Category: Review

Loss Prevention

  By

★★★½
“Missing this would be your loss”

After a series of recent films which… well, let’s just say, left a little to be desired, it was a real palate-cleansing pleasure to encounter this. Oh, make no mistake: this is no classic. But, considering the budget was supposedly under $20,000, this operates within its limitations very nicely. The makers sticks to what they can do, and what it does, it does more than adequately. In particular, the movie is populated with a good number of interesting characters, that are fun to watch. The central one is Nik (Uhl), a young woman who dropped out of college and is now scraping by, working behind the bar at The Soggy Weasel, the pub belonging to her father (former wrestler Snow).

However, her slackerish lifestyle is rudely interrupted when one patron drinks too much, and has to be separated from his keys. Unfortunately, the key-chain also holds a flash drive of industrial espionage data, which he was supposed to hand over to Boland (Wells), the operative of a rival company. Boland is unimpressed, and will go to any lengths to retrieve it, providing the bottom line is deemed sufficiently profitable. Fortunately for Nik, also on hand is Brooke (Albert), a thoroughly competent operative of the company who is the data’s rightful owner, and she takes on the defense of Nik and her father. Not that Nik is averse to getting her own hands dirty, as things turn out.

It does take a little while for things to kick off, as we get introduced to the characters. Nik is more than slightly sarcastic, so can only be respected as such, and also a thoroughly unrepentant lesbian – both combine in an entirely unrepeatable comment about breath mints. But Hollywood could learn a lot about depicting sexual identity from this, which makes absolutely no attempt at moral posturing in this area. Instead, it’s far too busy providing a fast-paced gallop around the city of Louisville, ending up in Brooke and Nik mounting an assault on the headquarters where Boland is holding her father hostage. Yet there’s a twist or two to come, with things not quite ending in the massive firefight you’d expect – another way in which this manages to confound expectations.

In its depiction of corporate warfare, this is rather sophisticated for a low-budget action flick. In particular, Boland’s actions are entirely determined by an accounting of the expected profits and loss. For instance, is it cheaper to buy someone off, or kill them, with all the resulting collateral expenses? It absolutely is not personal with him, just a question of what will balance the books most profitably. The same is true, to a slightly lesser degree, for Brooke – if I heard a late line of dialogue correctly, her surname in the film is Shields! This is an approach which plays into the unexpected finale, when Nik comes up with a solution which satisfies everybody. Well, almost everybody… This has not one, but two, action heroines who are fun to watch, and was considerably better than I expected

Dir: Brian Cunningham, Matt Niehoff
Star: Abisha Uhl, Al Snow, John Wells, Lauren Albert

Suga Babies

  By

★½
“The drugs do work”

As usual, I begin with the normal disclaimer, that I’m about as far from the target audience as you could imagine. For this is an inner-city story about a drug war between three rival gangs in South Carolina: the Guardians, the Dynasty and the GeeChees. That said, however, there have been other films, with not dissimilar themes, which I have enjoyed. Most obviously, I am not the target audience for Pam Grier’s seventies output either. But those still kick ass. Even among the modern entries, there have been ones like Candy, which have felt authentic in their depiction of urban life. This, on the other hand, feels more like a no-budget hip-hop video.

About the main positive is that nobody makes a particular fuss about the Guardians being an all-girl gang, under the loose leadership of Naomi (Mott). They’re just part of the landscape, and everyone accepts that. The cause of the war is a new drug called sugar. In an odd twist, this actually makes people who take it better. We are told it literally cures cancer. I genuinely LOL’d at that. However, the interest of the authorities is limited to a spokesman for Big Pharma, who expresses concern at the street muscling in on “their” turf. It might have been interesting if it turned out Big Pharma had secretly released the drug to the GeeChees for distribution, as a test of its effectiveness. Sadly, not much is done with the concept, with this largely being an excuse for more black-on-black crime.

Indeed, that social crisis is expressly referenced during one of the multiple sequences of “The Buzz”, some chat-show. These really add very little, and the same goes for the supposed “courtroom” scenes. As well as being woefully unconvincing, I don’t think I ever worked out quite who was on trial, or for what. It’s all horribly disjointed, for example a lengthy scene that’s just multiple people picking up drugs from a motel room. Add in sequences which genuinely are no-budget music videos, and the dramatic pickings became painfully thin. There’s just one scene that has any impact. Mouse (McCoy) gets picked up by the Guardians and is found to be dealing sugar for the GeeChees. Her impassioned explanation that she did so because sugar helped her family, is certainly the movie’s emotional high-point.

According to the IMDb, the director had made eight feature films since her first in 2020. That’s an admirable work ethic, to be sure. But I can’t help thinking that churning out fewer movies might lead to an increase in their quality, because this definitely feels rushed, in almost every aspect. Maybe this is what the target audience wants? But it would be patronizing to believe their standards can be satisfied with this kind of thing. On the other hand, this wasn’t even the worst thing I watched today (hello, Battered), at least reaching a bare minimum of technical competence. However, that’s scant praise for any movie.

Dir: Felicia Rivers
Star: Diamond Mott, Patrice Jennings, Shakeela Koffey Scott, Samantha McCoy

Wentworth

  By

★★★★
“Sheilas behind bars.”

Back in the eighties, there was an Australian women-in-prison soap opera called Prisoner Cell Block H. [It was called Prisoner on its home turf, but was renamed in the UK and US, to avoid confusion with The Prisoner] It ran for eight seasons, totalling 692 (!) episodes, and achieved a fair bit of cult status, mostly through late-night screenings on TV. Much of its reputation was based on “so bad it’s good” elements, such as the wobbly sets; a review calls it, “one of the most bizarre, violent, lesbian-fetishy-heart-warming dramas ever created.” The show concluded its run in 1986, but was never forgotten.

More than 25 years later, the concept was rebooted in 2013 as Wentworth, and enjoyed a renaissance. While also running for eight seasons, rather than trash (not that there’s anything wrong with that, mind you!), this version proved to be remarkably well made. It likely helped that the remake’s production schedule here was rather less frantic, ending at exactly 100 episodes last October. The show is currently ranked by the IMDb in the top 250 TV series of all time, and was sold to over 90 countries, achieving a worldwide audience, thanks in part to its distribution on streaming services like Netflix and Amazon Prime.

It spawned local remakes in a number of countries. The Dutch was the most successful, running for four seasons, but Belgium, Germany and Turkey also took the show and recreated it. [Here is as good a place as any to mention that back in 1982, there was a male spin-off of the original show called Punishment. Though it lasted only one season, the cast included some guy called Mel Gibson…] Indeed, the Turkish one, known on Netflix as The Yard, was reviewed here in August 2020. That review began, “I really must get round to reviewing Wentworth.” And eighteen months later, here we are…

It’s a show I’ve thought about covering on a number of occasions over its run, but now that it’s finished, I feel I can finally do it justice. I definitely can’t argue with the acclaim it has received. For Wentworth features a slew of extremely strong female characters, including one of the most memorable villainesses in TV history, and maintained a high degree of dramatic quality from beginning to end. That’s rare for a series; even classics like Buffy dropped off after a certain point, with commercial motivations typically surpassing artistic ones. Not so here, with the eighth series virtually as strong as the first.

One element, which it does share with its predecessor, is that the setting is the “star”, rather than any performer. I think this certainly helped contribute to its longevity, and sustained the show’s freshness. If one of the actresses began to feel jaded, and wanted out, their character could be replaced by another. The prison scenario meant there were always new arrivals potentially coming in, and scope for departures too, without excessively disrupting the overall structure. If you look at many of the ultra-long running shows, e.g. Dr Who or the many incarnations of Law and Order, they have a similar ability to rotate their cast seamlessly.

Not to say there weren’t main characters – many of them with the names and/or backgrounds as their “ancestors” in Cell Block H. But they tended to have arcs across three or four years; few lasted the full eight, mostly on the guard side. This timeframes was long enough to allow for fulfilling development, without getting stale. The first such was Bea Smith (Cormack), who arrives at Wentworth after attempting to murder her husband, following years of abuse. She becomes involved in the struggle for “Top Dog” status – the role of the most powerful prisoner – between two existing inmates, only to end up becoming Top Dog herself. However, it’s a lonely position, where you always have to watch your back, and allies can suddenly become enemies.

One such was the character mentioned above: Joan Ferguson (Rabe), known as ‘The Freak’ (left). She joined the show as the new governor of Wentworth in season 2, and was, to be blunt, a clinical psychopath, devoid of empathy and incredibly manipulative. She was also very smart, a lethal combination. However, it’s not enough to save her from ending up a prisoner in the jail herself. The first episode of season 5, where Ferguson is released into the general population was, for me, peak Wentworth, and one of the best 45 minutes of television I’ve seen, in any genre.

Remarkably, she didn’t just survive this reversal of fortune, but thrived. She took over as Top Dog. until an escape plan misfired, ending in her being buried alive by long-serving prison officer Will Jackson (Robbie Magasiva)). But you can’t keep a good villainess down, though it appeared the trauma led to amnesia, with Ferguson subsequently using a different name and with a completely different personality. Was this genuine, or another of her ruses? I couldn’t possibly reveal that. What I will do though, is laud a glorious performance by Rabe, who at six feet tall, has a remarkable physical presence, backed up by ferocious intensity. She’s Cersei Lannister on steroids. And without the incest.

In general, it’s perhaps less exploitative than you might expect, with nudity only when genuinely necessary to the plot, rather than for titillation purposes. On the other hand, the show does not soft-pedal the brutality of prison life, with violence and death a common occurrence. Inmates tend to handle their own infractions internally, the Top Dog having the ability to impose punishments for theft, deceit or, perhaps the worst offense of all, “lagging” i.e. talking to prison authorities. It would definitely be rated a hard R, purely for its authentically no-holds barred language. Boy, do the Aussies love themselves a good c-bomb – even more than us Scots!

There were, admittedly, times where the story-lines seemed to get away from the creators. A few threads did appear to be ended, rather than properly resolved. But considering the 70+ hours of television the show represented, such misfires proved remarkably few. The writers definitely had a talent for juggling multiple plot threads and keeping them all moving forward simultaneously. In the end though, it was the actresses (and actors) who made this show what it was, and which kept us coming back for the best part of a decade. If not our favourite show ever on Netflix, it’s definitely up there with the very best.

Creators: Lara Radulovich and David Hannam
Star: Danielle Cormack, Pamela Rabe, Kate Atkinson, Katrina Milosevic 

Battered

  By

★
“Of unsound mind.”

My first surprise here was that this clocks in at a crisp 44 minutes. That’s an awkward length for any film: too short to be a feature, but most festivals that accept short films will balk at a submission of that length, when the time could instead be used to accept three x 15-minute entries [as someone who runs a festival, this is definitely a consideration]. Quite how this got distribution, I’m therefore not sure; but there it was, sitting on Amazon Prime. However, less than two minutes into the viewing experience, I found myself thanking my stars the running time was so brief. Because this is hamstrung by the worst audio I’ve seen on any film in several years. When even an envelope being opened sounds like a burst of automatic gunfire, you’ve got a problem, and there’s hardly a scene here where this aspect is not bad enough, as to be an unbearable distraction.

It is something of a shame, since it has at least the germ of a decent idea. Piper (Paris) is in an abusive relationship, one that ends up with her being sent to hospital. On her release, she joins a support group for similarly battered women, who share video diaries, as part of the healing process. However, revenge eventually becomes part of their therapeutic activities, taking out their anger on the men who abused them, and these prove viral successes. There is potential for exploration here, not least in the way social media can create and inflame a lynch mob mentality – with the potential for it to spill over into the physical world too. Of course, for that exploration to work, you’d firstly have to be able to tolerate dialogue which sounds like it was recorded either in a wind-tunnel or a diving chamber. Not helping matters: characters that might harbour dreams of some day developing and blossoming into shallow stereotypes. And that’s just the women. Do not get me started on the men.

Then there’s a philosophical argument to be had here. We can all agree it’s wrong for men to beat up women. But this movie seems to make the claim – without much in the way of counterpoints being made – that it’s perfectly fine for women to beat up men. Because social justice. Or #MeToo. Or something, it’s unclear. This could be a viable approach, even without coherent and explicit debate, if the film engaged the lizard brain, and made the violence justifiable, even on a visceral level. Yet it fails to do that either. Instead we get a number of scenes which frankly border on the exploitative, offering a dubious counterpoint to the female empowerment narrative being pushed. Ugly camerawork and performances that, at best, do little more than propel forward the story, are other aspects which left me underwhelmed. It also ends in an abrupt and unsatisfying manner, as if Leslie eventually realized this was going nowhere. Shame it took him 44 minutes to reach that point.

Dir: Lewis Leslie
Star: Mia Paris, Paula Marcenaro Solinger, Carly Jones, Heath C. Heine

Witness Protection, by Holly Copella

  By

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

This is one of those books where the cover (right) feels at odds with the synopsis: “After witnessing an execution, a resourceful young woman attempts to disappear while being pursued by a hitman and a handsome federal agent.” Having read the book, the reality sits somewhat uncomfortably in the middle. It might have been better if the author had committed to writing either an action novel or a romance; the combination of them here is awkward and clunky. Naturally, my preference was for the former. But it seems that every time the book got into a rhythm there, the heroine would start lusting after one (frankly, close to all) of the male characters, and the energy would be derailed.

The central character is Jackie Remus, a helicopter pilot who is ferrying the Governor to an event when he invites her to his mansion. There, she stumbles into a murder committed by his right-hand man. Dexter Smyth, a situation from which she only narrowly escapes. As the sole witness, she’s placed into protective custody, under the guardianship of FBI agent Holden Falcone. But when the lakeside house in which she’s hidden, is stormed by the Governor’s men, Jackie decides she’s better off on her own. For she has a very particular set of skills, being a military brat whose late father was commander of a Navy SEAL platoon. So Jackie is quite capable of taking care of herself, much to Falcone’s consternation.

The bulk of the book therefore becomes a bit of a chase, with Jackie making her way across the country towards the mysterious Monroe, one of her father’s former soldiers, whom she believes offers her best shot at safety. Falcone is in pursuit of her, while Smyth is seeking to intercept Jackie, and make sure she is never able to testify against his boss. Mixed in with this, is a lot of unresolved sexual tension, especially between Jackie and the FBI agent. Though it ends being thoroughly and repeatedly resolved, if you know what I mean, and I think you do. This begs the question of what the FBI thinks about an agent having sexual relations with a star witness in a high-profile case. The book clearly doesn’t care.

There’s also a sense of too much stuff happening for no adequate reason, such as the bizarrely irrelevant home invasion during a hurricane, which occurs at Monroe’s house in the Florida Keys. If this was a film, I’d say it was added in order to get it up to feature length, but a novel surely has no need for such padding. And, of course, there’s the way both sides stoically decline opportunities to shoot each other in the head. There’s not much here that comes across as convincing, though Copella does a good job of keeping things moving forward. There’s never a dull moment here. Just too many implausible ones.

Author: Holly Copella
Publisher: Copella Books, available through Amazon, both as a paperback and an e-book
1 of 9 in the Witness Protection series.

Claw

  By

★★★
“Jurassic dog park”

Yeah, the scale here is a bit smaller than the Spielberg classic, to put it mildly. As in… there’s precisely one (1) velociraptor. For reasons that are a bit unclear, this is roaming a deserted Wild West attraction on the road to Los Angeles. Heading to LA are wannabe stand-up comic Julia (Walker) and her flamingly gay best friend, Kyle (Rennie). An accident forces them off the road, and with – what a surprise! – no cell signal, they are forced to seek help at the previously mentioned attraction, where Ray (Mede) is the only inhabitant, and is acting a bit odd. Turns out, there’s good reason for this, with a large, carnivorous prehistoric reptile roaming the facility, the work of a mad scientist (Mertz). Will Julia ever make it to Tinseltown?

Clearly, you have to understand that this is a low-budget entity, and not expect the kind of spectacle provided by larger dinosaur movies. That said, if you stick with it – and the 30 minutes it takes for the lizard mayhem to kick in, seems a lot longer – this isn’t without charm. Once it gets going, there is a fairly non-stop degree of energy, and there’s an interesting role reversal to the typical dynamic of couples in these movies. Kyle is the one who spends much of the time cowering in a corner; it may be stereotypical in its portrayal of homosexuality, but not gratingly so, and it allows Julia to become a bit more pro-active than normal.

If she is not exactly Ellen Ripley, to be sure, we are starting from a considerably lower level to begin with, and that does make her a bit more relatable. Most of what she does, is stuff that you or I could do (okay… probably just you. Getting out of bed is a battle, personally!), rather than any kind of superhuman feat. Between the writing and the performances, the film does a good job of making the characters seem like real people, to a better degree than most cheap B-movies. There’s a lengthy coda, after the film basically ends not past the hour mark, with several unnecessary scenes apparently added to reach feature length. It is probably just worth staying around, purely to hear Julia perform her velociraptor-themed stand-up routine.

The dinosaur is mostly CGI, and is integrated adequately enough into proceedings, though its actual interaction with any physical people or things, is limited to put it mildly. On the other hand, it manages to avoid the frequent pitfall of movies shot at night, where most of the action here takes place. You can actually tell what’s happening, without straining your eyes to peer into an underlit darkness. This positive is less common than you might think. Again, I cannot stress enough that it offers small-scale carnage, at best. However, I was still entertained more than I expected, and was left willing to give this the benefit, of the more than considerable doubts I had going in.

Dir: Gerald Rascionato
Star: Chynna Walker, Richard Rennie, Mel Mede, Ken Mertz

Chained

  By

★★
“Puts the gang in chain gang.”

Jaz (Severino) gets arrested by the cops and hauled off to Rikers Island on… well, let’s say slightly bogus charges. Her long time pal, Trouble (Martinez) is on the outside and sets about raising bail for Jaz, by any means necessary. That involves putting together a crew of her own who will seize the opportunity to take over drug-running territory in part of their neighbourhood. Needless to say, this decision doesn’t come without perils of its own, both from the authorities and the others with eyes on the profits to be made. Jaz, meanwhile, is having to come to terms with prison life, and isn’t exactly making friends on the inside. Even when the money for her bond is raised, Jaz’s issues aren’t over. However, Trouble finds a solution, after discovering the cops who arrested her have a little side-hustle of their own.

Considering this was made for $15,000, it has its strengths, Most obviously, it feels authentic. The players here may not have much in the way of formal acting experience or training. But I sense they’re not particularly required to do more than be enhanced versions of themselves. The way they act, talk and behave seems legit. Admittedly, who am I to judge? I didn’t exactly grow up on the mean streets of New York. But I can still tell when there is Obvious Acting going on, and it’s a flaw you often see in this kind of low-budget enterprise. I didn’t have to endure that kind of fakery here, and on the whole, the individual scenes were generally fine.

What didn’t work, unfortunately, was the overall flow, with the various plot threads never coming together into a coherent and engaging narrative. I felt like it was taking place over the span of several decades, but there were points when this wasn’t clear. Any film which wraps up with a brief “Twenty years later” scene – in which nobody seems to have aged a day – is on shaky ground. There were also a lot of moments where the script outran the budget. The “police van” in the opening scene, clearly isn’t. Indeed, I genuinely LOL’d later, as the same interior shows up on a van, rented from U-Haul, used for a raid on another gang. If you can’t afford a police van, or at least a decent facsimile, don’t write a scene needing one. The police station and Rikers Island were also… less than convincing, shall we say.

It is likely a little over-stuffed too. For a movie running only 76 minutes, the story tries to cram a lot in, and some of the threads (such as a pregnancy) end up feeling like afterthoughts. More restraint in writer-director Cardona’s ambition would have been for the best. She’s clearly familiar with street life, its characters, and how they behave. When the story sticks to this, the movie is at its most effective, although there’s nothing particularly new or important being said. When it tries to be more expansive, though, the resources just aren’t there, and the shortcomings are painfully apparent.

Dir: Deborah Cardona
Star: Rosemary Severino, Sheerice Martinez, Tyhem Commodore, Lexie Jose

S.O.S. Survive or Sacrifice

  By

★★
“New uses for vodka, #37”

This is occasionally almost endearing in its stupidity. Almost. It’s the story of Kate (Kaspar), who is on holiday in Cyprus with her bratty younger sister, Liz (Finch). With Liz asleep, Kate slopes off to the local nightclub, is befriended by another guest, Myrianthy (Rosset), and the pair end up going up in a tethered balloon at dawn with a pair of local hunks. Except, there’s an issue with the “tethered” part. Specifically, the man responsible does not realize that, for it to work, both ends of the rope need to be tied to something.

Like I said: almost endearing.

Anyway, a close encounter with a wind-farm leads to one man being knocked from the balloon, and the other is injured and eventually falls out of it as well (adorqble!), leaving Kate and Myrianthy stuck in the air. They are drifting steadily out to sea, with diminishing fuel supplies, and completely forgot to call for help while over land, or until they were out of signal range (how silly!). Meanwhile, Liz is being treated as an abandoned minor, but manages to convinces a consulate official, Sophia (Webb), that they should track down Kate. Which eventually involves them getting a rubber boat and heading out to see. Where they discover it has a leak (Tee-hee!). Which they plug with a cellphone.  Yes, the writers of this decided that was totally a thing.

Meanwhile, the women in the balloon are attempting to attract attention in various ways, most of which seem to involve them removing one or more articles of clothing for various reasons. Well, it certainly got my attention. They also use lipstick to fashion an SOS sign, and when they run out of makeup for that, switch to their own blood. [I will admit to thinking, “Pity it’s not that time of the month, they wouldn’t have needed to cut open a hand…”] But the film reaches its peak level of what Chris calls “I’m so sure…”, when they start a fire using a condom, a bottle of vodka and some Cypriot currency. I want to see Mythbusters taking this one on.

I will admit to being somewhat entertained, in a “Whatever next?” way. Though could have done without the subplot which has one of the lesser members of the Baldwin family, William, sneaking into Kate’s bedroom with a knife, because reasons. I trust he got a nice holiday out of it, at least. Some of the photography is quite well done, and there’s good reason the film open with an acknowledgement that the film “was made with the support of the financial incentives granted by the Government of the Republic of Cyprus.” The tourist board of that Mediterranean island nods approvingly, at the number of shots of its scenic landscapes.

But eventually, the stupidity on view wears out its welcome, and is aggressively grating, rather than amusing. By the time the end credits rolled, I was hoping to see a shark’s fin cutting through the water towards the women. As in so much else, the film disappointed.

Dir: Roman Doronin
Star: Jeannine Kaspar, Marianna Rosset, Ksenia Pinch, Crystal Webb

Jack Squad

  By

★★
“Considerably less would have been more.”

At 85 minutes, this might have been fine. For it’s a fairly simple tale, of three women who decide to escape their financial woes by drugging and robbing married men, banking on their victims not being willing to involve the authorities. While this initially works as planned, inevitably, they end up targeting the wrong guy, a minion of feared drug dealer Grey (Anderson). How evil is he? Grey appears to have an employee whose full-time job is to fan him. That’s some Evil Overlord style, right there. Grey doesn’t just want his stolen money back, he wants the trio to continue their activities – for his benefit. And that isn’t the only problem which the trio face, with Tony, the estranged other half of Dawn (Tares), unhappy at her having escaped their abusive relationship.

Somehow, in the hands of writer-director-producer Rankins, this uncomplicated story runs 128 minutes, which is way too long. If ever there was evidence that films sometimes need someone else to step in and say, literally, “Cut that out,” this would be it. You could go at the “director’s version” blindfolded, with a rusty bread-knife, hacking entire scenes out, attacking others with all the savage brutality of a starving man at a Vegas buffet, and would be incapable of doing any real harm to the end product. If you can’t see where half an hour couldn’t be excised, to the general improvement of the pacing, you’re not trying hard enough.

Which is at least somewhat of a shame, since this wasn’t otherwise as bad as I thought it might be. It is certainly an improvement over the director’s almost unwatchable, Chop Shop. The three leads are adequate, and the script gives them reasonably well-delineated characters. As well as recovering abuse victim Dawn, there’s fashion student Kennedy (Halfkenny), who has qualms about the whole endeavour. Though she’s also the one who triggers the escalating body-count, by robbing Grey’s underling. And then we have Mona (Williams) who develops a liking for the violence, and gradually becomes a fully-fledged psychopath. The three different personalities certainly provide plenty of scope for drama and conflict, as they try to figure out how to handle their increasingly untenable situation.

That said, some of the attitudes here are difficult to empathize with. For example, Kennedy ghosts the kind but poor fellow student, apparently preferring the lure of well-heeled “pharmaceutical” workers. And that’s how you end up in abusive relationships, folks, or having to chase down your baby daddy for child support, as recently documented in Sweet Justice. There’s also no getting over the low-budget approach, most obvious in “gunfire” which couldn’t be much more fake, if the people wielding the weapons were yelling “Bang!” and using their fingers as firearms. But the major problem is the one described above: a self-indulgent approach, almost as if Rankins believed everything filmed had to be included in the final product. When making a low-budget feature, like this, you may need to wear many hats. But that does not negate the need for external and neutral guidance.

Dir: Simuel Rankins
Star: Dawnisha Halfkenny, Onira Tares, Patshreba Williams, Benjamin Anderson

A Killer Rising

  By

★★½
“FBI Agent Jekyll and Hyde”

At least a star of the above rating is purely for the concept, which is one just brimming with potential. The problem here is entirely down to execution that isn’t just lacklustre, it’s entirely devoid of all lustre. First and foremost, there is absolutely no reason for this to have a running time of 122 minutes, especially when the first half makes its point inside about ten, and then sits there, as if waiting for a bus. It’s a particular issue, because it’s only the second half where things get adequately interesting. You will need a great deal of patience – or, probably more likely, some household chores to take care of – in order to reach that point.

The heroine is Kacee Rhona (Beckly), an irascible FBI agent with a long history of disciplinary issues, going back to her days at Quantico. It’s perhaps not surprising, considering her childhood was a hellish landscape of abuse, from which she barely escaped at all, only after defending herself against her biological father. You do wonder how someone with such obvious psychological issues was accepted into the FBI, but whatevs. Seems she’s quite good at her job, and is now hot on the trail of a serial killer, Montague (Anderson) who has been kidnapping, raping and murdering (not necessarily in that order) a slew of women. It’s largely your standard “loose cannon with issues” thriller, with which we’re all (overly) familiar. While Beckly is… okay, the rest of the cast are well short of convincing, and the production’s resources are insufficient for what it’s trying to do.

Then, however, the killer brutally attacks Agent Rhona, leaving her literally dead for several minutes, and causing something inside her to snap. She becomes a vigilante while officially on sick leave, targetting those whom the law has not been able to punish. And who better to become a serial killer of serial killers, than someone trained to catch serial killers? It’s a bit like an unhinged, female version of Dexter, and is an awesome concept. Her colleagues are… well, for obvious reasons, somewhat ambivalent about this, when their suspicions are drawn towards one of their own kind. On the other hand, Rhona’s operation outside the law has its advantages, especially with Montague still on the loose.

I’d love to see this given the production it deserves, with a better supporting cast, and elements that accurately reflect the supposed FBI setting, which never reaches even “unconvincing”. It feels like a nicely twisted take on Silence of the Lambs, and I could imagine a young Jodie Foster or Angelina Jolie in the role of the heroine. But any remake would also need to go at the script with a pair of garden shears, removing all the extraneous nonsense which drags the front hour down to an uninteresting crawl. There was eventually marginally enough here to keep me going, yet I’d not blame anyone if they chose to cut their losses before that point.

Dir: Michael Fredianelli
Star: Stacy Beckly, Derek Crowe, Kevin Karrick, Jaren Anderson