Tag: 2020

Goodbye Honey

  By

★½
“Trucking terribly written.”

There is a good concept here. Unfortunately, rarely have I seen an idea so conspicuously derailed by dreadful execution. Let’s not get ahead of ourselves though, and begin by focusing on the positives here. Dawn (Morgan) is a truck driver who is on a cross-country route, and pulls off the road into a remote, wooded location for an obligatory rest stop. Barely has she come to a halt, when a terrified young woman, Phoebe (Gobin), shows up outside her cab, demanding help. She claims to have been abducted, and been held nearby. But she managed to escape from her kidnapper, who is now hot on her heels, with evil intentions. However, is the new arrival speaking the truth or is she dangerously deranged?

It’s safe to say, you have my attention with this set-up, and Morgan is nicely unarchetypal as an action heroine, both in her middle-age, and a world-worn appearance which is about as unglamourous as you could imagine. She’s likely the best thing about this, and her performance was good enough to stop the whole thing from imploding entirely. This matters, because the script appears almost intentionally crafted to wreck any suspense or interest, resulting from both the premise or the lead performance. Within a few minutes of Phoebe’s arrival, Dawn has lost the keys to the truck and had her phone broken. Given the character is intended to be a highly competent, no-nonsense sort, this just doesn’t work. 

There are then two major mis-steps in terms of story-telling. A pair of stoner dudes show up, and the film grinds to a halt as Dawn has to deal with them. It’s painfully obvious they have nothing at all to do with Phoebe’s situation, and it’s embarrassing how shallow the writing for them is. Then, after they have mercifully departed the film, we get a lengthy, entirely superfluous flashback, telling us in detail how Phoebe was abducted, and what life was like in the cellar where she was kept for months. Guess what? We don’t care. It doesn’t matter, and adds nothing at all to the situation at hand. The final straw is the revelation of a connection between Dawn and the kidnapper, Cass (Kelly), which completely defies belief. I may have snorted derisively.

Inevitably it leads to him showing up and a confrontation between him and Dawn, where we learn the truth about Phoebe’s claims. Guess what v2.0? By this point, I didn’t care about then either. The film was on the screen, and I was looking in its general direction. But it would be a stretch to say I was paying any kind of attention, There is something to be said for a low-budget film cautiously writing its story within the limitation of what can be afforded: here, that’s a truck and a forest. However, the failure to convert that into anything meaningful or interesting thereafter, must also be laid at the door of the writers. 

Dir: Max Strand
Star: Pamela Jayne Morgan, Juliette Alice Gobin, Paul C. Kelly, Peyton Michelle Edwards

Okay Madam

  By

★★★
“Okay enough to work”

This probably falls into the category of lightly amusing, rather than anything more. But I can’t say I was ever bored, and it’s assembled well enough technically that I can’t complain. The heroine is Mi-Young (Uhm), a former North Korean agent, who defected, changed her looks through plastic surgery, and now lives a quiet existence, with a part-time job selling pastries in the local market. She’s married to Seok-Hwan (Park), a computer repairman, and their life is frugal as far as wealth goes. Seok-Hwan, however, is wins a promotion run by a soft-drink company, getting them and their young daughter a trip to Hawaii.

It turns out the North Koreans still have an interest in ‘Magnolia’, as Mi-Young was formerly known, and need her (specifically, her iris) to unlock some nuclear protocols. They learn she will be on the plane to Honolulu, yet are just not sure which passenger she is. So they hatch a plan for former partner Cheol-Seung (Lee) to hijack the craft, identify and abduct Magnolia, and parachute out, blowing up the aircraft in their wake. Mi-Young is fortunate enough to be in the bathroom when things kick off, so is able to avoid immediate detection. On the other hand, she’s now separated from her husband and child. Both she and Seok-Kwan will need to rely on their skills – long-dormant in the case of Magnolia – to defeat the hijacks before they can execute their explosive intentions.

This one initially slid past me entirely; looking at the poster, it’s very easy to overlook the gun held by the heroine. And, to be honest, this is as much a comedy as hard-hitting action. In that mix, it’s a bit reminiscent of My Wife is Gangster [damn, that came out 20 years ago?], with a reliance on culture clashes or inappropriate actions and speech for its humour. However, it did work pretty well, helped by a good number of interesting side characters. For example, there’s a paranoid air steward who wants to be a hero; an irritable congressman; and an actress who is initially suspected of being Magnolia, due in part to her action movie filmography. Though some of the cultural stuff definitely flew above my head, a decent amount is sufficiently global to work.

The cramped surroundings of the aircraft – even if Business Class is like the African savanna in comparison to the economy spaces we occupy – make a interesting setting for hand-to-hand combat, and help excuse the lack of guns. We’ve seen former singer Uhm before here, starring in Princess Aurora, and she acquits herself well in this. While I suspect some doubling for the more athletic moments, it’s done competently enough to pass muster. I would prefer to have seen more action, in fact, and a little less of the dramatic elements, though that’s more likely my problem than that of the intended audience. I will likely never watch it again, yet don’t feel it was a waste of 100 mins.

Dir: Cheol-ha Lee
Star: Uhm Jung-Hwa, Park Sung-Woong, Lee Sang-Yoon, Bae Jeong-Nam 

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 (adorable!), 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

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

Brides of Satan

  By

★½
“Cool poster though.”

It’s probably significant that the opening credits of the film talk about the bands and the whiskey company involved. Any mention of the actual actresses taking part, is relegated to a secondary sequence, 15 minutes into the film. That seems to indicate where the priorities lie: if you told me the whole thing was made up to get freebies and as a showcase for the director’s mates, I’d have no problem believing you. Another warning sign is the way every post-production visual trick you can imagine is thrown in there; this often indicates an attempt to paper over flaws in other areas. There’s no doubt the film is certainly trying. However, Bizarro simply tries far too hard, and it’s not long before it becomes simply trying on the viewer instead.

It’s the story of Mary (Robinson), who takes her fiance to the Dirty Bird strip-club as a treat, only for both to be kidnapped by a trio of Satanists, led by Sidney Zero (McMunn). They sacrifice him, towards their goal of summoning the a demon and she only barely escapes with her life. Mary is rescued from the side of the road by down-and-out Lenny Lester (Troyer), who has previously had encounters with the same trio. He trains her in the art of violence – both physical and mental – so that she can take revenge on Zero and her crew. It’s a pretty thin storyline, and with precious little depth there, or for any of the characters. This is why we end up watching extraordinarily shitty variety acts in lieu of anything particularly interesting.

It’s told in a series of chapters, another pretentious touch which annoyed me irrationally, far more than it should. But it’s only in the final chapter, which starts about three minutes before the end credits roll, that the promised revenge particularly shows up. Prior to that, Mary gets to test-drive her skills on a gang of street punks loosely affiliated with Sidney… and that’s about it. Instead, there’s a lot of sitting about, chatting, flashbacks, and the previously mentioned dreadful “alternative” entertainment. Indeed, much of this reeks of the side of alternative culture which is all “Look at meeee!”, in lieu of significant talent.

Even the sleaze is curiously front-loaded, with an opening sequence which drives home the grindhouse philosophy for which Bizarro is apparently aiming… before then all but forgetting it for the rest of the movie. When the demon does eventually show up, it is disposed of with such ease, it feels as if the makers realized they didn’t have the resources to deliver much more than a Halloween mask, and decided to write the whole thing off as quickly as possible. They should likely have extended that realization to the rest of the movie, as outside of a semi-decent performance from Troyer, this has nothing much to offer past an admirably punk attitude. It deserves an A for effort, and an F in just about every other area.

Dir: Joe Bizarro
Star: Mindy Robinson, Malice McMunn, John Troyer, Joanna Angel

Revenge Ride

  By

★★½
“Violence isn’t the answer. No, wait…”

Mary (Dubasso) is drugged and raped by three members of the football team at a college party. Believing neither the college authorities nor the police will do anything, she turns to cousin Maggie (Swan) for help, because her relative is a member of the all-female Dark Moon motorcycle gang (eloquent slogan: “Eat my pussy”). Run by Trygga (McIntosh), they take revenge on the rapists, branding their catchphrase on the perpetrator’s asses, and leaving them in full view on the college campus. The fraternity boys don’t take this kindly, and strike back, causing things to escalate towards an all-out war. Complicating matters are Maggie’s increasing feelings for Brian (Boneta), one of the team, though uninvolved in the rape.

If ever they do a Daughters of Anarchy series, McIntosh needs to be the lead She has the perfect physical and psychological presence for the role, and is perfectly cast here. Seeing her, drenched in blood, whacking someone’s brains out with an iron chain, is sufficient reason for this to exist. Unfortunately, it’s about all this has to offer. The script is full of mis-steps, mostly a result of trying to cram too much into a running time which barely reaches 70 minutes before the credits roll. As a result, the relationship between Maggie and Brian feels unconvincing, and Mary’s induction into the gang is also deeply rushed. What, no time as a prospect? From my deep knowledge of their culture (obtained entirely from having watched every episode of Sons of Anarchy), I know it’s not typically harder to get into a sorority than a biker gang.

That said, the idea that three footballers would be able to hold their own against, and pose a threat to, the entire ranks of Dark Moon membership, doesn’t exactly sell them as the set of bad-ass bitches they’re supposed to be. The action scenes also leave a good amount to be desired, McIntosh’s chain-swinging aside, and the finale feels unnecessarily rushed, as if the makers ran out of money and had to end things without getting to film an acceptable wrap-up. Despite efforts to address their absence, the complete lack of interest by the authorities in the mayhem as it unfolds, stretches credulity as well.

Philosophically, it does seem to change its answer in the middle. Is violence acceptable or not? Initially, it seems gung-ho in favour of vengeance. While Mary eventually rejects this, it seems to be only when it threatens to engulf Brian, so appears to be for personal reasons, rather than any modification of her world-view. It feels as if the makers want the audience to reject the notion… while also using it to fuel an adrenaline rush of righteous justice. Perhaps, again, if the film had taken the time to depict Mary’s attitude adjustment, it could have brought viewers along with her. Instead, it all feels a bit hypocritical. I will, however, continue to watch McIntosh in anything and everything.

Dir: Melanie Aitkenhead
Star: Serinda Swan, Pollyanna McIntosh, Vanessa Dubasso, Diego Boneta

Wolfwalkers

  By

★★★
“Mononoke Hime, with potatoes…”

Ok, that’s a little harsh. But this very definitely does feel like an Irish take on Princess Mononoke, Hayao Miyazaki’s epic fantasy. This begins with the technical aspects, both animated films rejecting CGI in favour of a more traditional, hand-drawn style. In 1997, when Mononoke came out, that wasn’t so radical: the first fully CGI feature, Toy Story, had come out less than two years earlier. But in 2020, the dominance of CGI is such that Wolfwalkers seems a total throwback; after all, Disney went fully CGI after Winnie the Pooh in 2011. This is a very different style, and if you’re used to the hyper-realistic approach of Pixar, may take some getting used to.

The similarities don’t stop there. Both take place in medieval times, and have a settlement on the edge of the woods in a struggle with nature and its spiritual forces – in particular, as marshaled by a young girl. Another young person ventures into the woods, eventually befriending the girl, and the pair team up to prevent the destruction of the forests in the name of “civilization.” For rural Japan, read rural Ireland in the mid-17th century. For Lady Eboshi in charge of the modern forces, read England’s Lord Protector, Oliver Cromwell (McBurney). This adds a touch of colonialism to the general ecological message here, with Cromwell seeking to subdue the wolves, partly as a demonstration of power over the local population.

There are other differences, too. The heroine here is Robyn Goodfellowe (Kneafsey), the daughter of hunter Bill (Bean), who has come to Ireland to control the wolf population. Robyn wants to help her father, but he’s having none of it. That doesn’t stop her from sneaking into the woods where she meets Mebh Óg MacTíre (Whittaker). She and her mother are wolfwalkers, whose spirits leave their bodies and turn into wolves when they are asleep. They also control the local native canine population. A bite from Mebh turns Robyn into one as well, but Cromwell has captured Mebh’s mother in her wolf form, sending her into a sleep from which she can’t awaken. Robyn tries to convince her father of the existence of wolfwalkers, and broker a peaceful resolution. Neither he nor Cromwell are having any of it, setting up a final confrontation in the forest.

On its own terms, this might have merited a slightly higher score. The problem for me was, it simply reminded me of the strengths of Mononoke. That was considerably more subtle about its message, making Eboshi a much more sympathetic character than Cromwell, who is positively cartoonish in both looks and demeanour. [Spoiler: I’m also fairly sure he wasn’t pushed to his death off a precipice by an Irish lycanthrope]. The approach here is  simplistic in comparison, especially the deeper we get into the story. which probably makes it more appropriate for a younger audience than adults. I still enjoyed it, but doubt there’s much rewatchability to be found here.

Dir: Tomm Moore and Ross Stewart
Star (voice):  Honor Kneafsey, Eva Whittaker, Sean Bean, Simon McBurney

On The Edge

  By

★★★½
“Makes a good point”

Whenever the Olympics are on, we love watching the weird sports that never get covered the rest of the time. That means things like handball, archery and fencing, so I was particularly interested by this Russian film, based around the quest for gold in the women’s sabre event. While it does struggle to move past the usual cliches of sports films, it’s done with enough energy to work. The two protagonists are Aleksandra Pokrovskaya (Khodchenkova), a veteran coming to the end of a long, successful career, and Kira Egorova (Miloslavskaya), a brash teenager who arrives on the scene with a blast, and whose unconventional style causes fits among other fencers. Aleksandra has one final crack at the prize which has eluded her – an Olympic gold – but Kira poses an unprecedented threat to that ambition. 

Yeah, like I said: it’s pretty much Sportsball Movie #4. You know from the start that Aleks and Kira are going to bash heads, but eventually come to a mutual respect for each other’s talents and abilities. Nor is it any surprise when Kira suffers a potentially career-ending injury, and Aleks overcomes her concerns to nurse her back to health [in fairness, she was partly responsible for the incident]. And could the two fencers possibly end up facing each other in the final match at the Olympics? Wild horses could not drag that answer to that question from my lips. 

Oh, who am I kidding. Of course they do. But it is to the film’s credit that I genuinely did not know how that was going to turn out. For the makers do a very good job of giving us two well-developed characters. Rather than protagonist/antagonist in the Rocky mould, we get two protagonists, each with their own set of motivations and ambitions. Initially, Kira seems the less likable of the pair, but the more we learn about her background, such as the fraught relationship with her father, the more I came to understand her abrasive personality and don’t give a damn attitude. [Khodchenkova may be familiar, as she has appeared in some Western movies, including The Wolverine and Tinker, Tailor, Soldier, Spy]

It is an issue that fencing at the top level is astonishingly fast. It’s not like cinematic sword fighting, where battles go on for minutes. Here, if your first attack doesn’t hit the mark, you’re likely to find yourself on the receiving, pointy end of your opponent’s weapon. But Bordukov does a good job of capturing the speed, and making it work for the film’s benefit, rather than its detriment. While there may be precious little about the storyline that’s original, it still makes for an engaging couple of hours. If you weren’t a fencing fan before, this might change your mind. So, that’s fencing out of the way, and we already had our Olympic archery movie. and handball film. I just need to find a synchronized swimming movie – and, don’t be fooled, they are hardcore – then I’ll be happy.

Dir: Eduard Bordukov
Star: Svetlana Khodchenkova, Stasya Miloslavskaya, Sergei Puskepalis, Alexey Barabash

And Tomorrow the Entire World

  By

★★★
“Chewy, yet slightly crunchy.”

Plenty of films in our genre use violence, either as a tool of the plot, or simply for entertainment purposes. Fewer consider the philosophical and moral underpinnings of violent acts, in the way this does. Luisa (Emde) is the daughter of a rich, aristocratic family who is now a law student. She rebels against her upbringing by joining the P81 commune which is fighting against extreme right-wing groups in Germany. But there is a growing schism in the commune, between those who are opposed to injurious violence, and those who feel the ends justify the means. As Luisa drifts into a relationship with group leader Alfa (Saavefra), she finds herself drawn increasingly to the latter camp – albeit without an appreciation for the potential consequences.

It would be easy for this to descend into political polemic, yet it largely manages to avoid that. Luisa and her pals may be “fighting the good fight,” but they’re clearly not without significant flaws. For instance, Alfa regards the group as his own, personal all-you-can-eat buffet of young women, with Luisa just the next platter. It also does a good job of illustrating the slippery slope, from civil disobedience through property damage to full-on violence against people. At which point, I’d say you lose the moral high ground, and the film acknowledges it can become counter-productive. As someone says after a clash between left- and right-wing factions: “They are angry, really angry, and who’s going to pay? You, Alfa? No, it’ll be someone, somewhere, who had nothing to do with this.”

It’s still a shock when the full force of the German state and (the apparently infamous) Section 129 of their criminal code, is dropped on P81, making Luisa and Alfa fugitives. They hide out with Dietmar, a former activist in the 80’s, who spent time in jail for his acts then, and now lives quietly, working as a nurse. He offers a particularly cynical view regarding the futility of their actions, based on his own experiences: “We were absolutely convinced that we could build a new society. I was going to be a minister.” This is lost on Luisa, who steals a hunting rifle from her family’s home and prepares to launch an assault on an enemy gathering.

The film opens with her tossing away the gun, but at that point it’s not clear whether this was after, or instead of, its use. It’s on that decision that the film’s climax pivots: will she step back from the precipice, or embrace wholeheartedly what it means to take a life, even of someone you regard as lower than an animal? [Pointedly, Luisa is vegetarian…] This was Germany’s entry for the 2021 Best Foreign Film Oscar, though it did not make the final list of nominees. It definitely has that sense of earnestness the Academy likes, and is not so much biased ignores any other side exists – which may be the point, it being easier to hate someone who is kept distant and seen only as “the enemy.” But even an entrenched old hack like myself still found it more thought-provoking than I expected.

Dir: Julia von Heinz
Star:  Mala Emde, Noah Saavedra, Tonio Schneider, Luisa-Céline Gaffron

Babysitter Must Die

  By

★★★½
“The babysitter, murders”

Josie (Scott) is a babysitter, though her real interest is her work as a leader in the Girl Guide-like “Mustard Seed” summer camp. In this she mentors young girls, and accumulates some nifty skills of her own. This is relevant, due to her current situation.  She’s taking care of Sophie (Hazen), the youngest daughter of the Castillo family. The father is a rich music mogul, and they live in a remote mansion, deep in the Utah mountains. The family come back early, but before Josie can leave – she’s playing hide and seek with Sophie – there’s a home invasion by three people, under the leadership of The Woman (Yeaman). They’re no regular burglars, but members of a Satanic cult, intent on retrieving artifacts hidden in the house by its previous owners. These can then be used to sacrifice the inhabitants, and open a portal for… something not very nice to enter our world. 

It’s quickly made clear that the new arrivals have no problems with killing anyone who attempts to interfere with their mission. But they don’t initially know about Josie’s presence. You can probably work out how the rest of the movie goes from there – and you’ll be more or less right. Josie gets caught, escapes and taps into her inner warrioress, to ensure at least Sophie survives the night. She picks off the intruders, one by one, before eventually facing off against The Woman. 

While there’s not an enormous amount new or special in the execution, there are enough wrinkles to lift this above average for the “home invasion” sub-genre. Firstly the heroine is unusual enough to be interesting. She’s a quiet, understated type, who’d rather spend the night babysitting, than go to a party with her friends. Her background in the Mustard Seeds provides a justification for some of her abilities, though it’s an angle I’d like to have seen used more. Maybe, given the Christmas setting,  thrown in some Home Alone-style improvised defenses? The other main strength is the antagonist being a woman too, and Yeaman delivers the necessary level of intensity to pull off the role. The apocalyptic motivation is also a fresh one, and there’s enough background dropped in over the course of proceedings, to give this more depth than “because cultists”.

There are some holes in the plot. For example, at one point when Josie is fighting one of the cultists, things get a bit noisy – but the other two seem completely oblivious. There are also points where Josie’s actions seem illogical, or at least where her motivation is unclear. However, Glass keeps things moving forward with sufficient energy to overcome any issues. Credit is also due to cinematographer Neil Fernandez, who does a good job of capturing the isolation, from the opening shot as Josie drives up with her Mom to the mansion. An early game of hide-and-seek both foreshadows subsequent events, and gives us a good look at the home’s interior. For a small-scale, relatively low-budget production this was a pleasant surprise. At 76 minutes, it does what it needs to, and in a lean, efficient way.

Dir: Kohl Glass
Star: Riley Scott, Melinda Yeaman, Nic Fitzgerald, Scarlett Hazen