too many of the supporting performances feel like they come from people who were available. Given the shoot took several years from start to finish, that may not be much of a stretch. 

Dir: Austin Snell
Star: Sheri Rippel, Jeff Boyer, Devan R. Garcia, Shawn Nyberg