Tag: 2021

Night Raiders

  By

★★½
“Night of the Living Deads”

This rather gloomy slice of social science-fiction seems to take place in a post-apocalyptic version of Canada, albeit a fairly low-key apocalypse. It seems to have led to a rigidly class-based system, with a sharp division between “citizens” and the rest. That leaves the indigenous population on the outside, scrabbling hard to survive and avoid having their kids “re-educated” in military-style academies. [This pointedly echoes something similar which actually took place as recently as the sixties] To avoid being separated, Niska (Tailfeathers) and her daughter Waseese (Letexier-Hart) live off the grid in the countryside. However, after Waseese suffers an accident, they have to seek medical attention back in the city, bringing them to the attention of the authorities.

This ends in Waseese being taken away, and Niska forming a rather uneasy alliance with a local group of native Canadians, who are operating in resistance to the authorities. They have their own encampment, and one of their shamen (shawomen, I guess) had a dream which appears to be a prophecy about a saviour coming from the North. Which seems to fit Niska, much to her discomfort. She reluctantly agrees to help take a group of indigenous children to a supposed “safe haven”, if the group assists her in breaking Waseese out of the academy. Though will her daughter be willing to leave after the relentless brainwashing, telling Waseese her mother abandoned her? Then there’s the imminently looming removal – or worse – of the encampment.

It’s all very earnest, glum and comes up rather short as entertainment. I’m sure the film-makers would respond that entertainment isn’t the point, but if you’re using your movie as a parable, it helps get the message across if people are engaged. We’ve seen this kind of crypto-fascist villain state too often before (most obviously in The Hunger Games), and writer-director Goulet doesn’t bring much new to the table. As bad guys, they’re fairly milquetoast. Indeed, when someone says “Cree can’t take care of their own families”, I was kinda forced to think, “You might have a point,” given Waseese was tramping round the woods and living in an abandoned school bus when we first meet her. A call to CPS hardly seems unmerited.

The best thing about this is the look of the film, which does a very good job capturing the fall of civilization as we know it. While it’s never clear exactly what happened to cause this, what’s left is largely a blasted wasteland of badly-damaged buildings, whose inhabitants are clinging on by their fingertips. However, few of the characters living in this setting are given much in the way of depth, and the plot does things like throw in a virus epidemic which goes nowhere, because it’s 2021 and every self-respecting dystopia needs one. The finale teeters over into the fatuous, with Waseese suddenly being able to mind-control a flock of flying government drones. I’ll admit, I did not see that coming.

Dir: Danis Goulet
Star: Elle-Máijá Tailfeathers, Brooklyn Letexier-Hart, Alex Tarrant, Amanda Plummer

Fighter’s Life

  By

★★½
“Knocked down by the clichés”

If you fed an AI all the sports movies ever made, and then asked it to write a script, what you’d get is likely something close to this. Here’s a challenge: write down ten clichés you find in a film like this, then watch the movie (conveniently embedded below), and see how many show up. I’m willing to bet most of those on your list would be present here. The main saving grace is that the execution is done with a complete lack of self-awareness. It feels as if the writers genuinely had no clue they were treading a path which was more of a groove. Everyone involved in this is so earnest, it just about gets away with it.

Here’s the plot. Let’s count the clichés. Xia Yun (Xia) dreams of a career in MMA (#1). However, she’s stuck working in her family restaurant (#2), run by her father after her mother left them (#3). She gets a chance to enter a prestigious tournament (#4), the prize money for which could clear her father’s debts (#5). However, her trainer comes under pressure for Xia to throw a match (#6). Despite this, she reaches the semi-finals, where she suffers a setback (#7), losing to a Brazilian fighter. It’s subsequently revealed her opponent cheated (#8), giving our heroine the chance to win it all (#9), in front of her mother (#10). Oh, yeah, add a freebie: there might be a life-threatening illness involved at some point as well (#bonus).

The other issue is, there’s a lot of stuff outside the octagon to cram in, especially when the film is only seventy-two minutes long. There’s surprisingly little actual fighting in it: certainly more drama, and possibly even more training sequences, of one form or another. This is a bit of a shame, since Xia Jiao looks more convincing than the actresses in many a Hollywood film. Not least in her quick hands, which suggest she might be a fighter trained to act, rather than an actress trained to fight. Whether that’s true or not, I don’t know: if not, then a “well done” to Xia for making it look convincing. Or at least convincing enough to fool my (admittedly, untrained) eyes.

The brief running-time may work in the film’s favour, in that it can hardly be accused of outstaying its welcome. It’s technically solid, and though clearly smaller in scale, doesn’t look cheap. The components are in pace for a decent, quick-paced action film; it’s just that the makers don’t appear particularly interested in delivering one. They seem more interested in the dramatic elements: as noted above, those aspects are absolutely nothing you have not seen, many times before, and the execution does little to elevate them. A hat-tip to Denis for pointing me in the direction of this one: I’m always looking for suggestions, and it certainly wasn’t the worst I’ve seen – even this week. There’s just little here to merit a second viewing.

Dir: Huang Binhao
Star: Xia Jiao, Yu Shan Chuan, Bai Yao, Sarah Chen

High-Rise Invasion

  By

★★★
“Writer’s tower block.”

This animated series bears a certain resemblance to another Japanese show on Netflix, the live-action Alice in Borderland. Both are adaptations of Japanese manga series (Alice started three years earlier), which see a number of young people suddenly transported to a lethal and sparsely populated version of their city. There, they have to figure out how to survive, and what the heck is going on, in the face of enemies human and… well, not-so human. Both shows also manage to reach the end of their first series without achieving even the slightest degree of significant resolution, though the journey to reach that point is still reasonably entertaining, and certainly does not stint on the old ultra-violence.

The fact that High-Rise Invasion is reviewed here should give you a clue to another difference. The protagonist here is Yuri Honjō (Shiraish), a schoolgirl who finds herself on top of a network of skyscrapers connected by rope-bridges. There’s no way down – except to plummet to your death. That’s a fate encouraged by mask-wearing opponents, who appear to be mind-controlled, and whose goal is to drive those without masks to suicide. Or failing that, simply to kill them. Yuri teams up with another girl, Mayuko Nise (Aoki), who has the skills necessary to survive. They seeks for Yuri’s brother, Rika (Enoki), as well as the truth about what is going on, and a way back to the normal world.

It’s certainly a concept that grabbed my attention, and the approach here doesn’t stint on the splatter, with torrents of gore. There’s a nice variety of opponents, each of whom have retained something of their original personalities, and wield their own weapons, ranging from swords to baseballs (!). The first few episodes are excellent, with Yuri struggling to find her footing in this bizarre and murderous setting, and learn the rules by which it operates. The problem is, it increasingly feels as if these were made up as the show went along. For example, sometimes the control of a mask is iron-clad and inescapable. Sometimes, it’s basically no more than giving suggestions to a wearer who retains their free-will, and feels contrived as a result.

The larger arc is not bad. The show finishes with both sides having to team up in order to defeat the near god-level creature known as “Archangel,” who basically sees all humanity as evil and is intent on purging it from the world. By the end of the twelfth 25-minute episode, however, it doesn’t feel like you have moved enormously far or learned a great deal. Yuri is still looking for her brother. We don’t know who is running the whole endeavour, and nor is anyone much closer to finding a way out. There’s a certain unevenness of tone too, with odd moments of slapstick and panty shots, that feel at odds with the grimdark approach. I was adequately entertained, yet the apparent lack of a second season generates no great sense of loss.

Written: Masahiro Takata and Tōko Machida
Star (voice): Haruka Shiraishi, Shiki Aoki, Yūichirō Umehara, Junya Enoki

Baby Assassins

  By

★★★½
“We kill people so we don’t have to get these annoying jobs.”

I’ve read complaints that the trailer mis-sells this, over-hyping the action components. Fortunately, I went in largely blind, so had no such preconceptions. I can see how it could be fair comment: while bookended by solid action, the middle is much more an oddball Japanese comedy. [If you’d told me this was directed by Sion Sono, I’d believe you] I still found it largely engaging, while occasionally hilarious and – sometimes simultaneously – utterly baffling. It’s about two teenage assassins, Chisato (Takaishi) and Mahiro (Izawa), who have been told by their handler they need to start fending for themselves. That means moving into an apartment, and finding work which doesn’t involve killing people.

As the line of dialogue above suggests, these are tasks for which both young women are singularly unsuited. Mahiro, in particular, is a self-confessed sociopath, who can barely keep up a normal conversation for five minutes, without wanting to shoot somebody. And it’s an urge that usually wins. We see this at the beginning, when a convenience store interview turns violent, and she has to fight her way out, past the manager and his (surprisingly loyal) employees. In the end, Chisato helps her get a job at the maid cafe where she works. I’d heard of those, but… yeah. Not sure if the depiction here is exaggerated for comedic purposes: it’s startlingly bizarre. Things ultimately go awry there when a Yakuza boss visits, and does not follow establishment etiquette, shall we say.

I was reminded of Violet and Daisy, in that this is as much about the relationship between the two young hired killers, as their actual killing. However, here the duo’s background is entirely opaque. How did they become hitwomen? Who is hiring them? Where are their parents? These are all questions that the film is utterly disinterested in answering. To be honest, the concept is a little shaky. Surely murder pays well enough that a part-time job in a 7-11 is not necessary? However, if you can roll with it, there’s a lot of amusement in getting a glimpse of what assassins do when not assassining, especially if you’ve ever lived in a similar arrangement. 

Izawa, a stuntwoman who doubled for Rina Sawayama in John Wick 4, handles most of the action. In addition to the early convenience store brawl, there’s also a final fight against the much larger Mimoto. It works, because Mahiro makes no attempt to out-power her opponent or go toe-to-toe with him, instead opting to use her advantages in speed and agility to gain an edge. I would like to have seen more of this, and some of the humour here is perhaps trying too hard to be “quirky”, complete with air quotes. But these are a pair of characters with which it’s fun to spend time, and certainly provides more amusement than I needed. I’ll be checking out the sequel, Baby Assassins 2 Babies, in short order. 

Dir: Yugo Sakamoto
Star: Akari Takaishi, Saori Izawa, Masanori Mimoto, Mone Akitani

The Way

  By

★★½
“Well, I did not see THAT coming…”

I think it has been a long time since a film has so completely yanked the carpet out from under me. We might have to go back all the way to David Lynch’s Lost Highway, and that was 1997. So it has been a while. I’m not sure if it works here. It did in Highway; I’m just uncertain whether Khalili is as good a film-maker as Lynch. It’d likely require a second viewing to decide, and I wasn’t that impressed elsewhere to justify a repeat. I will remember it though, and that’s more than can be said for many of the films I review here. So it was not a complete waste of time. 

It’s the story of Jane Arcs (Jane), whom we first meet as she is on death row, preparing for her execution. Over a decade previously, she had killed another woman during an underground mixed martial-arts match, and was subsequently sentenced to death for it. Initially bitter and still filled with rage, in jail she met Qi Gong Master Xin (Wong), and learned from her how to manage her emotions, through both physical and mental training. Now, Jane is considerably more at peace with her imminent death than others around her. Most notably, guard Max Stone (Watson), who has come to care for Jane over the previous 13 years, and will go to any lengths to stop her being executed. 

This is, at least for the first hour, more of a redemptional drama than anything. There are a lot of flashbacks to Jane’s life on the outside, and we see what happened there. First, there’s the fight in question: while undeniably brutal, I am still not sure why it was deemed a capital crime. That’s especially so, given the extenuating circumstances which we then see, going a long way to explaining why Jane was overflowing with anger at life. Oddly – and this is another Lynchian touch – Watson also plays Ben Jorden, the father of Jane’s child on the outside. Otherwise, though, it’s a fairly straightforward story, albeit one that leans heavily into cliché. For instance, Xin often sounds more like a fortune cookie, saying things like, “The only respect you need is self-respect.”

And then… Wait, what just happened? You will take a few minutes to figure that out, and even when you do, you may well not be able to wrap your head around it adequately. I even Googled for an interview with the director, hoping to get some explanation. No dice – and in the end, it may be better that way. I suspect it might well fall short of satisfying. By the end, I was left with a furrowed brow, and it’s perhaps a little unfortunate. For if the story is otherwise too obvious and with gaps in its logic, I did appreciate the performances. Jane puts over an inner strength that is impressive. Shame it is so thoroughly overshadowed by the abrupt left-turn towards the end.

Dir: Dastan Khalili
Star: Eli Jane, Kelcey Watson, Joan Wong, Lorenzo Antonucci

No Way to Escape

  By

★★★
“Just deserts.”

This is a sprightly and energetic Chinese knock-off, borrowing heavily from Resident Evil and Aliens in particular. There’s a research lab deep underground, in the middle of the Gobi Desert, which has suddenly gone radio silent. The research they were doing there was… well, I’m not 100% certain quite what it involved. While a lot of the dialogue in this is in “English”, I’m using quotes advisedly. Especially on the scientific front, it seems to be more of an enthusiastic word-salad, like “by chance, precise data from the gamma variable appear,” throwing jargon about radiation and DNA splicing into the mix, in lieu of anything coherent. Anyway, it seems Ohm Technology are into some fairly shady shit, to nobody’s surprise.

A group is sent out to find out what happened, and more importantly, bring everything back on line. The only man who can do it, apparently, is Doctor Haven, a kinda autistic super-scientist, who’d like to get his hands on the data. To protect him, three Lara Croft-alikes are assigned: leader Bai Zhi (Yu), the flirty Bi Jiao (Wu); and veteran Gui Che (Xu). Also coming along are a bunch of cannon fodder, and leader of the mission, Principal Gabon (Ger), who is clearly evil because he’s played by a Westerner. They haven’t even reached the base before they encounter the local fauna: scorpions that can swim through human flesh like water. So if you stand on one, it’ll pop out the top of your head.

These are, at least, only normal sized. But when the expeditions enters into the base, the women are appalled to discover this isn’t the rescue mission intended, with any survivors being ruthlessly gunned-down by Gabon’s men. [Those foreign devils…] Turns out he intends to seize the technology and use it for nefarious purposes, but not everyone is in favor of this. The heroic trio rebel, Dr. Haven refuses to get the systems running again, and even some of his own men decide they can’t in good conscience take part in Gabon’s plan. All of which would be merely morally interesting, if it weren’t for the F-sized version of the scorpions roaming the facility due to leakage of gamma rays. Or something.

You’d be hard-pushed to identify anything new or particularly innovative here. But it keeps moving, without significant downtime, and there’s enough background to make it feel more than you’re just watching a video-game. For instance, Bai Zhi is there partly to look for her fiance, who worked at the base before he suddenly vanished. There’s also a lot more interaction between the characters and the monsters than we usually see in this kind of thing. Though the quality of the combination FX is uneven, and the editing of the action is sometimes choppily incoherent. No great matter. This is a film pitting soldiers against freakin’ giant scorpions, and firmly checks the boxes of what you would want and expect from such a production. 

Dir: Yun-Fei Lu
Star: Sai-Chu Yu, You-Xuan Wu, Dong-Mei Xu, Dieter Ger

This review originally appeared on Film Blitz.

Ebony Hustle

  By

★½
“Credit where credit is due…”

When the best part of a movie is the opening credits, we have a problem. That’s the case here, with an 007-influenced montage that feels as if it cost more than the entire rest of the film to put together. However, by that point, the movie was already on thin ice, because the volume of the music was roughly three times that of dialogue in the pre-credit scene. Lunging repeatedly for the button on the remote is always a red flag for any indie movie, and proved accurate here. The same goes for the gratuitous name-checking of much better black heroines, such as Christie Love and Cleopatra Jones. They just draw attention to the deficiencies here – not that they are hard to see.

The unusually named heroine (Lamb) is a former stripper turned insurance fraud investigator, and unwillingly accepts a case to look into the disappearance of 16-year-old girl, Ny’Kia (Elizabeth). She had become part of the retinue of former gangster turned pastor, Caleb Truth (Chandler, who looks like you ordered Snoop Dogg on wish.com). He is supposedly a reformed character, and speaks all his lines in rhyme. This is an affectation which grows steadily more annoying, every time he speaks. It seems it may even have irritated the makers, because that thread – which I’d have thought would have been the main plot – is ended, alongside Truth’s doggerel rapping, with relatively little trouble by Ebony, when there’s still half an hour to go.

The remaining time is largely filled by Ebony’s romantic entanglements. She’s a highly predatory cougar, which seems something of a double standard, considering the way she goes after Caleb Truth, for activities that aren’t really that different. There are also far too many unconvincing FaceTime conversations, though at least these are largely free of the audio issues which infect many of the face-to-face scenes. There is one which does work, between Ebony and former husband, police detective Wayne (Stevenson), both expressing regret over their shared past. Both actors are convincing, and it offers a rare moment of emotion which feels genuine here. It helps it’s understated and quiet, standing in sharp contrast to the shrill yelling and show-boating which permeates just about every other moment.

I can see where the makers were trying to go. It’s just that they managed to ignore all the elements which made black heroines of the seventies so memorable. Here’s a clue, it wasn’t flirty chat-chat with younger men over the telephone. Not to say the likes of Foxy Brown weren’t sexual creatures: it just never felt it was their main raison d’etre. Here, it feels like… well, Ebony may have left the strip-club, but the strip-club never left Ebony. Her crime-fighting trails in, a long way behind and seeming little more then an afterthought. Any time this feels like it might be achieving its ends, something happens – such as Ebony’s boss appearing, an early contender for worst actor of the year – and it all comes crashing back to earth.

Dir: Jamezz Hampton
Star: Michelle l Lamb, Andrew Chandler, Ryan Elizabeth, Joel Stevenson

The Secret Weapon

  By

★★★½
“Woo’s the boss.”

After enjoying The Kill List, I thought I’d dip my toe again into the new wave of Thai girls with guns films with this, and it’s another solid entry. As there, the main influence seems to be Hong Kong action cinema of the nineties; this in particular falls into the category of “heroic bloodshed.” But there’s a clear nod to Nikita as well. Joy Phaendin is a soldier whose father, Maj. Gen. Phaendin (Sawasdee), is a member of a special operations team, killed while on a mission. Filled with a desire for revenge, Joy signs up for the same unit, under the command of Maj. Gen. Nakhom (Midaim), and becomes a “Busaba” for the government. This is “A person without a name, without a face, without friends, without a history.”

Being one requires absolute obedience to three rules. #1: When accepting a mission, you have to complete it without any hesitation or question. #2: Do not leave any trace that will lead back to the organization. #3: If you need to give your life on a mission, you must do so. The training is particularly brutal. When it comes down to the final two candidates for the spot, they’re ordered to kill each other. Joy is saved here by the other girl, known only as #34 (Wongtipkanon), taking her own life, the two women having formed an attachment. Joy a.k.a. #29 is then tasked with taking out, one by one, the organization who were responsible for her father’s death. Or so her commanding officer says, anyway.

You will not be surprised to learn that this is hardly the truth, the whole truth or nothing but the truth. When she spots a tattoo matching her father’s on one intended victim, Joy realizes there’s more going on that she has been told, and pulls her shot. From here on, it’s a wild ride of betrayal, deceit and counter-deceit, as well as an awful lot of slow-motion – again, it’s clear the makers have seen a lot of John Woo films. A good rule of thumb is, don’t believe anything the film tells you. This is true straight from the off, with a fifteen minute sequence where Joy is playing the part of a property agent, that is not what it seems. 

Thereafter, much the same applies, and it does become a bit of a stretch. Having one character “come back from the dead” is pushing it; when it happens more than that, you’ll get a sad shake of my head. It’s a pity, since there is a good deal here to admire, such as its bleakly downbeat attitude which goes through to the rolling of the credits. Yoosuk is okay in the action scenes; she’s more than okay when being super-intense. For example, when marching towards the bad guys, spraying automatic gunfire, with the blood of someone dear, spattered across her face. Enthusiastic squibbing is the order of the day too, and I was definitely left interested in seeing further examples from this promising new source.

Dir: Nopachai Jayanama
Star: Pichana Yoosuk, Napassakorn Midaim, Wanchana Sawasdee, Ticha Wongtipkanon

Divide & Conquer

  By

★½
“If this is empowerment…”

There are times where I regret my choice of pastime. It means I end up watching things for this site that I would never give the time of day, given the choice. This is one such, having endured the almost physically painful experience which was Hellfire, starring the same three lead actresses, and to which this appears a loose sequel. In this case, Mercedes also took over directorial duties, and… it’s actually somewhat of an improvement. Still not good, by any objective standards, let’s be clear. Yet there’s a punky and unrepentant attitude that clearly doesn’t care what I, or anyone else, thinks. Put it this way, if you want a film which includes close-up shot of the director having a pee, here you go. Offense is its raison d’etre.

The story has (loosely) Greek goddesses Lilith (Divine), Athena (Peach) and Toxie (Mercedes) roaming the blasted hellscape of Tromaville, taking on the evil forces of misogyny and white supremacy, mostly through the superpowers of really bad acting and highly deliberate offense, it would appear. This probably teaches its peak with a recreation of the assassination of John F. Kennedy in a strip-club. It feels as if Mercedes simply threw every idea of questionable taste she could come up with into her script, and filmed the result, largely using her pals. If you want a puppet, voiced by Troma movies head honcho Lloyd Kaufman, sitting on the toilet and delivering a lecture on artistic freedom. Again: here you go.

There’s even stuff here I can’t describe, without getting down-ranked by Google for explicit content. Trust me. There is certainly an aesthetic here, and it’s one to which Mercedes is clearly 110% committed, and personally too. [Is it exploitation if you’re doing it yourself?] But it’s not a style which overlaps more than fractionally with my tastes. I’ve been a fan of Troma since back in the days of Toxic Avenger (its star Torgl has a supporting role as creepy motel owner N. Bates). That looks like a Christopher Nolan movie in comparison to Divide & Conquer. Philosophically, I tend to have a different view of empowerment. To me, it doesn’t mean women copying the worst of male behaviour, as seems too often the case here e.g. rape.

There are times when restraint is not necessarily a bad thing. If you drop F-bombs every second word, eventually people are going to tune you out, and this is pretty much the cinematic equivalent. About half way through, as the story meandered its way to, then past, a confrontation with a geriatric Adolf Hitler and his pet werewolf (there’s a phrase I didn’t expect to be writing today!), I simply lost interest. There’s only so much toilet humour, potty-mouthed dialogue and amateur acting I can take in one sitting. This provides an all-you-can-handle buffet of those things, with enough left over to feed your entire family the next day. I prefer something a little less in your face. Quite often here, literally.

Dir: Mercedes
Star: Irie Divine, Knotty Peach, Mercedes, Mark Torgl

Vengeance Served Cold

  By

★½
“More like undercooked. “

At the age of fifteen, Madison Michaels saw her prostitute mother beaten and killed by Renegade (Cross), a vicious local pimp. His homicide goes unpunished. Ten years later, Madison (Linton) is a counsellor, trying to help drug addicts and hookers get off the streets. She discovers that Renegade is still abusing women, and gets no help from the police, with Detective Straker (Williams) saying he can do nothing based on her hearsay. Against the advice of her friends and sister Lydia (Jeffries), Madison hatches a plan to take the pimp down, and clean the streets of thus piece of scum. Naturally, it doesn’t initially go quite as planned, with the trap set for Renegade backfiring, followed by betrayal from an unexpected direction. 

Even at seventy-five minutes long, this somehow manages to outstay its welcome in short order. On a shallow level, I eventually understood why Renegade may not have been prosecuted, yet the explanation falls far short of being fully convincing. It is still more than we get, in terms of a reason why Madison waited ten years before deciding to take any action. It’s not like she or Renegade went anywhere. Sure, she’s learning martial arts from her (not particularly awe-inspiring) sensei. Yet the level which she has reached doesn’t seem, for example, to reach any kind of critical threshold, such as the one necessary to take down a sadistic street thug with no moral qualms. In two minutes, I came up with a better plot: Madison went away, joined the army, and is now back, armed with the skills she needs to take on Renegade.

The poverty of the production too often gets in the way. Witness, for example, the penultimate scene, which was clearly filmed on a windy street, resulting in the dialogue being inaudible over the breeze rattling across the mics. Walmart sells a variety of wind covers for microphones at a cost of less than ten dollars. That this was, apparently, beyond the movie’s resources, tells you all you need to know. Similarly, the supposedly “brutal” death of the heroine’s mother consists of not much more than the actress lying on the floor with her eyes open. As a result, this rarely manages to approach a convincing depiction of life on the streets.

Some slight credit is due to Davis for exercising restraint on the soundtrack. It actually feels like it belongs to a proper film, rather than the director’s Spotify on random, as is usually the case in these films. This is not enough to overcome a script that simply does not have enough going on, even at the short duration present. There’s no particular sense of escalation, and what should have been the climactic face-off between Madison and – let’s remember, since the movie seems all but to forget this – the man who killed her mother in front of her, falls flatter than a day-old crepe. To continue the culinary metaphor of the title, I’m sending this one back to the kitchen.

Dir: Shaan Davis
Star: Kameka Linton, Aviator Cross, Chyrod Williams, Brandy Jeffries