Category: Review

Wyvern Awakening, by Joanna Mazurkiewicz

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

There are reviews which are easy to write, because – good or bad – the subject generates a lot to talk about. This is not one of those. It’s a bland slice of semi-urban fantasy, which just… sits there, the literary equivalent of a bowl of vanilla pudding. It’s not good, nor is it bad enough to be memorable. It merely exists, remarkable mostly in how unremarkable it is. Put it this way, I finished it less than 24 hours ago, and I can’t even remember the heroine’s name, so little impression was made. Instead of writing, I find myself almost preferring the Star Trek musical episode Chris is watching next to me. And I don’t really like Star Trek. Or musical episodes. 

It starts off feeling like a Harry Potter knockoff. Heroine (checks notes) Astrid was orphaned after her parents were killed by a powerful mage, leaving her with a facial scar, when she defended herself with her own innate arcane talent. She’s then sent to live with some nasty relatives, who treat her badly, almost to the point of abuse. Yeah, it’s all very J.K. Rowling. She has a dream where she suddenly realizes the Mage was Duke Jorgen, the city’s ruler. She vows to take revenge, and fortunately, the Duke is having a contest to find a new assistant. Astri, who is the last of the wyvern shape-shifters, joins the competition and goes through the resulting trials.

Yet, the closer she gets to Jorgen, the more confused she becomes, because he hardly seems like the parent-murdering type. He is, of course, far too attractive to be evil. Read that sentence with as much sarcasm as you wish. So, if you want every encounter to be overflowing with unresolved romantic tension, here you go. The problem is, there’s no consistency in Astri’s approach. One minute, she is about to get all kissy-face with him, the next she’s leaving him to be tortured by rogue shifters. She’s supposed to be a strong, independent heroine, yet is frequently neither. And what are the rules of this contest anyway? They seem to be made up as the trials progress. 

There are some decent elements. I was amused by the her scabrous pair of pocket pixies – named Jetli and Lenin, because reasons, I guess. There’s also a sense of bigger forces at play beyond Astri’s personal problems. The last trial brings these particularly into focus. But the final revelation has been telegraphed from almost the very beginning, and is as thoroughly unimpressive as I feared. I suspect this might be aimed more at a YA audience. Not that there’s anything inherently wrong with that, except there are YA books that can still work for an adult audience. Then we have this, which does not. To be honest, I suspect even my 13-year-old self might have found it severely deficient, in a number of areas. 

Author: Joanna Mazurkiewicz
Publisher: Self-publshed, available through Amazon, both as a paperback and an e-book
Book 1 of 4 in the Mage Chronicles.

Ride Hard: Live Free

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★★★
“Daughter of Anarchy.”

I was a little nervous on reading the IMDb trivia section: “Three motorcycle clubs participated as extras and offered technical advice.” If this sucked and I gave it a bad review, would I get a visit from a group of annoyed bikers, offering me ‘technical advice’ with a wrench? Turns out I needn’t have worried. While low-budget by Hollywood standards, it has some interesting ideas, and the execution is competent enough to pass muster. The events here take place after the collapse of the United States, when everywhere West of the Mississippi has basically been left to fend for itself. In this part of Nevada, that means two biker gangs, the Skoners and the Gypsies are fighting for control.

A particular wrinkle: all guns were seized by the authorities shortly before things collapsed, leaving them highly rare. But while being chased by the Skoners, 12-year-old Zyra (Rhodes), stumbles across a cache of weapons and ammo in a caravan. The bikers, under leader Tank (Russo), want the guns very much. Zyra proves quite capable of using her new-found force multipliers, leading to a stand-off between the young girl and the motorcycle club. Complicating matters: the Gypsies get word of the cache from a disgruntled Skoner, and prepare to make their own move against Zyra. It’s all unexpectedly interesting, and is a bit different from your typical post-apocalyptic shenanigans. In its thoroughly unconventional heroine, I was reminded a good deal of Molly. 

The performances certainly help, and are almost all effective. Beyond Rhodes and Rivera, there’s good support from Sons of Anarchy veteran Rivera as Gauge, the area’s overlord, and Chaz as an acerbic radio host, who could win third place in a Danny Trejo lookalike contest. I also want to mention R.A. Mihailoff, Vanessa Dorrei and Juan Espinosa as members of the Skoners. They all manage to create well-rounded characters with admirable efficiency. What is a little confusing, is the whole thing appears to be told in flashback by an older version of Zyra. This never quite gels, in part because the film doesn’t bother to circle back to the “present day” at the end, and consequently leaves the audience somewhat dangling in the breeze. 

I did wonder quite how Zyra came to be wandering the Nevada desert by herself, and how she had survived to that point. A little more development would have gone a long way: it leaves scope for a prequel, along the lines of Furiosa: A Mad Max Saga. There’s no doubt that the “technical advice” adds authenticity, and it’s a rather more nuanced depiction of bikers than you generally get – especially in the post-apocalyptic genre. Although it doesn’t soft-pedal the violence necessary, it’s typically toward a specific goal, and as a result feels more like a case of ‘tough times create hard men’. Or, in the case of Zyra, rather tough little girls as well. I wasn’t expecting much here, and was pleasantly surprised. 

Dir: Tony Mendoza 
Star: Lainee Rhodes, Derek Russo, Emilio Rivera, Jeff Chaz

Mountain Queen: The Summits of Lhakpa Sherpa

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★★★
“Top of the world.”

Reaching the summit of Mount Everest once is a remarkable achievement, done by only a few thousand people in history, with hundreds having died in the attempt. But what about climbing the world’s highest peak on no less than ten occasions? Such is the achievement of Lhakpa Sherpa, a woman from Nepal who had to overcome remarkable adversity in a number of ways to complete this feat. This documentary is the story, both of her tenth (and most recent, to date at least!) ascent, and of her life. It’s an impressive story of fortitude, though never really answers my most burning question. I can understand wanting to climb Everest once. But why do it so many times?

Lhakpa was born in 1973, and grew up when girls weren’t allowed to go to school. She carried her brother there, two hours each way, but wasn’t allowed to learn herself. This didn’t stop her from breaking with local tradition in a number of ways. She had a child outside of wedlock, and also became a mountain porter as a teenager, another position reserved for men – she cut her hair short, so her gender would be less apparent. In 2000, she became the first Nepalese woman to reach the top of Everest and survive. The same year, she met climber Gheorghe Dimarescu and the pair married in 2002. They climbed together, and had two daughters, Sunny and Shiny. But there was a dark side, with her husband’s vicious temper turning their relationship abusive, until she left him in 2012.

I do feel the film rather overplays this element of Lhakpa’s life. While it’s obviously significant, it almost seems to robs her of agenda, forcing the viewer to see much of the events through the lens of his behaviour. The structure may enhance this. Rather than unfolding chronologically, there are two parallel streams, one depicting her tenth attempt to reach the top, while the other slowly fills in the background of her life, and the two never quite seemed to mesh effectively for me. Her attitude in dealing with life’s obstacles is amazing, and leave a remarkable impression, such as how Lhakpa worked in a Connecticut supermarket, while raising her two daughters, before returning to her home country.

It does appear her profile has been raised by her remarkable, and largely under the radar, achievements. The documentary shows her finding a sponsor who will fund expeditions: I don’t know if she still works in Whole Foods! I hope not, because she deserves better, with the simple facts of her story being immensely empowering to anyone, and a lesson that any dream can be achieved. But I did not feel that this film really provided much more insight into the person, than a reading of her Wikipedia page would have offered. I was left with questions, such as about her first child, which the film didn’t want to address, and it felt like some outside viewpoints (even Lhakpa’s family) would have benefited the end product. It remains worth a watch: just don’t expect more than a surface portrait.

Dir: Lucy Walker
Star: Lhakpa Sherpa, Sunny Dijmarescu, Shiny Dijmarescu

Black Day

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★½
“Too little, and much too late.”

I feel the need to start with the IMDb synopsis, because it explains things considerably better than the film. “The Story of two former military criminals turned special sleeper cell Soldiers of Fortune by a secret agency called “The Order of the Black Box”. While agent Sage Martinez is undercover as a low level drug dealer’s wife her more volatile and violent sister Jay Bird is A.W.O.L that’s until they get orders for a special mission (their last kill mission to buy their freedom).” This bears so marginal relationship to what I just watched, if it weren’t for the characters’ names matching, I’d be wondering if it came from a completely different film. Little beyond the names is recognizable.

Here’s what I have. Two women: one strangles her demanding husband, the other kills a pair of security guards who attempt to sexually assault her. There’s something about a mysterious black box left on the former’s doorstep. The pair then meet and team up to take on a cannibalistic family who have been abducting and eating babies. The end. On the copy I saw, the entire film (which runs not much over forty minutes) then repeats in a “Director’s Cut” version. I guess this is slightly more coherently assembled, but is almost exactly the same footage, broken into chapters. It comes no closer to covering the points in the synopsis above.

This is, according to the credits, “Raphael Robinson’s Black Day.” On the one hand, it demonstrates a chunky ego. Usually, you become known first, then get to attach your name to your films, e.g. John Carpenter’s Vampires. Who the hell is Raphael Robinson? According to the IMDb, he had one (1) feature before this, which had no votes, critic or user reviews. Bit early to be going Francis Ford Coppola. On the other hand, if Black Day is anyone’s, it would be Robinson’s, since he wrote, produced, directed, edited and did the cinematography on it. He is literally the only crew member mentioned on the film’s IMDb page. The charitable reaction is: very gracious of him to shoulder responsibility and accept all the blame. 

Because simple coherence is missing here. The synopsis is intriguing. It’s just present in the film at “may contain traces of” level. If it had been laid out correctly, I’d have tolerated this much better, because as a low-budget tale of two heroines going after cannibals, it has some energy. Jordan as Jay and Kay as Sage possess presence. Watching them chew up and spit out the members of the Darkwell clan, working their way up to patriarch Creed (Kenney) made for slightly amusing in-flight entertainment (god knows what my fellow passengers thought!). There are occasional moments where Robinson seems to have a clue what he’s doing behind the camera. But it doesn’t appear he read his own film’s synopsis, and the whole thing feels painfully like it was made up as he went along.

Dir: Rapheal Robinson
Star: Krissy Kay, Llola Jordan, Bill K. Kenney, Ella Rose Henning

Breathe

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★★½
“Air apparent.”

I only remembered about this when looking at our preview for last year, and realizing I’d not heard anything more about it. Turns out it was released on April 26th, to what was apparently “limited theatres,” the same day it hit on-demand. I must have missed the memo. So, here we are, and it’s very much a bit of a mixed bag. The scenario is interesting, if vague. Initial tension building is well-done, but the further it went on, the more it struggled to hold my interest. It’s a post-apocalyptic scenario, with the oxygen level of the atmosphere rapidly depleted to a lethally low percentage. This wiped out almost everyone – though where all the corpses went is one of many unanswered questions.

Among the few survivors, living in an air-tight Brooklyn bunker, are mother Maya (Hudson, looking impressively svelte), father Darius (Common) and daughter Zora (Wallis). Though Darius leaves one day and doesn’t come back, leaving his wife and child to fend for themselves. A few months later there are unexpected visitors: a group led by Tess (Jovovich). She claims to have known Darius, and needs to see his oxygen creator, because the one in their bunker in Philadelphia is breaking down, and they’re about to run out of air. Maya is highly suspicious – Darius never mentioned Tess – but Zora convinces her mother to trust Tess and her group, at least somewhat. No prizes for guessing whether or not this is a mistake.

It’s likely at its best while there’s still some doubt about the answer, with a good sense of uncertainty ratcheting up the tension as noted. Just don’t think about the science – how do you make an “EMP generator” out of a flashlight and some copper wire? Though some reviews are wrong to question how guns work without free oxygen: gunpowder, etc. contain it internally. Best avoid the unsubtle social metaphors too, e.g. a black character staring at a mural which says, “We can’t breathe”, obviously a leftover from the BLM protests, or the quoting of Malcolm X. Hudson and Jovovich are the glue which holds this together, even when you can’t see the bulk of their faces due to the helmets needed to sustain life outside.

Their interactions work: far less effective is Worthington playing Lucas, post-apocalyptic trope #23, the loose cannon sidekick. Once Tess and Maya are no longer getting to share scenes, it feels as if the air goes out of the film (an especially appropriate figure of speech given the circumstances). Lucas and Zora then have to take centre-stage, and the results are unimpressive, as the film limps towards an ending too easily contrived. I did like the look of the film, with the world a filter-tinted nightmare that has gone to absolute hell, with some impressively destroyed cityscapes.  The script, on the other hand, needed considerably more work to reach acceptable, and ends up wasting good work by its two leads.

Dir: Stefon Bristol
Star: Jennifer Hudson, Quvenzhané Wallis, Milla Jovovich, Sam Worthington

The Undeserving

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★★★
“Save a horse, ride a cowgirl.”

I’m slightly grading this on a curve, because this is likely the best of the low-budget modern blaxploitation movies I’ve seen, by some margin. By “normal” standards, that still falls some way short of Oscar-winning, with the limited resources still being obvious at some point. But compared to some of the other entries I’ve sat through, this is a palpable improvement, avoiding many of the worst cliches of the genre, in favor of a story which has had some attention given to it. It’s not an African-American knockoff of Scarface, like so many others, and does not entirely rely on a soundtrack of bad rap songs by the director’s pals. That alone puts it ahead of the pack.

It begins with an assassination carried out by arms dealer Lion Caldwell (Russell). He’s wants to kill the person who’s blackmailing him, and make it look like he’s the target. But to ensure there are no loose ends, he will also kill the hitwoman, Harper (Lavan). However, the intended target gets wind of the plan, and switches wigs with an innocent bystander, causing Harper to shoot the wrong target: Lion’s ex-wife, and the mother of his daughter. The whole mess ends up with Harper dumped in a lake, shot multiple times, and stabbed for good measure. Of course, she’s not dead. She is able to make her way to shore, where’s she’s rescued by a couple. The husband is a surgeon, and able to patch her up in-house, rather than notify the authorities. Yeah, I rolled my eyes a bit at that.

Thereafter, Harper makes her way back to her family, from whom she has been estranged, following a gun accident. Her sister, Fire (Curstin), is less than impressed to see her sibling back. Word reaches Lion that his tidying up hasn’t been successful, so he sends his top man, First (Peri), to take care of Harper once and for all. Should her family get in the way, who cares? If you’re thinking this could end up blowing back on Lion… yeah. There’s more thought into this than I expected, though the plot remains imperfect. There’s a second woman left for dead in the lake, but that doesn’t appear to go anywhere much.

I did like a lot the setting for this being “black country”, for want of a better phrase. Not seen a film with that background before; this genre is typically light on horse-riding: Beyonce has a lot to answer for, I suspect! The action is a bit of a mixed bag – some moments work considerably better than others – and there’s some very bad CGI for a gas-pump explosion. But the characters are as well-written as the script, with some unexpected elements. For example, Lion is trying to reconnect with his estranged daughter, in a similar way to Harper and her family. Based on this, I’d not be averse to looking at more of Elmore’s work.

Dir: Joseph A. Elmore Jr.
Star: Nyra Lavan, Oshea Russell, King Curstin, Joshua Peri

Support and Defend, by Vannetta Chapman

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

It’s funny. You wait ages for an action heroine novel set in Arizona, then two show up at once. Right on the heels of The Killing Game, we have this, which takes place almost entirely in this state’s most iconic location, the Grand Canyon. Unfortunately, this story falls well short of iconic. In fact, it struggles to reach mediocre, though in its defense, I didn’t realize while reading it, this is the second book in the series. I usually have a rule against starting series in the middle, because they tend to build on what has gone before. So perhaps the flaws here might be rectified if I’d read book one, Her Solemn Oath?

That’s being charitable, and I’m not exactly energized towards finding out. It doesn’t feel like a lack of background is the problem, more a heroine who is too flawed to work. She is Allison Quinn, a special agent for the FBI, who seems to have so much baggage, it feels she should be followed around by her own, personal bellhop. Her father was murdered when she was nine, and twenty-six years later, she’s still obsessed with finding the killer. Allison’s dedication to solving her current case, is largely a result of it potentially offering information that might help with that lifelong crusade. Somehow this seems to have entirely escaped everyone at the FBI.

As has Quinn’s acrophobia, which would make her a singularly unsuitable candidate for a mission involving the mile-deep hole which is the Grand Canyon. Oh, well. She’s going down there anyway, seeking a terrorist nicknamed “Blitz”. He’s involved with a group called Anarchists for Tomorrow, who have a plan to sabotage the nation’s electrical grid, with the aim of sending America back to a pre-surveillance era. There are some kill codes which could stop the attack in Blitz’s possession, and he’s going to hand them over to a buyer. For reasons that are vague, he’s doing so on a river rafting trip at the bottom of the Canyon, and so Allison must descend, with the help of Park Ranger Tate Garcia, and stop the hand-off from happening. 

None of the terrorists’ plot makes much sense, and I’ve been working in IT for approaching forty years. Nor is its unravelling here told in a particularly exciting fashion: the descent into the Grand Canyon seems to take place in real time, and doesn’t serve much point. Chapman does seem to have done her homework, and it feels like there is a decent sense of location (I’ve only peered into the Canyon, never gone into it). But this rapidly becomes more of a slog, with problems of pacing, a climax which left me genuinely flicking ahead to see if that was really it (sadly, it was), and a lengthy coda, serving no significant purpose. As an Arizona resident, I’m somewhere between disappointed and embarrassed.

Author: Vannetta Chapman
Publisher: Independently published, available through Amazon, both as a paperback and an e-book
Book 2 of 3 in the Allison Quinn thriller series.

Impulse

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★★½
“Two’s company…”

This is one of the more successful efforts to spin a conspiratorial narrative – at least until the final act, where it topples over into implausibility. It’s a bit like how QAnon were not wrong about the rich and powerful being involved in sex trafficking… it just wasn’t out of the basement of a pizza restaurant. The heroine here is Sofia (Gudic), a journalist who is investigating a series of odd murders, in which powerful men are killed in highly compromising positions. These are assassinations carried out by an escort-assassin, Theda – yeah, one of the less subtle anagrammatic names I’ve seen – on behalf of a shadowy, super-powerful group of the wealthy and famous, under the oversight of Zane (Cassavetes).

Complicating matters is that Theda (also Gudic) is the spitting image of Sofia, just with dark hair, so when a fellow journalist, David (Ferrigno), see the hitwoman leaving the scene of a killing, he becomes convinced Sofia is moonlighting. Of course, there are only a few possible ways this can be resolved, such as a coincidental doppelganger, long-lost twin sister, or severely split personalities. I won’t reveal which way the film goes. But there is a sharp ring of plausibility to the way the cabal obtain blackmail material in order to get a politician, Governor Hughes (Kirkland) on their side, then manipulate him to do their political bidding. Though perhaps most chilling is the way the group quickly moves on when Hughes is no longer of use.

As someone who used to be into conspiratorial stuff (back when it was still fun, which slowly ceased to be true after 9/11), I enjoyed these elements, and nods to things like mind-controlled assassins. But at the end, it shifts into some kind of occult ritual scenario involving baby sacrifice, which makes the whole thing smell weirdly like misinformation. The powerful will act to retain  or increase their power: there’s no need for any motivation beyond that, including spooky cosplay. Naturally, Sofia – or is it Theda? – is on hand to witness these rituals, and face off against the cabal members in their lair, including both Zane and the person responsible for her situation. Credit the makers for delivering a surprisingly downbeat ending.

Gudic seems to be having adequate fun in her dual roles, though I’d certainly like to have seen more of Theda in action. It feels like her murderous talents are wasted here, even if making someone choke to death on a large, realistic-looking dildo does demonstrate impressive imagination. The ease with which she apparently shrugs off her programming is a bit troubling: if I was an evil overlord, I’d be having words with my abuse-induced control department minions. More action, and to be frank, more gratuitous nudity, would have been welcome. What’s the point of having an escort-assassin who never undresses? [Though there is a scene involving two girls, a bath and a lot of red wine] Overall, I was adequately amused, albeit not much more.

Dir: Patrick Flaherty
Star: Dajana Gudic, Lou Ferrigno Jr., Nick Cassavetes, Rob Kirkland

Black Doves

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★★★★
“Never bet against black.”

This was my favourite new television show of 2024, and might have been my pick overall. It’s a very strong mix of action and drama, with a fabulous cast of characters. I think I might have to go back to the first season of Killing Eve to find anything as good in our genre, and it’s not dissimilar in other ways too. Helen (Knightley) is married to Britain’s Minister of Defence, Wallace Webb (Buchan). But unknown to him, she is a Black Dove, mining information from him to pass on to her handler, Reed (Lancashire), for sale to the highest bidder. She’s also having an affair, but her lover is killed, along with two others, in murky circumstances. 

Reed calls in her top assassin, Sam (Whishaw), to protect Helen, fearing she might also be targeted. He has a history with Helen, dating back to before the birth of her children with Wallace. Things spiral out of control, involving the suspicious death of the Chinese ambassador, his missing daughter, a previous hit Sam botched, and Helen’s relentless pursuit of revenge, while trying to keep her family life intact. It’s a lot of balls to keep in the air, but the script does a fine job of avoiding confusion, with the wrap-up proving particularly admirable in its clarity. While I’ve read complaints about it being implausible, I have definitely seen worse. There’s room for both this, and more grounded spy shows like Slow Horses.

If you’re looking for strong female characters, there are a slew here, beyond Helen and Reed. Indeed, it feels like the entire underworld, criminal and intelligence, is run by women, while the “above ground” apparatus is male-dominated. The one I liked best was acerbic Irish killer Williams (Ella Lily Hyland), whose loyalties are uncertain at first. However, all the supporting cast are solid, and the relationship between Helen and Sam is among the best non-romantic ones I’ve seen recently between a man and a woman. Should mention: Sam’s gay. Very gay, to be honest. This annoyed the people that always annoys. But to me, it didn’t feel done for DEI purposes, or get in the way of the story.

It has been a while since we have seen Knightley here: Domino was the best part of two decades ago. Since then? Some slight sword-waving in the Pirates of the Caribbean franchise, and that’s about it. However, they do a good job of making up for lost time [note: she is not pregnant for the bulk of her action, despite the picture!] There are an especially good pair of fights against assassins sent to take her out, the second of whom is a self-professed big fan. Williams and her female partners also unleash hell, though in her case it tends to be more bullets than punches. A critical and popular success, a second series was already commissioned before the first had aired. If it can maintain the same high standard – unlike Killing Eve – there’s a good chance it’ll be among the best of… well, probably 2026. Can’t wait.

Creator: Joe Barton
Star: Keira Knightley, Ben Whishaw, Sarah Lancashire, Andrew Buchan

Jade

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★★★
“Always bet on black…”

Director Bamford has certainly had himself a year. This is the third film of his in 2024 to be reviewed on this site, following Air Force One Down and Hard Home. It’s actually his feature debut, and seems to date back a few years, before getting released. Jade is definitely rougher around the edges than what would follow, although that offers some advantages as well, in that there appear to be more risks taken stylistically. Whether these work or nor is likely a matter of personal taste. For example, how do you feel about a heroine who kills one enemy by throwing her Afro pick at an enemy like a ninja death star, embedding it in his forehead?

Me, I liked it, but have seen other reviews which called it ‘just plain silly’, so to each their own, I guess. It does need some more consistency of tone, I think, and the script is too loose, with elements which don’t matter. The heroine, Jade (West), is a Brit who came over to America with her brother after their parents were murdered, fell in with the wrong crowd and accidentally killed her sibling with a stray bullet. She’s now sworn off guns, but is in trouble after coming into possession of a hard drive, sought after by gang boss Tork (Rourke), with extreme prejudice. While her allies are few, they include her brother’s widow, Layla (McNamara) and a cop investigating things, Reese (Dacascos). 

It’s clear that the main inspiration for Jade is Pam Grier, and her roles in the likes of Coffy and Foxy Brown. This is most apparent in her fabulous Afro, which is so large, you feel it should have its own gravitational well. West is a stuntwoman, a background shared by Bamford, and a lot of the supporting cast too. This comes through, for obvious reasons, in the action, which is reliably well-executed. However, Bamford seems to be trying to find his style, and adopts a few different approaches, not all equally successful. For example, sometimes he goes for a shaki-cam approach. You’d think someone like him would know that’s close to the worst approach when it comes to showcasing stunt work.

As noted, the story has issues too, especially early on, with a particularly rough expositional dump at the beginning. Turns out the whole saga of Jade’s brother and her background in Britain are not very important at all – except for explaining her strong English accent. It’s definitely a case where less would have been more. Still, there’s a good deal to enjoy here, and I will be interested to see where West goes. She seems to have a huge social media presence – 1.1 million followers on something called “Instagram”, whatever that is… Her comic-book style there seems to match the approach in this, and she has potential. As we’ve seen, the same goes for Bamford, and I am looking forward to seeing what he brings to our table, in 2025 and beyond. 

Dir: James Bamford
Star: Shaina West, Katherine McNamara, Mickey Rourke, Mark Dacascos