Tag: h

The Hit Producer

  By

★½
“This hit is a miss.”

Made on a shoestring in Ireland, the nicest thing you can say is probably, this doesn’t look as cheap as it was. If only you could say the same for the script, which seems to be trying to be Guy Ritchie, only to end up nearer to Guy Fieri. It’s not a terrible idea, if rather stretching belief. Katelin Ballantine (Doherty) is a film producer, trying to raise funds for her latest movie. To that end, she is hanging out, unwillingly, with sleazeball businessman, Felim Shaw. What she doesn’t know, is he is deep in debt to local mob-boss Edmund Murren (Fleming). He kidnaps them both, forces Katelin to kill her potential investor, then threatens her family to make her continue in her new career as his assassin, alongside former friend and now Murren associate, Henry Furey (Kealy).

Two years later, she’s splitting time between that and her ongoing film production work. But her underworld identity becomes known to Murren’s rivals, and she is cut loose as a liability. With Henry her only ally, and the police now also closing in, Katelin has to try and survive, keep her family safe and stay out of the authorities’ hands. Only, none of this manages to mesh into a coherent, or even interesting, whole. For example, the film producer angle seems to exist purely for the purpose of the title, and doesn’t add anything of note to the main story. Given this set-up, it might have made sense had it been filmed in Los Angeles, or better yet, Hong Kong, where the overlap between the movie industry and organized crime is well-known. Dublin? Not so much.

As mentioned, I didn’t hate the idea. We used to know someone who… let’s just say, had a not dissimilar, sharp divergence between their day job and main source of income. But the execution here is just terrible, with the makers unable to decide what kind of tone they are aiming for, and even less ability to deliver it. It crams too many characters in, leaving none of them able to make an impact; I simply did not care what happened to anybody. Even Katelin is a botched heroine, in part because the movie skips entirely over the two years where she goes from sniveling wreck, whimpering by the side of the grave she has just dug, to a hard-nosed killer.

I suspect it either needed to give us that transition, or begin with the latter and perhaps fill in the back-story down the pipe. Instead, the film basically ignores what is arguably the most interesting element, in favour of murky betrayal and shenanigans among the Irish underworld. There’s little or nothing here we haven’t seen before, and almost always done better to boot. The action is nothing to write home about either, leaving my attention and interest to peak, more or less at an admittedly stylish opening credit sequence.

Dir: Kevin de la Isla O’Neill
Star: Michelle Doherty, Neill Fleming, Fergus Kealy, Susan Barrett

The Huntress of Auschwitz

  By

★★
“About three decades too late.”

I came into this somewhat braced, given its 3.0 IMDb rating, and reviews which tended to be scathing e.g. proclaiming “This May Be The WORST Movie I’ve Ever Seen!” While it’s clearly not great, this is not eye-wateringly terrible. The good news is, it’s probably one performance away from approaching decent. The bad news is, it’s the lead role which is the biggest problem. This belongs to the unnamed Huntress (Watts-Joyce), a supposed American who travels to England, to go after a Nazi war criminal,  Rudolf Tannhäuser (Richards), and deliver the justice he has escaped since World War II. Tannhauser is now living quietly under an assumed identity n a farm in the English countryside.

There’s your first problem. This is clearly contemporary i.e. up-to-date iPhones, meaning Tannhauser would now need to be well into his nineties, even if he had been a 16-year-old when the war ended. He’s painted as considerably more senior, and there’s no conceivable way that Richards is pushing a century. Another issue: there really is precious little hunting, and nothing like the cover. She simply shows up on his doorstep, faking a turned ankle, and drugs him. Then we get a great deal of chit-chat as she tries to convince him to come clean about his past, and he repeatedly says she has the wrong guy. If Watts-Joyce did not have the emotional range of a fence-post, these conversations might have generated some tension.

They stand in sharp contrast to the delivery by veteran actress Lenska, playing concentration-camp survivor Amelia Kaminska. [Lenska was born in 1947, so is at least plausible as a child of Auschwitz] Her simple retelling of the horrors which she witnessed and went through are, far and away, the best part of the movie, and proof of how it’s not necessary to show things, when the delivery of the description is good enough. The film would have been far better a) set in the nineties, and b) with Amelia being the person to go after Tannhauser. The fact he killed one of the Huntress’s great-grandparents feels too distant and impersonal – again, compounded by the lead actress’s inability to sell the necessary emotions.

The pacing has some problems too: particularly in the beginning, there are too many scenes which end up being totally irrelevant. Her meeting with some kind of handler, or the travel montage, culminating in the Huntress standing around for what feels like forever, chatting to a pal on the phone. Once we reach the meat of the matter, with Tannhauser tied up, things improve a bit. The problem is, we’re already over half an hour in, and the film has really offered very little reason to engage with it. Thereafter, you’re waiting for the revenge that you know is inevitably going to come (though I wonder: how easy is it to gas someone to death in the middle of an open field?). It probably needs to be either exploitative or thoughtful: it’s neither, and consequently is unlikely to satisfy anyone.

Dir: Richard John Taylor
Star: Lowri Watts-Joyce, Jeffrey Charles Richards, Rula Lenska, Paul Dewdney

Home-Sitters

  By

★★★
“Home not-so-sweet home”

June Williamson (Guillot) is an out-of-work actress, who just broke up with her boyfriend, Oliver (Vernet), and is behind on the rent to her creepy landlord. An unexpected lifeline arrives in the shape of a very well paid gig, house-sitting a large house, deep in the countryside. Things get annoying when Oliver and his asshole pal Marcel (Thevenoud) show up. They get worse when Oliver admits they had an accident on the way, and there’s a body in the car boot. A stare of “terrible” is reached when the body vanishes. And we reach peak awful, when the house comes under siege from Wolfströeme (Bary) and his heavily-armed gang of mercy, who are looking for…

Well, that’s the question, isn’t it? June doesn’t have a clue, yet Wolfströeme is very insistent she does. Fortunately, the house has some defensive systems, which help delay the inevitable. There’s also an underground section, with a firmly locked gate, which may be keeping everyone out… or keeping something in. It’s quite a lot for the film to handle in just 90 minutes, and doesn’t all get the exposition needed to work. To be fair though, it’s mostly a delivery system for the action, and there’s no shortage of this, in the second half at least. June leads the way here: Oliver is fairly useless (both as a boyfriend and as a fighter), and all you need to know about Marcel is, he’s wearing a T-shirt depicting Donald Trump as Rambo.

I do have to wonder why she is quite as competent as she appears. Are unemployed French actresses usually able to wield automatic weapons effectively, and go toe-to-toe with professional soldiers? I kept expecting an explanation for her skills to be forthcoming. Never showed up. Taking this as read though, it’s not badly-staged, without the frenetic editing style which I hate. Truth be told, there were times when this could perhaps have used quicker editing – probably the first time I’ve ever said that! – in order to punch up the impact and heighten the pace. There is also some underwhelming CGI blood that, for example, flies through the air without landing on anything. I’d be inclined not to have bothered with it at all.

I did like the ending, which has a glorious sense of the makers deciding they might as well go big or go home. It might not work for everyone, to put it mildly. Yet it did for me, in a way that’s hard to describe. The end credits then thank the likes of John Carpenter, John McTiernan and Tsui Hark, which made me wonder if the director had been rifling through my DVD collection. They finish by acknowledging the owner of the Chateau de Laye, where this was filmed, and justifiably so, as it’s almost an additional character. As an indie effort, the heart here is always apparent; for me, that goes a good way towards balancing the less effective elements.

Dir: Chris Rakotomamonjy
Star: Chloé Guillot, Francis Vernet, Boris Thevenoud, Bary
The film is now available to view on Tubi – depending on your region, perhaps!

Hunting Ava Bravo

  By

★★★
“No business like snow business.”

I do admire a film which does not hang about, and this certainly qualifies. We begin with Ava Bravo (del Castillo) removing a hood to find herself in a very remote, snowbound mountain cabin. A cassette player nearby has a message. She has been abducted by Buddy King (Blucas), a millionaire with a fondness for kidnapping trauma survivors and hunting them through the wilderness. There’s a snowmobile parked five miles North, if she can make it across the winter terrain there. To make it fairer, Buddy has only three bullets for his gun. Oh, and he’s going to be coming up from the basement in ten seconds. Safe to say, this is the kind of start that grabbed my attention. 

It does have some trouble living up to it, with rather too much slack in what follows, even if the running time is under 80 minutes. Things do unfold largely as you’d expect, in what’s another variation on the ever popular Most Dangerous Game concept. Seriously, there have been so many now, I feel I should add a tag for that subgenre. So, we get Eva getting the drop on Buddy, only to find his cassette message was not entirely truthful, and she needs to keep him alive if she wants out. The rest of the film is a struggle between the two of them for dominance, and we learn a little of their histories and what makes them tick.

It probably needs some tighter plotting, e.g. a third party (Medina) turns up when needed by the plot. Though this does get explained, it wasn’t entirely convincing. I have… questions. Let’s leave it at that. This also applies to the ending, where Eva’s geographic knowledge suddenly seems considerably better than it was. However, this is made up for with a decent pair of lead performances, and some sequences which are effective and tense. Del Castillo should be known in these parts as the star of La Reina Del Sur and Ingobernable. This is a bilingual performance, with a chunk of unsubbed Spanish, though it’s mostly cursing.  [Sometimes having a wife of Cuban extraction has its benefits. I’m now fairly fluent in certain phrases you won’t learn on DuoLingo…]

This does come to play in what’s likely the tensest scene. Ava and Buddy stumble across two Hispanic hunters, leading to them both trying to convince the hunters that the other is the dangerous psycho. He has the bruises to support his case, and she is carrying the gun. However, she has the language advantage. It’s a well-written, performed and staged sequence, and shows where the film could perhaps have gone. Moments like this were enough to get me over the less interesting bits of chit-chat, though Ava’s matter-of-fact description of her previous abduction and escape is chilling in its understated nature. If it’s all too uneven to be wholeheartedly recommended, I felt there was enough here to justify its existence. 

Dir: Gary Auerbach
Star: Kate del Castillo, Marc Blucas, Halem Medina

Hell Hath No Fury

  By

★★★½
“Grave consequences.”

I’m quite familiar with the work of director Jesse Johnson, mostly through his collaborations with Scott Adkins, who is probably the best action star you’ve never heard of. Some of their movies together have been top-tier, in particular Avengement, so I was very curious to see what he’d do with a film which – according to the cover – has a female lead. Well, that is slightly misleading in that the heroine does take a back-seat as far the action goes. But there’s still easily enough to qualify here, and she’s definitely not your typical character in a war-time setting like this.

To be blunt: Marie is a collaborator with the Nazis who occupied France. In particular, she was the mistress of S.S. officer Von Bruckner (Bernhardt), until their relationship goes pear-shaped (to put it mildly), and she’s shipped off to Ravensbruck concentration camp. Three years later, with the Allies sweeping through France, she is released and returns to her home-town. They haven’t forgotten her collaboration, so she has her head shaved and a swastika painted on her forehead. Marie is rescued from further indignity by Major Maitland (Mandylor) after playing her trump card, telling him she knows the location of a cache of gold in a local cemetery. However, on arrival there, it’s quickly clear they’re not the only ones after it. The gravedigger wants in, and Von Bruckner is also on his way back, hoping to collect the stash on his way out of the country.

There’s something quite Sergio Leone about this. The cemetery treasure idea is clearly taken from The Good, the Bad and the Ugly, along with the three-way stand-off at the end, and the way Marie tries to play the two sides against each other reminded me of A Fistful of Dollars. This isn’t as stylized, the cinematography is nowhere near as sublime, and it’s largely restricted to the single location of the cemetery. Yet it’s solid enough, and the lack of traditional “good guys” (or girls!) – another similarly to the spaghetti Western genre – is quite refreshing in the context. Everyone here is driven strictly by one imperative: getting the gold for themselves, by any means necessary: no-one is the slightest bit interested in returning it to its rightful owners.

Alliances are formed and dissolved as the Americans, French, Germans and Marie all look to come out on top, though there are nasty surprises for everyone as things unfold, and the Nazi forces arrive on the scene. This leads to an extended gun-battle around the tombstones, and eventually, the stand-off mentioned. I can’t say I felt the ending was entirely satisfying: it didn’t make sense, considering all that had gone before. Giving Marie more to do, rather than simply manipulating her way towards the gold, would have been nice. However, the journey to get there was briskly entertaining, and the freshness of the characters in this particular scenario, also helped sustain my interest with relative ease to the end credits.

Dir: Jesse V. Johnson
Star: Nina Bergman, Louis Mandylor, Daniel Bernhardt, Timothy V. Murphy
a.k.a. Ave Marie

Huge Shark

  By

★★★
“Girls with flare-guns”

Over in my non-GWG life, I’ve been on a bit of a kick of Chinese animal attack movies lately. These are kinda their version of SyFy original movies, though usually do have slightly better production values. I mean, how can you resist titles like The Bloodthirsty Bees or Big Octopus? Most are disposable fun, but I was surprised to find this one qualified for inclusion here. Two reviews out of one viewing? I’m fine with this. Especially, as initially it didn’t look particularly relevant, or even interesting. Four people on a boat trip, all of them ending up (largely through a series of poor choices) in the water. There’s the title creature in the area, so they opt to head for a nearby small boat, left abandoned because its occupants became a shark appetizer.

I didn’t like this very much at the start, with 3/4 of the characters being far more irritating than anything else. I was expecting the only man, Zhou Tianming (Huang), to be the focus. But, in a pleasant surprise, the film does not hang around, and disposed of him quickly. Indeed, barely by half way (although at only 68 minutes, this is never going to outstay its welcome), we are down to just one person left. The good news is, it’s the only non-irritating human, Shen Xin (Zhao). She’s a doctor and also comfortable in the water, being a good surfer and swimmer. These skills will be helpful, and the rest of the film is a marked improvement.

It is obviously inspired by things like The Shallows, particularly in the way Xin ends up stuck on a small, rocky outcrop. But I particularly liked the way the director did not feel the need to jazz things up thereafter, with flashbacks or the heroine bonding with a passing seagull. There’s nobody for Xin to speak to, so the rest of the film has almost no dialogue, and the silence adds to the tension. That’s especially the case during the night scenes, which are lit just well enough to make it seem that shadows are lurking everywhere around the rock, without requiring a pair of night vision goggles. 

It’s not hard to figure out where it’s going, especially after she gets her hands on a can of petrol and a flare gun. Though the kicker at the end – there’s usually a final moment in these films, where you think the creature is dead, then see its eggs or whatever – was definitely an unexpected treat. Overall, there’s half a good movie here, with Zhao making an effective and appealing heroine, once she gets the chance to be (translation: once everybody else in the film gets eaten). I understand the need to demonstrate the threat the shark poses. But I would really not have minded in the slightest, if they’d cut out all the soap-opera stuff about Tianming dumping his girlfriend, in favour of showing more from Xin’s battle for survival.

Dir: Huang Zhaosheng
Star: Zhao Yihuan, Huang Tao, Hong Shuang, Luan Mingyuan

Hidden Dragon, by Trudi Jaye

  By

Literary rating: ★★★
Kick-butt quotient: ☆☆½

This version of the world is more or less identical to our own. Except, several hundred years ago, there was a catastrophe in which massive dragons rampaged around, with humans being collateral damage. A secret society called the Earthbound managed to end the thread, partly through the invention of the Spell Web – basically, an Internet for magic users. Now, the Earthbound and a secret government organization, the Supernatural Intelligence Group, operate to keep a largely oblivious population in the dark. Though everyone knows dragons are extinct… aren’t they?

Well, for whatever reason, someone seems very keen to take out Mei Walker, who has grown up under the protection of the SIG, before she comes into her supernatural powers at age 20, which will be in a few weeks. There have been over 530 assassination attempts made against her in the past 12 years. While the Earthbound and the SIG are supposed to be allies, it’s clear there’s a faction of the former intent on getting their hands on Mei, and using her talents for their own ends. Fortunately, she’s not exactly defenseless. Beyond those magic abilities, allowing her to manipulate the element of water, she has also been brought up to be able to take care of herself. She’s forced on the run with SIG agent Seth, unsure who she can trust – even her long-absent father – or how far up the plot against her goes.

I think my main problem is that Mei is almost entirely in the dark as to why she is so important. She (as well as, by proxy, the reader since it’s all told in the first person) and Seth seem about the only people oblivious to the specifics of her situation. It’s a conceit which seems there solely to generate a sense of mystery – not least because of her being left a mysterious box which is built up as being a serious Macguffin, but contains basically nothing of significance. It feels as if, especially after 500+ attempts on her life, the story would have made more sense for her to be aware of the situation from the beginning, rather than running around blind. By the end, we finally know what’s about to happen, though the book ends before there’s any conclusion as to exactly what that means.

Outside of that (admittedly, fairly major) flaw, this is okay. Mei is pitched at a nice level of ability: competent, without being super-powered, and there’s a lack of significant romance which is pleasant. There is a spell in the middle which edges towards the dreaded urban fantasy love-triangle, before it backs off – at least, for now… Jaye does a decent job of building a world lurking just beneath ours, with the standout scene perhaps being Mei’s retrieval of the box from a pawnbroker, who is also a collector of magical artifacts and… things. But safe to say, I think I prefer my fantasy considerably less shrouded in mystery.

Author: Trudi Jaye
Publisher: Star Media, available through Amazon, both as a paperback and an e-book
1 of 4 in the Dragon Rising series.

Hyde

  By

★★½
“Hyde and sick”

This gets off to an impressive and intriguing start. Cora Fisher (Pribilski) has a perfectly normal life. Then, she’s involved in a car crash. The next thing she knows, she wakes up in a hospital bed. Oh, to which she is handcuffed. Before she can come to terms with that, she is informed that ten years have passed. And completing the triple-whammy, Texas Ranger Jim Krueger (Llorens) enters, and tells Cora he’s going to make sure she gets the death penalty for the murders she committed. It’s safe to say, the movie has successfully gained my attention by this point. Guided by mysterious cellphone texts, Cora escapes the hotel and goes on the run, seeking to find out the truth about what happened. 

It would be almost impossible for any film to live up to what is a cracking opening 20 minutes. You’ll perhaps have guessed from the star rating above, this certainly doesn’t. Part of the problem is the decision to leave Cora, when simply experiencing proceedings from her perspective would perhaps have been best, the audience discovering her past alongside her. Instead, it diverts into considerably less interesting areas, such as following Krueger. You’ll be forgiven if you’re making gestures towards your television set, trying to guide the plot back towards the heroine. The other problem is, when it does eventually get back there and resolution is obtained, the answer is considerably less interesting than the question. For spoiler reasons, I won’t go into detail, but it fell short of convincing to me.

I think the script ends up being pulled in too many different directions, and us not being able to do justice to many of them. For instance, there’s an odd Purge vibe, with people in masks, going round killing people with apparent immunity. It’s an angle that doesn’t seem to fit the psychological slant to much of the proceedings, and nor does it particularly appear to add extra value. The film is technically solid, and Pribilski does well enough in a role that must have been a dramatically challenging experience. The rest of the cast are largely functional. It does feel they are more like plot devices made flesh, there to move the story along.

But in the end, it is that story which represents the movie’s biggest problem. I’m always dubious about amnesia as a device. It often feels a lazy way for film-makers to generate mystery, which can then be equally easily solved by the protagonist miraculously remembering things again, as and when needed by the plot. This is a good example of that: without the convenient medical condition, the movie would have been over in about ten minutes. If you’re going to use it, the payoff has to be adequate for the disbelief you ask the audience to suspend. That definitely isn’t the case here and, despite some positives, this founders as a result, and struggles to make it over the finish line. 

Dir: Dallas Burgess
Star: Kelsey Pribilski, Chip Llorens, Avi Lake, Diana Rose

Helga, She-wolf of Stilberg

  By

★★
“Great poster. Shame about the film.”

I guess this shows that the concept of the “mockbuster” is not something invented by The Asylum. This came out in 1978, the year after the Ilsa franchise had come to an end with Tigress of Siberia. But France apparently decided it wanted to get into the act, and created its own knock-off Ilsa, in the shape of Helga (Longo, who has a cameo early on in Bruce Lee’s Way of the Dragon, and was also in War Goddess). What this does, is mostly act as proof of just how damn good Dyanne Thorne was in her role. She may have been unable to pronounce “Reich” consistently, but she went at the part with gusto, and had an amazing amount of presence, essential to the job. Longo simply doesn’t, and as a result, this is largely pedestrian and dull.

Opening with a sprightly and thoroughly inappropriate intro tune, we find ourselves in a cabinet meeting in an unnamed dictatorship. Names like “Helga”, as well as the angular uniform patches, suggest somewhere Fascist, but the bearded, cigar-smoking leader and his #2 called Gomez indicate a Cuban influence. Whatever. Helga is assigned to run the castle turned political prison in Stilberg, which appears to contain… Oh, maybe a dozen female inmates, tops, who are occasionally shipped out to a nearby farm. Though what they do there, apart from getting sexually harassed by the farmer – called “Doc” for no apparent reason – is unclear. The latest prisoner is Elisabeth Vogel (Gori), daughter of a rebel leader. Helga is intent ob breaking her, but Elisabeth has her own plans, assisted by a guard (Allan) who is secretly on her side.

Let’s be clear: Helga would be chewed up and spat out by Ilsa, in about five seconds. To start with, there’s her fashion sense: we first see her in a floral dress more befitting a PTA meeting. Ok, it’s a cabinet meeting, but would Ilsa have cared about that? While Helga does eventually slide into a pair of tight leather pants and a red shirt, if you’re going to embrace the S/M aesthetic, you need to do so wholeheartedly. But the most embarrassing scene sees Helga break down in tears on her bed, just because a prisoner has said some mean things to her. C’mon. What self-respecting villainess would ever do that?

There is an underwhelming lack of imagination in the sadism here too. No medical experiments or hanging them on blocks of ice here, just some light whipping. The nudity is copious, with forest in Amazonian quantities, if you know what I mean, and I think you do. But it, too, is almost as tedious as the over-frequent shots of truck convoys, going from castle to farm – or, for a bit of variety, farm to castle. I will say, the production values are decent, and the castle is a better location than Ilsa managed (recycled sets from Hogan’s Heroes!). But the pretty sheen cannot conceal the boredom and lack of invention at its heart.

Dir: Patrice Rhomm
Star: Malisa Longo, Patrizia Gori, Richard Allan, Dominique Aveline

HellKat

  By

★
“Contains far too much pussying about.”

Rarely has there been a bigger gap between expectations generated by a synopsis, and the underwhelming reality of the actual movie. The former: “A fallen MMA fighter must win a netherworld no-holds-barred death tournament against man, beast and demon to save her soul. ” While I guess it’s not technically inaccurate, you will be forgiven for expecting something like Mortal Kombat on ‘roids – and not the recent, fairly crappy remake. Instead, you get a film which dillies, dallies and faffs about for the first forty minutes. Considering it runs less than eighty in total, including the end credits, this is not a good thing. And the “netherworld no-holds-barred death tournament”? It’s a boxing ring lit by red lights, in which the heroine has a couple of fights against people in remaindered Halloween masks. You should now understand my palpable disappointment.

When you are a low-budget movie (actually, true for any level, but especially on smaller budgets), you typically need to hit the ground running, and grab your audience’s attention quickly. It’s okay if there’s a lull thereafter, but in today’s world of short attention spans and other entertainment alternatives, if you lose people, they’re probably gone forever. Unless, that is, they run a site devoted to action heroines in popular culture, and thus feel obligated to soldier on, for review purposes. Though even they maybe spend more time than is ideal checking their email, eating snacks, and wondering how in hell they are ever going to write 500 words about this.

In this case, it begins with ex MMA fighter Katrina (Cohen), who is on the road in murky circumstances. Her car breaks down, and she accepts a lift from a stranger, whom she ends up having to shoot. She then goes to a bar, and hangs out there for a bit, being paid in tequila for mopping up patrons’ puke. The customers are an unprepossessing lot, abusive to each other and to Kat, even though the barman (Bouchet) wields a sawn-off shotgun at the slightest provocation. Again, we get forty minutes of this before the Devil, or a representative thereof, turns up in the shape of the man who gave her a lift. He is Satanic fight promoter Jimmy Scott (Davies), who gets Kat’s signature on a contract and the tournament is finally under way.

It’s pretty obvious we’re not in the real world from the get-go, e.g. Scott possesses demonic teeth and doesn’t die after getting shot. A bar patron survives a shotgun blast to the head with nothing more than a bad attitude. The number of moons exceeds the customer “one”. Kat, however, is so oblivious that none of this makes any impression on her. Any of this would have been forgivable, had the fight scenes – when they show up – been solid and effective. They aren’t. There’s a couple of decent moments, and Cohen’s stunt double [yeah, it’s kinda obvious] is athletic enough. Then it’s back to the chit-chat once again. Nobody cares. If there is a hell, it probably involves watching this on endless repeat.

Dir: Scott Jeffrey, Rebecca Matthews
Star: Sarah T. Cohen, Ryan Davies, Serhat Metin, Adrian Bouchet