Tag: 2024

Paradox Effect

  By

★★½
“Not much effect on me.”

I’m always down for an Olga Kurylenko film. She’s been in some good entries on the site previously, including Sentinelle and High Heat. Her track record gets her the benefit of the doubt, for an entry like this, which might be a bit marginal if it starred another actress. Though American, it takes place in Bari, Italy where recovering junkie Karina (Kurylenko) is putting her life back together, and looking forward to the arrival of her young daughter, Lucy (Astons).  However, on the way home from a late-night shift at the bakery where she works, she stumbles into a murder commited by mob courier Covek (Trevena), which becomes a car-chase, ending in a fiery crash.

The problem is, this  burned up the drugs Covek was supposed to be delivering to Silvio (Keitel). He “recruits” – quotes used advisedly – Karina to acquire a replacement stash, a process which drags them both through the Italian underworld over the course of the night. Matters are not helped by a couple of factors. Silvio has Covek’s son as a hostage, so noncompliance is not an option. Oh, and did I mention that Covek is actually an Interpol agent, who will go to any lengths to make sure Silvio faces justice? On the other side, Karina will go to any lengths to make sure her own daughter is not harmed. But the trail of destruction being left in the wake of her and Covek’s hunt for heroin is not exactly subtle. 

I wanted to like this more than I ended up doing. It feels as if Karina needs to be more central than she is. She ends up spending too much time either doing Covek’s bidding, or following him around, and that’s not what I wanted to see. Kurylenko > Trevena, except the film doesn’t seem to realize it.  Keitel, another actor I like, is also underused. To the point where, up until the very end, I half-wondered if he filmed all his scenes somewhere else, and was then spliced into the movie during the editing stage. That turns out not to be the case. But the mere fact it seems possible is another illustration of the wobbly execution. 

Even basic stuff like the film’s title, which is both strikingly generic and never explained, is maddening. Opening with a quote from Nietzche sets intellectual aspirations the rest of the movie isn’t able to sustain. I will say, it is technically decent: I appreciated little things, like them deciding to blow up a genuine car, rather than faking it with CGI. When given the chance, Kurylenko does well in the action, though quite why Karina has these skills is never explained. It would have been improved by being the film depicted in the poster (I must have missed Kurylenko’s pleather suit), simply having Karina trying to get the replacement drugs herself. In that scenario, Covek becomes surplus to the film’s requirements. A win-win, I’d say. 

Dir: Scott Weintrob
Star: Olga Kurylenko, Oliver Trevena, Harvey Keitel, Alice Astons

Undercover

  By

★★★½
“The long game.”

It’s surprising to me that there are currently no English-language external reviews listed for this on the IMDb. It’s certainly worthy of notice outside its native Spain, where it was nominated for thirteen Goyas, the local equivalent of the Oscars, winning Best Film and Best Actress. It takes place over a number of years around the turn of the millennium, when the Spanish state was in a notorious and bloody war against ETA, a terrorist group fighting for the independence of the Basque region. Mónica (Yuste) is a cop who is recruited by Angel (Tosar) to go deep undercover, and infiltrate ETA in order to provide information on the group, its members and their plans.

This takes a very long time, the group understandably being suspicious of outsiders and extremely cautious about in whom they put their faith. We dip into the life of “Arantxa”, the new identity of Mónica, as she becomes active in the separatist movement, laying the groundwork to be seen as reliable and, more importantly, trustworthy. It takes six years before she is finally allowed entrance and given a mission of note: providing shelter for Kepa (Gastesi), an ETA member on the run. Having gained his confidence, she is then brought in to a bigger plan, bringing leader Sergio (Anido) back into Spain, and restablishing an ETA cell in San Sebastian, to attack judges, police and other targets. 

There isn’t anything particularly new here. You can probably tick off the story elements as they show up, if you’ve seen any other “undercover cop” thrillers along the same lines. It’s basically a series of narrow escapes in which Arantxa’s true identity is almost discovered. Sergio finds the phone she uses to talk to Angel, for example, or she is almost unable to return a folder after she passed it to the cops for copying. She starts to have feelings for Kepa too, while Angel faces resistance to the operation from the highers-up. Oh, and #Sexism, because it’s Spain. All fairly boilerplate stuff. However, the secret sauce is in the execution, which Echevarría does with no shortage of skill, particularly when it comes to dialling up the tension.

It is based on a true story, though to what extent it’s accurate, I can’t say. Here, not knowing the eventual outcome going in, except at the highest level (I was aware that ETA ended up disbanding) is likely a help. Because you won’t know whether or not Mónica completes her mission successfully – and, a different question, makes it out alive. I did appreciate there’s not much effort at moral grey here. Sometimes a terrorist is just a bad guy, and if you have any doubts about Sergio, his treatment of Monica’s cat will dissolve those [If they do not, we really can’t be friends!] Again, it’s not the subtlest of plotting. Yet between it and Echevarria’s skilled hand, it all undeniably gets the job done.

Dir: Arantxa Echevarría
Star: Carolina Yuste, Luis Tosar, Iñigo Gastesi, Diego Anido
a.k.a. La Infiltrada

Thicha

  By

★★★½
“…dig two graves, Thai style”

As a child, Oo-yi came to Thailand with her mother as a migrant worker. They had the misfortune to work for the cruel Madam Bussara (Kingpayome), who had a particularly nasty habit of pimping out young girls to her lawyer, Methi. When she tried to do the same to Oo-yi, Mom stood up for her – and was beaten to death for her pains. Oo-yi was able to escape, and raised by Ni Wai (Sirikul). Now, an adult (Luevisadpaibul), she is set on vengeance, and intent on destroying Madam Bussara’s life. To do so, she becomes Thicha, “accidentally” bumps into Bussara’s son, Phatchai (Chirathivat), and begins cultivating a relationship with him. But that’s the story of revenge: it’s messy. Since her feelings for him start becoming genuine.

On the one hand, it might seem rather soapy, and I won’t deny the melodramatic nature of things. But it is held together by a pair of great performances from Luevisadpaibul and Kingpayome. The latter, in particular, is close to an all-time villain. I’m not sure what happened to her husband, but it probably wasn’t good. Witness this monologue: “No one understands just how thrilling it is to watch a living being fight for its life. When it’s someone who always thought they were invincible, it’s even more entertaining. And if that desperate fight for survival is caused by my own hands? It’s almost as good as an orgasm.” Yeah: not somebody you want to mess with.

When her son shows up with Thicha, she knows instinctively that something is not right with his new girlfriend. From there, through the eight x 45-minute episodes, unfolds a slew of twists, revelations, nastiness and questions. Thicha is pregnant! Or is she? Phatchai discovers her deceptions! What will he do? Thicha’s informant inside Bussara’s house is exposed! How will she survive? It all builds to a rather brutal battle between Thicha and Madam, on the very spot where her mother was buried, years before. I was about to apply a demerit for Thicha having to be rescued by Phatchai there, until… Well, it doesn’t end exactly like that, this being a case where the pursuit of vengeance is not a rewarding and cathartic experience.

It is a little distancing. While Madam is a right c… not very nice person, it’s perhaps Methi who is in direst need of drastic punitive action. I feel it would have been more satisfying if he had been the bad guy from the start, rather than a peripheral villain. However, there’s a good sense of escalation, with each episode ending at a point which lures you forward into the next installment. It’s the scenes where Thicha and Bussara face off – be that verbally or (eventually) physically – where the series comes to life, and I found myself holding my breath more than once. If it does take a while to reach the final payoff, I’d be hard pushed to call it unsatisfactory.

Dir: Ekkasit Trakulkasemsuk
Star: Pimchanok Luevisadpaibul, Metinee Kingpayome, Pachara Chirathivat, Penpak Sirikul

The Phantom Warrior

  By

★½
“That’s the thing about revenge. It’s messy.”

And, unfortunately, in this case, it’s not messy in a good or even interesting way. It’s messy in a “What the heck is going on?” way, with a large side-order of, “Can somebody please explain this to me?”, and a garnish of “Anyone? Hello?”. To say this film poses more questions than answers would be incorrect. Because that would wrongly imply it offers any answers at all. I’m just glad the version I saw ran a mere 84 minutes, because the IMDb cites a running time more than half an hour longer. Maybe the thirty-five minutes removed for this cut were all of the explanation. Though I suggest it’d be improved by removing about the same again.

From what I could figure out, it’s about a vigilante with the faintly ludicrous name of Nemesis Knight, played by Bartlett who is sporting an even more flaky rural American accent. She seems to make a pact with the devil (Berkoff), which gives her certain abilities. However, this also puts her on the radar of a support group of like-minded individuals, who want her to join them, and the local sheriff (Cain), following the trail of dead bodies left in Nemesis’s wake. There’s also a guy called Dollos (Rowen), with a harem of both sexes, and a vested interest in proceedings, because… Well, like so much else here, it’s unclear, which makes it difficult to give a damn.

This is a first, but I mist give credit to casting director Helen Stafford, for pulling in a top tier cast of B-movie names. In addition to Cain and Berkoff, there is also Marina Sirtia, Vas Blackwood and a bloke off the British version of Gladiators. Most of whom are featured higher up the IMDb page than their role in the film would demand, though that’s par for the course in the low-budget realm. It’s basically the script, also by director Michael, which is easily the biggest problem here. I knew we were probably in trouble, when we don’t get any dialogue at the start, just a leaden lump of voice-over from Ms. Knight. This is always a red flag, and in this case, proved an accurate warning of story problems to come. 

Basically, it’s almost impossible to care. It’s clear that the heroine is taking out bad people, but these are drawn in such a facile way, the resulting revenge has no impact at all. It builds to an invasion by the vigilante group of what seems to be a gangster dinner party, where everybody is doing their best Goodfellas impressions. These are about as good as my Goodfellas impression. You’re left to ponder why the whole production is set in a poorly-rendered simulation of the United States, adding unnecessary complexity e.g. finding cars with left-hand drive, to a production which doesn’t have the resources for it. A couple of bits of half-decent imagery – Bartlett looks okay, providing she keeps her mouth shut – are far from sufficient.

Dir: Savvas D. Michael
Star: Nicole Bartlett, Elijah Rowen, Dean Cain, Stephen Berkoff

Steal Her Breath

  By

★★½
“Don’t hold your breath.”

I wonder if this film was made as some kind of bet. How many tropes and clichés can you fit into a single movie? It would make for a fun drinking game, though not one I would recommend, unless you have first checked the fine print on your health insurance. It focuses on two characters, though both of them are more like walking collections of issues. There’s a thief, Laura Nehls (Binger), who is seeking to liberate the NOX list, which is about to be sold on the black market. It contains “The true identities of hundreds of investigators, informants, and undercover agents.” Needless to say, the authorities are keen on this not falling into the wrong hands. 

Seeking to stop it is police detective Maxine Kämmerer (Lopes), a single mom whom we first see trying (and failing) to get some quality alone time in her shower, if you know what I mean. On her side is somewhat useless colleague Joachim (Hauber), of whom Maxine says, “Nobody likes you and nobody takes you seriously, because you’re a coward, corrupt, a grumbler, and a disgusting asshole.” These are the good guys, folks. The film isn’t really selling them. Mind you, just about every other man in this film is a bully or worse, up to the psychotic Laschla (Möller), one of the buyers of the file, whose hobbies include stringing women up and gutting them. 

An exception might be Laura’s uncle Dirk, though he seems to have some kind of terminal disease. Cancer. It’s probably cancer. So he’ll be abandoning her soon too. You won’t be surprised to discover that Laura and Maxine meet up, have instant sexual chemistry and decide to work with each other (more or less) to recover the NOX files. This happens after an surprisingly lengthy and surprisingly graphic spot of lesbian canoodling, finding in each other’s arms what they are unable to get from the male sex. There might have been a point where I would have appreciated this unexpected treat. But in this case, I was largely making “hurry up” gestures toward the screen. Though you won’t be surprised to discover that the sides disagree in terms of their commitment to the new relationship. 

From reading local reviews, the most memorable thing here seems to be the use of local Swabian and Saxon dialect. Needless to say, that’s an element which entirely escaped me, and there wasn’t much to keep me interested otherwise. Things unfold almost as you’d expect and, while both Maxine and Laura are characters with potential, the fact that chief antagonist Laschla looks to have strayed in from a bit of Euroschlock, Possibly involving gay vampires. It all unfolds in a plodding and predictable fashion, though it’s nicely photographed, and the leads stop it from collapsing entirely under its own weight. If you have a burning desire to see a German version of Bound, I guess this will satisfy the urge. 

Dir: Andreas Kröneck
Star: Luisa Binger, Christina Lopes, Harald Hauber, Oliver Möller

Blood Star

  By

★★
“Neither protecting nor serving.”

I get the idea of what this is trying to do: really, be a female-centric version of The Hitcher. Though to some extent, that franchise went there itself, in The Hitcher II: I’ve Been Waiting. Here, we have Bobbi Torres (Camacho) driving across New Mexico in her sweet muscle car, and when she stops for fuel, has an awkward encounter with Sheriff Bilstein (Schwab). Things get worse when she gets back on the road, and is quickly pulled over by the officer for speeding, which gets her a thousand dollar ticket she is unable to pay. Thanks to a prologue, we know Bilstein has a psychopathic fondness for tormenting and killing young women. This ain’t gonna end well.

It is one of those films where you can tell whether someone is good or evil by their genital configuration. Every man Bobbi meets is evil; every woman we see is part of an unspoken sisterhood. I sense the aim was some kind of riot grrrl agenda, but it manifests itself in some spectacularly clunky ways. There’s one conversation which is especially cringey, Bobbi trading abuse stories with a diner waitress, Amy (Brumfield). It ends in a manner that is clearly intended to be shocking, but I was more relieved the pair had simply stopped spitting out clichés. And I am fairly sure that getting jabbed with a syringe does not typically result in instinct heroin addiction, as alleged here. 

Nor does it help that Bobbi isn’t very likeable, the script mistaking smart-ass and mouthy as endearing. Schwab does better as the authority figure, exuding menace with every sentence. Though despite sharing a fondness for toying with his victim, the Sheriff is inevitably nowhere near as memorable as Rutger Hauer’s mythical road warrior. The agenda here is less interesting as well: I’ve seen a few reviews which compare this to the Wolf Creek movie, and I’d not argue – in part because I didn’t like that Australian road-slasher very much either [the TV series, however, is worth a look] The scales here are tipped considerably in favour of torture porn (albeit more mental than physical), with the inevitable explosion of Bobbi limited to the final fifteen minutes. 

There are some positives to be found, such as the impressively sparse desert landscapes (looks like California played the part of New Mexico), and Bobbi’s car, a 1977 Ford Mustang, which arguably has more personality than its driver. There’s a plot point established about it having a balky starter motor, but I don’t recall this being as crucial as I expected. I did like the sense anyone could die at any time, with a couple of deaths out of nowhere. It needs a heroine who is considerably more aggressive, except verbally, in the first half. Bobbi ends up being too passive for too long in the face of the Sheriff’s obvious threat, which belies the strong, confident woman the script wants her to be.

Dir: Lawrence Jacomelli
Star: Britni Camacho, John Schwab, Sydney Brumfield, Travis Lincoln Cox

Pacific Fear

  By

★★½
“Surfing birds.”

At the beginning of this, I wondered if I was watching a Godzilla film. Because it opens with atomic bomb footage, depicting French test in the Pacific. We know what this leads to: gigantic lizards with fiery bre… Oh, hang on: it’s actually a group of women, looking for a place reputed to have particularly gnarly (if my knowledge of beach-speak doesn’t fail me, and it probably does) waves. There are three surfers, plus photographer Sarah (Galloy), who has been out of the game since an accident which wrecked her confidence. The island they find isn’t on any map, so it must be good, and not a death-trap waiting to happen to them. Right?

The problems occur when they stumble across a maraé, a sacred site to the locals (giving the film is alternate title). One of the women has native ancestry, so conveniently knows about this, and why disturbing it would be a Very Bad Idea Indeed. Guess who doesn’t listen? That’d be another of the women. Their next surfing session is interrupted by a hungry shark, and when the survivors struggle ashore, they are immediately met by a group of hostile tribespeople. Oh, and a former soldier, the General (Recoing), who seems to have stayed behind after the tests out of guilt. He has gone a bit Colonel Kurtz, to drop an Apocalypse Now reference, and the captured women are now in deep trouble. As in potential human sacrifices.

The main positive here is excellent photography, both above and below the water. The scenery is lovely, and it’s captured beautifully. If you’re not thinking about booking a holiday to Tahiti by the mid-way point, you have not been paying attention. However, everything else is kinda lacklustre, not helped by dubbing where the main direction given to the English voice actors seems to have been, “Make it flatter! Less interesting!” As villains, the combination of locals and Frenchmen are awkward too. It feels like the makers didn’t want to go the “savage foreigners” route, as in Eli Roth’s Green Inferno. Yet they ended up instead making them subservient to the General, which could be seen as even more condescending.

As for the women, Sarah is the only one given much depth, courtesy of her history. While the accident may not prove significant in terms of the plot, it does make her seem a genuine person, and it’s more than the other three get. Once things get going (and it takes a while)t, it becomes a reasonable entry in the wilderness survival sub-genre, though the scene of her jumping into a waterfall to escape her pursuers is either bad CGI, or shot so badly it looks like CGI. I’d have liked to have seen her go full Rambo, using her environment against her enemies, but realistically, that would be a stretch for a surfer turned photographer. There are a couple of moments of moderate gory violence, but not a lot of emotional impact. You’ll likely leave with little more than a shrug. 

Dir: Jacques Kluger
Star: Adèle Galloy, Marie Zabukovec, Marilyn Lima, Aurélien Recoing
a.k.a. Maraé

Run Baby Run

  By

★★★
“Don’t run before you can walk.”

For a good while, this struggled to retain my interest, and when it did, the problems outweighed the positive aspects. Fortunately, after a solid hour of faffing around in ways that provoked mostly rolling of my eyes, the film found its stride. That’s funny, because it’s a running reference. Ok, not very funny. Down the stretch it both figuratively and literally pushes the pedal to the metal, in quite an impressive manner. My reaction was divided. Part of me wondered, where the heck this was earlier on? However, rather than petering out like a sad trombone, there’s no question it’s better for a film to finish strongly, and give the viewers something positive to take away with them. 

The story is relatively simple. Diana (Leira) is out running on a forest trail, when she finds herself being stalked by a mysterious figure in a hooded sweatshirt (Cowell). That, basically, is that. And it is probably both the film’s greatest strength and its biggest weakness. There’s some stuff around the edges, such as Diana being deaf. This is never particularly relevant – yet I liked that it wasn’t, because it never became her defining characteristic. The nature of the story also means there’s relatively little dialogue. It’s probably a good thing, since this Spanish film is in English (and, oddly, French), with some line-readings fairly clunky as a result. It also means the music has to do a lot, and sometimes, it’s guilty of trying too hard. 

The main problem though, is the story, which is embarrassingly obvious to anyone familiar with the wilderness survival genre. For example, when Diana stumbles across some abseiling equipment and decides (apparently randomly!) to rappel down a cliff face. you just know that her stalker is going to appear at the top, when she’s midway through the descent. Similarly, accepting a lift from a truck driven by a large, hairy man… Yeah, surely there’s no possible way that could end badly. Cue the eye-rolling. Yet, it’s from then on the film begins to succeed, embracing the increasing insanity. For example, Diana also has to fend off a mad, old French woman, with incredible strength, who keeps a teddy-bear in a cage. 

This perilous situation is eventually followed by a lengthy car chase through the countryside – I guess it’s the engines that are doing the running there. That’s funny, becau… Oh, never mind. It’s actually very well-staged, with a genuine sense of speed and danger. that I found effective. Things are tied up with acceptable neatness, although I wouldn’t have quite done what Diana does at the very end [he said, vaguely, to avoid spoilers]. The final twenty-five minutes or so demonstrate a laudable level of energy – ironically, it’s the section of the film where the heroine does the least amount of running. Given it’s also the most entertaining, I’m not inclined to carp about the accuracy of the title.

Dir: Toni Andújar
Star: Catuxa Leira, Cody Cowell, Muriel Halloint, Oscar Foronda

Extraction, USA

  By

★★
“Wears its bleeding-heart on its sleeve.”

Marni (Johnson) is stuck in the titular town, where oil fracking is causing problems from earthquakes to poisoning the local water supply. She’s barely scraping by as a single mom to teenage son Jason (Strange), working as a bartender for sleazy owner Daryl (McMahan), who has a bad case of wandering hands, and hustling customers at pool. Her life is upended when Steph (Carpenter) comes into the bar, kicks Marni’s ass on the pool table, and the two end up making out in the back alley. When Steph becomes aware of Darryl’s safe full of cash, she suggests they liberate it, to finance a new life for them and Jason, far away from Extraction.

Naturally, things do not go quite as planned. The first attempt ends in failure, though  do discover the source of Darryl’s unreported income. [There’s a huge plot-hole here, in that they’re seen in Darryl’s office, and end up having to knock the witness out. They would surely have been identified, yet the matter is never mentioned] Realizing her actions could put Jason at risk, Marni regrets her decision and breaks up temporarily with Steph. They reconnect and decide to make a second attempt, this one a higher-risk plan involving kidnapping Darryl and forcing him to open the safe at gunpoint. [Though weirdly, they buy Airsoft guns mail-order for this. Was Walmart closed?] However, getting the cash might not be the end of the matter.

The main issue is, it feels like the makers are more interested in checking off boxes as a good diversity and liberal ally. Fossil fuels, male chauvinism and big business are bad. LGBTQ, people of colour and feminist activism are good. The plot? Secondary, with the robbery not even being suggested until virtually the half-way point in the film. The problem is, it doesn’t quite have the impact intended on me. For example, Marni complaining about her student loans, resulting from her taking a useless degree, is not the sympathetic flex Yonts believes. Choices have consequences, sweetheart. Did she take on this voluntary debt before or after having Jason? Neither inspire pity here.

I found all these elements and questions a distraction from what should be the meat and potatoes of the plot – or given the film’s sensibilities, the tofu and garden salad of the plot. There’s a whole thread where the drugs are being sold to the oil company to make their employees work harder and… I can’t even. Crop the whole thing down to a tightly-focused heist, and we’d all be much better off. The performances are fine, certainly good enough for that,  though I’m trying to work out the ages here too, since Marni seems way too young to have a son of that age. I initially thought she and Jason were brother and sister.  The problems here are very much on the scripting side, with an ending which is as unsatisfying as the rest of it.

Dir: Mike Yonts
Star: Leanne Johnson, Marlee Carpenter, Chase Strange, Derek McMahan

Robbin

  By

★½
“Robbed of two hours of my life.”

I’ve seen worse films, to be quite clear. Technically, this is perfectly acceptable, with an apparently reasonable budget, put to decent use. But I don’t think I’ve seen one which has been more annoying. It manages to hit that sweep spot of being both incredibly stupid, while also congratulating itself for being very smart in its attempts at social commentary. But the annoyance extends beyond that, to purely instinctive reactions like really bad hairstyles sported by some players. I can’t explain these responses, and am not interested in analyzing or defending them. But they certainly played their part in my steadily increasing irritation at the plot, characters and execution, over an excessively long running-time of one hundred and sixteen minutes.

The heroine is Robbin (Serayah) – and, yes, there are two b’s there. She is a former bank employee, who was falsely accused of stealing two million dollars. With the evidence stacked against her, she took a plea agreement rather than risk a long jail sentence. When she gets out, she decides the best way to respond is… by actually stealing from the bank. Yeah. Let that morality and wisdom sink in. She assembles her old crew from the South Central ‘hood where she grew up, and they begin planning their heist. But one theft is deemed insufficient payback, and another, even bigger robbery is planned. This is despite the increasing attentions of the police, including a detective (Lee), who has known Robbin and her friends since they were kids.

Far and away the worst thing here is the script, also by Stokes. It demonstrates a repeated, startling level of ignorance about how banks work, how computers work [authority check: I spent over a decade in IT with HSBC], and how the police work. For example, in the world of this movie, a detective under announced and active investigation by Internal Affairs for corruption, is not only allowed to keep working on the case concerned, she then gets to lead a raid on the suspects’ base of operations. #NotHowCopsOperate Hell, you could possibly also throw how criminals work onto this heaping pile of no-knowledge, since at one point a robber clearly asks a bank cashier for “No unmarked bills.” Um… shouldn’t that be “No marked bills”? 

Then there’s the whole clunky parallels to Robin Hood, beginning with the heroine’s first name. All her team – fresh off robbing a convenience store, I note – suddenly acquire altruistic reasons for their move into big-ticket crime. Add on a nasty racial strand, where just about everyone black is good, and everyone white is malicious and evil, to an almost tiresome degree, and you will perhaps begin to see from where my irritation stems. “Tubi Originals” are well-known for setting a low bar, to put it kindly. This falls short of reaching that bar.  If it weren’t for the fact that Tubi is a free service, I would seriously be contemplating cancelling my subscription.

Dir: Chris Stokes
Star: Serayah, Erica Pinkett, Jadah Blue, Robinne Lee