Tag: 2019

Darlin’

  By

★★★½
“Mother of all predators”

This strange little film probably makes more sense if you’ve seen The Woman, in which a feral cannibalistic woman, played by McIntosh, was captured and kept in the basement of a dysfunctional family. While this features McIntosh in the same role, it does work as a standalone film: its predecessor may help explain some of the background. Here, the woman drops off her equally uncivilized teenage daughter (Canny) at a hospital. Unsure of quite how such an unusual child should be handled, Darlin’ – called that, because of a bracelet spelling that out which she is wearing – is handed over to the Catholic church.

In particular, to St. Philomena’s Home, a dubious institution run by an even more dubious Bishop (Batt). He sees in Darlin’ the chance for his parish to make a name for itself by “redeeming” their new ward in the name of the Lord, which would help them stave off an impending financial crunch. But when the Woman returns to the hospital, and finds her daughter is no longer there, it quickly becomes clear that she will go to any lengths to recover Darlin’ and punish those who are trying to exploit her. And even though the teenager is no longer quite the wild child she was, as the saying goes: You can take the child out of the woods, but you won’t necessarily take the woods out of the child…

McIntosh is probably best known for her work on The Walking Dead. But on this site, we adore her for Let Us Prey, and her directorial debut is little if any less savage. However, it is probably fair to say that the script – also written by McIntosh – tries to cram too many things into its pages, and comes up short as a result. Not to say there aren’t moments of supreme effectiveness. Just that they are diluted by the film’s desire to go in so many different directions. For example, despite the Woman’s apparently inexorable quest for Darlin’, she vanishes for much of the second half, instead just hanging round a homeless women’s encampment to no particular purpose. It’s a shame, as I don’t think I’ve seen a more genuinely scary female character in a film for a very long time. [Though Darlin’ doesn’t fall far from that tree, at least initially]

The rest is more hit or miss. Going after the Catholic Church for child abuse is… Well, it feels kinda obvious, though there’s a righteous anger here which does at least seem honest. And the civilized version of Darlin’, despite now being able to communicate through speech rather than growls, seems less interesting, as if she had lost much of what separated her from any other teenage girl. Neither of these really work so well, as the more linear concept of a mother prepared to do absolutely anything to reclaim her daughter, which is when the film is at its best and most memorable.

Dir: Pollyanna McIntosh
Star: Lauryn Canny, Bryan Batt, Nora-Jane Noone, Pollyanna McIntosh

47 Meters Down: Uncaged

  By

★★★
“One for the shark buffet, please.”

Director Roberts returns for a sequel to 47 Meters Down, once more diving (literally) into similar territory. Here, he doubles down, this time sending four young women underwater to be trapped and become shark bait, rather than two. Munching ensues. But there’s enough variety in this iteration for it to prevail, after a pretty shaky opening act. This plays like some bizarre version of Mean Girls, with heroine Mia (Nélisse) getting pushed into her school’s swimming pool by a bratty fellow pupil. It’s all very short skirts, perfect teeth and family drama, to the point that Chris was beginning to look at me oddly and wonder what the hell I’d put on.

Anyway, Mia and stepsister Sasha (Foxx) bail on the intended sailing excursion to go off with pals Alexa (Tju) and Nicole (Stallone) to a secret swimming hole in the Yucatan where they, and apparently no-one of Hispanic origin, live. The pair’s dad is some kind of marine archaeologist, who found an underwater Mayan city down there, so for a lark, the four decided to do an impromptu bit of cave diving. BIG mistake. A collapse seals off the exit, and the only way out is to go on, down and through the underwater complex. Not helping, to put it mildly, are the giant white cave sharks which are apparently delighted to have a bit of variety in their diet, in the form of American teenager.

It certainly perks up when the angsty teenage drama is abandoned in favour of swimming and screaming. Roberts pushes the camera in really close for the most part. Combined with the (understandably) limited amount of light, this does make for some rather chaotic sequences. Yet on the other hand, it unquestionably emphasizes and enhances the claustrophobia which is the tension’s main contributor. The sharks are genuinely creepy too, not least having lost their sight due to the conditions – if shark eyes are chilling, then sightless shark eyes are worse still. I got the impression this was wanting to be an underwater version of The Descent, and there are much worse targets at which a horror film could aim.

It all ends in a grandstand sequence of increasing peril, as the (less than four) survivors try to make their final escape from the water. Admittedly, it does rely on sharks that apparently don’t want to commit to the munching, preferring a little love-nibble to snapping their victims in half (a similar issue to Crawl, where the non-disposable characters appeared to be made out of kevlar). Despite this cop-out, it’s a rousing enough finale, largely making me forget the early struggles. If there’s nothing much among the performances to suggest the daughters of Jamie Foxx and Sylvester Stallone should be following in their fathers’ footsteps, as adequately entertaining shark movies go, this one is certainly… adequately entertaining. And I speak as something of a connoisseur of adequately entertaining shark movies.

Dir: Johannes Roberts
Star: Sophie Nélisse, Corinne Foxx, Brianne Tju, Sistine Stallone

The Furnace

  By

★★★
“Run Mary Run”

Two days after getting married, Mary Harris (Bernadette) is involved in a car accident which kills her new husband and leaves her barely able to walk. But she has one goal: to compete in the Furnace, an ultra-marathon race through the African wilderness, in which she and her late husband had been planning to take part. This aim goes strongly against the desires of her mother, but Mary won’t be deterred. With the help of her mentor (Dlamini, looking like a younger version of Morgan Freeman), nicknamed “Coffin” due to his day-job as a gravedigger, she claws her way back to fitness, and to the start-line. But is she prepared for everything the environment can throw at her, and make it to the finish? To do so, she’ll have to overcome not just the lethal heat, but also predators for whom she’d be a tasty snack, and poisonous scorpions whose venom induces disorienting hallucinations.

It’s certainly a change of pace for Bernadette, who has previously been seen on this site in Killing Joan and All Girls Weekend, as well as the largely woeful I Spit On Your Grave reboot, Deja Vu, not reviewed here. This is a film heavy on the F-word – by which I mean “faith”. Its religious overtones may be enough to write it off for many, but even as someone who possesses no real commitment there, it still worked well enough as a story about fighting through and triumphing over adversity. The race itself is the most effective section, with a constant stream of problems to overcome, and fortunately that does represent the majority of the film’s running-time. I must admit, I guessed the truth about her running companion, Raphaella (Linn) well before the film revealed it, and that angle is perhaps one where the faith-based elements become more than a little overwhelming.

Exhaustive research i.e. five minutes of Googling, couldn’t locate any race comparable with the Furnace, and it does seem a highly perilous endeavour, even with a GPS attached to participants. “If you’re stationary for more than seven hours, you’re disqualified, and we come pick you up,” says the organizer. Shouldn’t that be “If you’re stationary for more than seven hours, you’ve been eaten by hyenas, and we come pick up whatever is left in a bucket”? It’s certainly not my idea of a challenge to which I aspire, but there are people like Mary who seek to push their limits, so it’s not that far-fetched. Throw in decent cinematography and animal work and you’ve got something that  entertained me rather more than I perhaps expected, though Coffin’s voice-over does become a little superfluous in places. It’s not a film which an atheist is likely going to be able to appreciate, yet dammit, even I found myself getting fractionally emotional for the final scene. I’d probably be more inclined to credit Peters’s performance for that, rather than any kind of divine intervention.

Dir: Darrell Roodt
Star: Jamie Bernadette, Luthuli Dlamini, Laura Linn, Thandi Puren

Sweetheart

  By

★★½
“Creature from the Blue Lagoon”

After a boat-wreck, Jennifer Remming (Clemons) washes ashore on a deserted tropical island, and has to make do with what she can find and forage. While there are no other people on the island, she’s not alone. It becomes increasingly clear that a “something” is predating for food at night there. She eventually finds out what it is: a large, amphibious and very hungry creature, walking on two legs, and capable of dragging its prey back into its lair beneath the water. Needless to say, she’s delighted when two other survivors wash up in a lifeboat: her boyfriend Lucas (Cohen) and friend Mia (Mangan-Lawrence). But convincing them of the threat, and the need to get off the island immediately, is a little tricky, because it turns out Jennifer has a little history of making things up. However, “being eaten” turns out to be fairly convincing proof, as evidence goes…

Have to say, the first time we get to see the creature is glorious. After some warning signs have set the scene, such as a dead shark with claw marks on the side, it’s a great reveal, which literally gave me chills. The problem is, it’s also about the last time we get to see it. For its nocturnal nature means we have to deal with it only popping up in extremely subdued lighting. While this makes sense – it being a tropical island, there’s not exactly much natural light – it makes for an extraordinarily frustrating experience. Too often, the viewer has to peer into the murk, trying to figure out exactly who is doing what, and to whom. I can only presume this was done to enhance the tension in some “lurking in the darkness” way. If so, it’s remarkably counter-productive, triggering considerably more annoyance than terror.

I did like Jennifer as a heroine: she doesn’t seem to have particular survival skills, yet managed to make a good fist of things. Certainly, much better than I would have; I suspect I’d last on a desert island, only as long as my fat reserves permitted. I also appreciated the fairly linear nature of the film: Girl Meets Monster, Monster tries to kill Girl, Girl tries to kill Monster. If only The Shape of Water had gone this route. It does get rather less effective when it’s no longer a party of one, with the usual (and considerably less interesting) bickering which follows. However, the presence of other people is probably necessary: even Tom Hanks needed a supporting performance from a volleyball to sustain Castaway for its running-time.

After an aborted escape attempt, it all builds to the inevitable final confrontation. Which, conveniently, takes place in a relatively well-lit arena, courtesy of some torches. Once we get to see it, this is quite a cool monster – perhaps slightly influenced by what the Predator wore under its mask. Just a shame it doesn’t truly show up until the party is all but over. Between that and a script with too many loose ends, it one of those cases where the film isn’t as good as the trailer.

Dir: J.D. Dillard
Star: Kiersey Clemons, Emory Cohen, Hanna Mangan-Lawrence, Andrew Crawford

Wonder Woman: Bloodlines

  By

★★
“I wonder what they were thinking?”

Having enjoyed the previous animated Wonder Woman film, this was a significant disappointment. It doesn’t seem to fit in to any established universe and loos designed more as a quick cash-in on the success of the live-action version, than existing out of artistic desire. It begins with a broken, modern-day update of the latter’s opening, with the plane of Air Force pilot Steve Trevor (Donovan) making a crash-landing inside the bubble which has protected Themyscira  over the ages. He’s desperate to return to tell the world about the demonic entities which attacked him, and Diana (Dawson, who played Artemis in the previous animated version) rebels against her mother and the decision of the other Amazons to imprison Steve, going with him to the outside world.

Except, there’s basically no explanation as to Diana’s revolt, beyond a throwaway line about a prophecy. And in the next scene, Diana is sitting in the back of a cab on the way to house of historian Dr. Julia Kapatelis. Demonic entities? What are they? With those entirely forgotten, the film then focuses on the doctor’s daughter, Vanessa (Avgeropoulos), who turns bad, becomes Silver Swan, and eventually teams up with Doctor Poison and a slew of B-villains, of whom I’ve never heard, e.g. Giganta, Cheetah, Doctor Cyber. They plan to attack Themyscira and profit from its technology, and to that goal have revived and powered-up Medusa, who ends up becoming more of a Med-zilla.

This is all full of ridiculous and contrived circumstances. For instance, Diana “forgets” the location of Themyscira. But – what are the odds – there’s a fountain from which she can drink, which will restore her knowledge! And Julia discovered the location in her research! Or, the dispatch of Medusa will turn everyone whom she has petrified, back to being human again. Hmm, must have missed that bit in the mythology. It will certainly lead to some very confused ancient Greek warriors, who suddenly find themselves inhabiting the 21st-century… It feels as if the writers were making stuff up as they went along, and repeatedly painted themselves into corners, from which they could only fabricate escapes out of thin air.

All of which I could take, were the animation decent. When in motion, it’s okay, and some of the action scenes work moderately well. But otherwise, it’s painfully basic, with characters’ faces not moving, except for their mouths. Up until Medusa appears, there’s no indication that any of the antagonists are able to pose a genuine threat to our heroine. Their ludicrously-named group, “Villainy, Inc”, feels like something out of a superhero spoof like Mystery Men. While the initial set-up make it looks like Vanessa will become Diana’s main opponent, she just ends up just another faceless minion.  As someone familiar only with the various adaptations and not the source comic-books, this wasn’t worth my time. Heck, even the unaired TV pilot was more entertaining. 

Dir: Sam Liu, Justin Copeland
Star (voice):  Rosario Dawson, Jeffrey Donovan, Marie Avgeropoulos, Adrienne C. Moore

La Reina Del Sur: season two

  By

★★★½
“The Queen comes home”

Nine years after the events of the first series, Teresa Mendoza (del Castillo) is no longer in the world of crime. She lives in Italy under a new identity, where she makes marmalade, has a hunky boyfriend and is concerned more with bringing up her daughter, Sofia (Sierra). But where would the telenovela fun be in that? Therefore. it’s not long before Sofia is kidnapped, and used as leverage to drag Teresa back into the murky world of narcotrafico. Except, it’s as much a political game this time, with her previous adversary, Epifanio Vargas (Zurita), is now running for President of Mexico. He orders Teresa to bring down the main rival for that position, by joining the gang of the drug-lord who is backing his rival’s campaign, and finding evidence which can exposie their connection. It’s not even that “simple”, with a lot of people who have long-standing scores to settle with Teresa, and the DEA lurking in the background, pulling strings on behalf of the American government.

It is certainly quite jet-setty. Perhaps because of del Castillo’s well-documented problems with the Mexican government, I’m not sure how many of her scenes were actually filmed locally. As well as Italy, it bounces around between her old stomping-ground of Malaga, Spain and Russia (reuniting Mendoza with Russian mob ally, Oleg Yosikov (Gil), though eventually settles down with the bulk of the action does take place in Mexico. There, Teresa has to round up some other old pals, to give her the necessary resources to infiltrate her target. Meanwhile, Sofia is proving quite the chip off the old block, and causing no end of problems for her captors – who include someone playing a rather dangerous double- or even triple-game. However, despite the plethora of plot threads – and the above is well short of being an exhaustive list – the script does generally pull off a very good job of delineating them without confusion.

Initially, it seemed like we might be in for a more action-oriented brand of Teresa, the first episode (embedded at the bottom, with English subs) ending with her chasing a car on a motor-bike and a rather spectacular stunt. Sadly, it only sustains this pace intermittently thereafter. To make up, we do get the very impressive Manuela, a.k.a Kira, played by Paola Núñez. A disgruntled former DEA agent, she’s one of those with a grudge against Ms. Mendoza, holding her responsible for the death of some family members. She’s definitely a bad-ass, and it’s always a pleasure seeing her and Teresa go toe-to-toe. There were some aspects of the story I did have issues with. For instance, in about a two-episode spell, we get three different cases of someone who should be dead, turning out not to be. That gets old. But all told, it’s a nicely-paced bit of television, that sustained my interest over its 60 episodes – even if it took me approaching six months to get through them all.

Star: Kate del Castillo, Humberto Zurita, Antonio Gil, Isabella Sierra

Warigami

  By

★★★½
“Card sharks”

This feature-length entity is the omnibus edition of a series created for Canadian streaming service, CBC Gem. Originally 10 x ten-minute episodes, they’ve been combined into one entity, though the joins are still pretty visible. It is, however, a brisk and generally entertaining work, with a good twist to the usual martial-arts shenanigans.

Wendy Ohata (Piggford) lives with her grandfather, a martial-arts master who is the guardian of a scroll that potentially will confer great power on its owner. Wendy has never been able to tap into her talents, until one day she meets Vincent (Bradbury) and his pal Mark (Julien) – while they are burgling her house. Their choice was not a random one: Vincent felt a strong pull towards the house, and it turns out he and Wendy are long-lost siblings. More significantly, when they are within 50 feet of each other, they both become kami-jin. Those are people who are able to manipulate the density of paper at will, turn it into a lethal weapon in their hands.

Unfortunately, when these talents are used, they attract the attention of the villainous Teramoto clan, who want to use the scroll to return Japan to a more pastoral state, blaming technology for the evils of modern life. Their leading agent is another kami-jin, Sadako (Suzuki). She kidnaps Wendy’s grandfather and holds him hostage, demanding the scroll for his release. Can she, along with her new-found brother and his pal, locate the Teramoto lair, and rescue Gramps?

The show got my attention with an opening scene where Sadako is detained at the airport – it doesn’t end well for the agents trying to hold her – and didn’t let go for much of the way thereafter. This does a good job of balancing between the serious and the silly, no small task given the potentially ludicrous nature of the skill at its heart. About the only moment where it descends into full-on silliness is when Vincent dons a complete outfit of samurai armour made from paper – and even there, you can only admire the effort involved from the costume department. Wendy and Sadako make for a solid yin and yang at the center of things, with both acquitting themselves well on the martial-arts front. Director Lapeyre also deserves credit for not letting their talents be obscured by frenetic editing.

There are a couple of plot moments which have questionable plausibility: both the Teramoto lair and its underground entrance are discovered way too easily. And the ending is rather obviously pointing towards a sequel, though it’s one I’d be interested in seeing, and hopefully the makers are given the chance to deliver it. For, given its origins, this was better than I expected from a web series. That’s especially true for the way the talents of the kami-jin are portrayed, which varies from okay to flat-out impressive, on occasion. I was left with a strong urge to find a pack of playing cards and start working on my wrist strength.

Dir: Jason Lapeyre
Star: Emily Piggford, Kai Bradbury, Miho Suzuki, Akiel Julien.

Boudica: Rise of the Warrior Queen

  By

★½
“Boudica: The Moping About the Forest Years”

I try and not let my expectations influence my reviews: a movie deserves to be judged on what it is, rather than what I expected it to be. A film-maker usually doesn’t get to decide, for instance, the DVD sleeve. But when you invoke the name of Boudica in your title, this creates certain requirements with regard to your content, especially when combined with the words “warrior queen.” These are requirements which this movie is utterly incapable of meeting. Technically, the word “rise” is probably the only accurate element to be found, on the cover, which certainly counts as among the most inaccurate in recent memory.

At least it is set in Britain, during the Roman occupation not long after the birth of Christ. Boudica (Peel) is scheduled to be wed to the son of another tribe, to cement their anti-Roman alliance. But virtually on the eve of the wedding, her mother, Lucilia (McTernan) spirits her away. Mom, y’see, had gone through the whole arranged marriage thing to Boud’s brutish Dad, Scavo (Pengelly), and is damned if she’s going to let her little girl suffer the same thing. Quite why Lucilia has a Roman name is never explained. Anyway, they set up home in the woods, while Scavo and the husband-to-be roam the countryside looking for them. But one day, Boudica discovers an injured warrior (Cooke) near their home.

At no point does Boudica dress in the manner depicted on the cover. There is no castle to be seen: a mud hut is about it. There appear to be thousands of extras present, when I don’t think there was a scene where the count of players reached double digits. And I’m not sure where the “epic battle scenes” allegedly experienced by the “Geek Legion of Doom” (whatever that is) are. But they would seem to be full of shit, because they ain’t in this film. What you do get, is the sure and certain knowledge that whiny teenage girls bitching continually at their mothers is not a modern invention, and was in full effect in 47 AD. Boudica, of course, falls for the warrior, about whom Lucilla has qualms, causing the daughter to fling back her mother’s words about following her heart.

This soap-opera nonsense is, apparently, what is meant by a warrior queen rising. Who knew?

Based purely on content, this probably doesn’t deserve to be here, but it is technically about one of the most-renowned women warriors in history, so I feel under an obligation. For the first hour-plus, the closest we get to seeing Boudica in action is whacking a tree with a stick [I would at least have laughed, if she’d yelled repeatedly while doing so, “Why are you hitting yourself?”] Eventually, the warrior turns out not to be who he seemed – that’s a shock – leading to about the only sequence which could even remotely be described as the “passionate fighting spirit” claimed on the cover. Though you’d still need to be squinting from the right angle, to see even that. I strongly recommend you don’t bother.

Dir: Zoe Morgan
Star: Ella Peel, Michelle McTernan, James Cooke, Simon Pengelly

Riot Girls

  By

★★
“Two girls, one gun.”

After a disease has wiped out all adults, the town of Potters Bluff has divided into two camps, delineated by the river running through the town. On the west are the Titans, a quasi-fascist order of jocks operating out of the old high school and led by Jeremy, whose motto is “Strength, power, respect.” On the east are the free-spirited remainder, living under and protected by Jack (Bourgeois). However, after hijacking the contents of a Titan truck, Jack is abducted by them and held hostage. A three-person party sets out on a rescue mission: Jack’s sister Nat (Iseman), her best friend  – and painfully obvious lesbian, right down to the mohawk – Scratch (Kwiatkowski), and Sony (Friese), a former Titan who recently defected to the East, and whose inside knowledge is essential to their survival and the success of the mission.

This provides a slightly different twist on the usual post-apocalyptic scenario, though the idea dates back at least to Roger Corman’s 1970 film Gas-s-s-s, in which a deadly gas wiped out everyone over the age of 25. Canadian show Between also explored similar territory, and the conflict-driven nature here brings us almost into Battle Royale territory. Though it’s more of a team sport than an individual pursuit, and natural division instead of artificial construct. But I have to wonder, how did Potters Bluff reach this point? What’s the back story which saw, for example, Jack and Jeremy become leaders of their factions and implacable enemies? I suspect this may have been more entertaining than what we actually get. And why is the soundtrack apparently fascinated with hair metal songs from a long bygone era? [I’m pretty sure it shares one with the 35-year-old Return of the Living Dead…]

After a bright, comic-book styled opening sequence to set the scene, at first it seems this may be building and then subverting expectations. For example, when on a foraging expedition, Scratch is delighted to come across a vibrator… But in a twist, her interest is purely for the batteries it contains. However, the further on it goes, the safer and more predictable everything seems to become. The hurdles Nat, Scratch and Sony have to overcome on their journey, are precisely the ones you’d expect (although there is one eye-poppingly brutal head-shot), and it all inevitably leads to a confrontation with Jeremy and his troops in their high-school gymnasium.

Most irritatingly, it ends up getting too bogged down in class and gender politics. The Titans are largely defined as the bad guys almost purely because they are white, straight and male. Meanwhile, it’s “diversity = good” for the Eastsiders – even if its tenets like affirmative action are a civilized conceit, which wouldn’t last two days in a proper apocalypse. Consequently, it’s absolutely no surprise Nat and Scratch end up as An Item – not minutes after the former has spurned a heterosexual advance, and while Nat’s brother is still in the clutches of his enemies. I guess, for some, the line between free love utopia and devastated dystopia is severely blurred.

Dir: Jovanka Vuckovic
Star: Paloma Kwiatkowski, Madison Iseman, Alexandre Bourgeois, Ajay Friese

Satanic Panic

  By

★★★½
“Good girls go to hell. Bad girls come from there.”

It’s the first day as a pizza delivery gal for Samantha Craft (Griffith), and things aren’t going well, with no tips being received. When given the chance of a delivery to a rich neighbourhood, she pounces – only to find herself getting stiffed again. This time, she sneaks in to demand her gratuity, which drops her in the middle of a satanic ceremony overseen by coven head, Danica Ross (Romijn). They’re attempting to summon Baphonet, but have hit a snag. Their intended vessel, Danica’s daughter Judy (Modine), no longer qualifies as a virgin, so Sam’s presence is highly convenient. For Sam? Not so much. Though perhaps to her benefit, there’s a bit of a power struggle in the coven, with Gypsy (Myrin) fed up of playing the second satanic banana to Danica.

This is largely anchored by Romijn, from the moment we see her literally up to her elbows in a dead body, groping around for its soul. You might not realize how much she matters, until a moment where it looks like she has abruptly cashed in her chips. The sense of disappointment I felt was palpable, and it was a great relief to find this was a red herring. She hits just the right spot between coolness and insanity, and is a lot of fun to watch. Modine brings the moody teenager to the max, though you can see why finding out your mother intends to sacrifice you would make you a bit grumpy. She gets some deliciously foul-mouthed lines, such as, “They’re not going to stop until you’re strapped naked to a barbed-wire altar with the 15-foot beast of Gehenna and his double-pronged demon dong walking out of your cooch chute like it’s a revolving door of ground beef.” Towards more picturesque speech, as Reader’s Digest used to say.

In comparison to this mother-daughter pairing from (literally) hell, Sam is a little bland: likeable enough, yet needs a better character arc. The Sam we see at the end feels only slightly changed from the one being shaken down for a $5 “security deposit” by her boss at the beginning. Otherwise, it’s definitely a case of the bad girls also having more fun. There are nods toward social commentary: the war here is both class-related and generational i.e. boomer vs. millennial. Much the same goes for the gender depictions, where almost without exception, all the men are incompetent idiots. Yet this is all handled lightly enough to avoid being ham-handed, and any message remains subservient to the entertainment content, as it should.

Not skimping on the red stuff, it skews strongly towards practical rather than CGI, which is always laudable in my book. It builds towards a decent finale, even if not quite delivering the killer rabbit demon god for which I was hoping. There’s still enough here to make for a cheerfully bloody time, even beyond watching Romijn wipe the floor with her younger co-stars.

Dir: Chelsea Stardust
Star: Hayley Griffith, Rebecca Romijn, Ruby Modine, Arden Myrin