Tag: n

Ninja: Prophecy of Death

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½
“I know ninjas are supposed to be silent, but…”

To a certain degree, this should be graded as “incomplete”. Easiest to quote the IMDb on the reason why. “This film was to be shelved by director Kabasinski, when post-production had a lengthy delay and he went on to produce the film Skull Forest. Very happy with the improvements in overall production value of Skull Forest, Kabasinski was going to just take this film as a ‘loss’ having already moved forward. It was not until an editor from Buffalo, NY stepped in and expressed desire in taking on the project. Feeling indebted to the cast and crew for the film and post-production going better then expected, Kabasinski decided on releasing the film.”

He shouldn’t have bothered. Because it does the Kabasinski brand-name irreparable damage, due to its terrible quality, in one aspect especially. If this had been fixed, it still wouldn’t have been great – it would remain cheap and amateur. But it would not be in the conversation for worst action heroine movie of all-time, as is the case based on what was eventually released. The story is about an assassin, known only as “The Lost One” (Porada), who is part of a sect of ninjas. On a mission, she balks when she is ordered to kidnap a child. This mutiny is not taken well, and she is left for dead by her colleagues. Naturally, she isn’t, and teams up with some Mafia hitmen (Anthony and Poffo) to get her revenge. 

It’s a basic plot, yet not unworkable, especially when delivered with the director’s enthusiastic fondness for gratuitous nudity and gloopy violence. The low budget doesn’t really matter when you are talking nekkid ninja training. But what irredeemably sinks the movie, and why it should have remained lost (or, at best, a bonus feature on another movie) is the audio. Regular readers will know this is a common complaint I have with smaller productions,  and it’s a personal peeve. I don’t use words like “worst ever” lightly either. So you will understand how much of an issue it is that – bold font, please – this is the worst ever audio I have heard on a released film, bar none.

Seriously, the audio is entirely missing for about half the scenes. No music, no background sounds, nothing. This includes the entire opening credits, which feature Mrs. Kabasinski doing more nude sword work. It almost becomes some bizarre form of art statement, like a throwback to the silent era. Even when it’s present, it is poorly mixed and the dialogue sometimes inaudible. It would probably have worked significantly better had Kabasinski nuked all the audio, turned it b&w, added some intertitles to tell us the plot, and thrown ninety minutes of public domain orchestral music onto it. Instead, what you have is a feature-length demonstration about the importance of the auditory portion to cinema. As well as how worthless a movie can be, when the makers simply cannot be bothered to deliver the materials. 

Dir: Len Kabasinski
Star: Renee Porada, Brian Anthony, Lanny Poffo, Darian Caine

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

Nowhere

  By

★★★
“Survival of the fittest.”

One of the shows we enjoy watching here is Alone, in which ten contestants are dropped off in a hostile location – typically chilly – with limited resources. The last one left standing wins $500,000. It’s a simple concept, yet endlessly fascinating. We sit on our comfortable couch, eating Doritos and passing comment on the failing of the competitors. Especially so when they are hoist by their own stupidity, such as losing their means of starting a fire. This feels not dissimilar, except rather than a survival expert, it’s a woman who finds herself thrown into utterly inhospitable circumstances, and forced to make do by any means necessary – not just for her own survival, but that of her new-born child.

The woman is the heavily pregnant Mia (Castillo), who is fleeing an uncertain present in Spain, hoping to get to Ireland, with her husband Nico (Novas). The route is supposed to involve them being sent in shipping containers along with other refugees, but almost from the off, things go wrong. Mia is separated from Nico; the rest of the occupants are gunned down; and then, just when Mia is on her way, the container is washed off the ship in a storm, leaving her afloat in the middle of the ocean. It’s leaking badly – bullet holes will do this – and even after she has addressed that immediate problem, she has to figure out how to survive, with only the contents of the container. Oh, and then she gives birth.

It is, of course, a very contrived set of circumstances, with the container offering a variety of potentially useful items, rather than being, say, entirely full of agricultural machinery. Similarly, her cell-phone has remarkable battery life and service coverage, though I have read a suggestion the calls she received were actually hallucinations. That might be a shame, as one of them certainly represents the film’s dramatic peak, an utterly heart-rending conversation. It was the point where I suddenly realized I had become invested in Mia’s fate, and cared. It came as a bit of a surprise, and is testament to a good performance from Castillo. Not least because for much of the time, she has nobody to act against except a new-born baby.

The scripting is less effective. As well as the convenience mentioned, the whole opening half-hour proves almost irrelevant. It sets up a scenario where resources have become so short, the government is killing off unproductive members of its own society. Let’s just say: I have questions, yet it serves no purpose in the movie, except to get Mia into her crate. Things improve once it does, and the film becomes a straight survival story, rather than trying to make (I presume) some kind of social point about… something. Not that this stopped me from sitting on my comfortable couch, eating Doritos and passing comment on Mia’s attempts to fish. If only she’d watched Alone, she’d have managed much better…

Dir: Albert Pintó
Star: Anna Castillo, Tamar Novas, Tony Corvillo, Mariam Torres

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.

Night Train

  By

★★
“Not trucking good.”

Danielle Ryan’s quest for a movie worthy of her talents meets another swing and a miss. I guess you have to give credit to this one: it is at least trying to go in a different direction, making the Mexican cartel the good guys. For as well as their… less salubrious activities, they’re shipping pharmaceuticals into the US, and undercutting Big Pharma, by selling them to the needy at lower prices. #SoBrave Needless to say, this can’t stand, so word comes down to FBI supervisor Connoll (Sergei), who puts agent Jaylynne Jackson (Baird) on the case. Except, you wonder how much he wants to help, since she is an alcoholic burnout, with PTSD resulting from her stint in the military.

The target is Holly McCord (Ryan), who might also be a vet – to be honest, my attention kinda lapsed. She is trucking the imported drugs to the distribution hub in Las Vegas, using her souped-up vehicle. But only because it gives her access to the medicine her sick son needs. Her contact, Renzo Romeo (Haapaniemi) was initially unconvinced, but McCord’s ability to get the job done showed him she isn’t just a girl – a point the film practically belabours. That, however, can’t stop Holly from getting ensnared deeper in the crime web, as Jaylynne closes in, both ends threatening to destroy everything Holly cares about. Which is basically her son, so she decides to make a break for the border with him and Renzo.

I’ll take misleading posters for $400, please, Alex. I am fairly sure – despite the attention thing mentioned above – that Holly never picks up a gun at any point, even during the final face-off with Jaylynne. Indeed, in terms of action, this is considerably more subdued than you’d expect. I was thinking there would at least be some hot car chases here, and the movie largely fails to deliver on that front either. It’s more of a thriller than an action film, and doesn’t work particularly well as that. If it had kept to the battle between noble criminal and ignoble cop, it might have worked, since both characters are interesting – even if Jaylynne would, in reality, have been tossed out of the FBI.

However, the film throws too much extraneous stuff in there which is either not needed, or plain bad writing. I mean, if you have to use a sick child as maternal motivation, that’s simply lazy. We also get Holly’s relationship with her father, Jaylynne’s PTSD, the creepy attraction the Las Vegas head has for Holly, etc. etc. When the two women finally meet in the desert, the battle-hardened FBI agent ends up falling to her knees and weeping, then letting Holly go, after a stern lecture from the smuggler. No, really. The words,”Who writes this crap?” may have passed my lips at that point. Some day, Ryan (and, indeed, Baird) will hopefully find a script that matches her abilities. Today is not that day.

Dir: Shane Stanley
Star: Danielle C. Ryan, Diora Baird, Paul Haapaniemi, Ivan Sergei

Nemesis

  By

★★½
“Two’s company, Tree’s a crowd.”

I was going to go with “Tree’s company” as the tagline, before I realized I’ve actually used that in three separate, forest-set movies. So I decided to adjust it slightly, and what’s above is indeed very apt. There is a cast of three (3) and the entire thing unfolds in the woods. There isn’t a single set or interior shot in the whole film. Indeed, if you’d asked me, I’d have said this had all the hallmarks of a COVID-era project, designed to be shot with a small cast and in a nicely sanitary, outdoor location. Not so, even though Tubi dates it as 2020. There was a screening in April 2019, well before anyone had heard of Wuhan, and the IMDb gives it a year of 2017.

McKenzie Montero (Villegas) is a bounty hunter transporting a fugitive she has captured back to civilization. Her car is involved in an crash, and her captive, murderer Noah Burnham (Wilder), escapes into the expanse of woods by the road. McKenzie goes in pursuit, but ends up having to babysit the driver of the other car, Abigail Stroud (Slattery), who professes to be concerned about McKenzie’s health after the accident. Except, almost none of the preceding statements are 100% accurate. In particular, we learn that Abigail is actually an accomplice of Noah – albeit somewhat reluctantly – and her motives obviously do not line up with those of her new friend. McKenzie, meanwhile, is desperate to get the reward Noah represents, and will not let anyone get in the way.

Given the constraints under which its operating, this is not a terrible time-passer. However, I can’t say that the various twists ever came as quite the shock the writer seemed to think. It felt obvious from the start that Abigail was not the innocent driver she claimed to be, and the way the relationship between her and McKenzie went from zero to BFFs, confiding secrets, seemed a tad forced. On the other hand, I’d like to have learned more about some elements, such as Noah’s claim to be an officially sanctioned serial killer, working for the US government. As is, this seems inserted as a rather crude way to leave the viewer uncertain of who the “good guy/gal” is, given McKenzie is not exactly law-enforcement herself.

As such, you will soon realize there are no real heroes here, with each of the trio clearly intent on manipulating the other two, to their respective ends. For instance, Abigail and Noah need McKenzie, because she’s the only one who can get them out of the woods. Watching this mental chess game unfold, in between bouts of adequately-staged physical confrontation, is when the movie is at its most entertaining. I was never sure until the very end who was going to be able to walk away by the time everything was decided. The problem was, though, that when the final credits rolled, I realized that I did not particularly care about anybody’s fate either.

Dir: Carl Joglar
Star: Colleen Slattery, Sarah Villegas, Nicholas Wilder

Nowhere Girl

  By

★★½
“Slow, slow, slow-slow, quick…”

For the first hour, you may be forgiven for wondering if there has been some kind of mistake, because the poster bears almost no resemblance to what happens in the film. Oh, it’s the same actress, to be sure, and she is a schoolgirl. But it appears, rather than the war story promised, you have strayed into a teenage drama. In it, Ai (Seino) is a talented but troubled student, who seems to be suffering from some kind of post-traumatic stress disorder. The special treatment she receives at school brings her enmity as a result, both from her class-mates and the er homeroom teacher (Kaneko). Though she finds solace in art, including a mysterious major project on which she is working, housed in the school auditorium.

It’s all very subdued. There’s a lot of scenes of people standing around talking. Or, for variety, sitting around talking. The camera is considerably more mobile than the characters, engaging in stately pans and tracking shots around the dialogue, accompanied by classical music that’s positively soporific. Yet, it’s clear there’s something “off” about the whole situation. The school is frequently shaken by earthquakes, and it’s apparent that Ai has a tendency to outbursts of violence, which is bubbling just below the surface. The staff and other students don’t pay attention to the warning signs, and continue to push Ai’s buttons. You’ll understand where I thought this was potentially going to end up, delivering on the image with her going postal on the school.

Not quite.

Trust Oshii to make something which confounds expectations, while still somehow managing to disappoint. See  Avalon or Assault Girls, both films with massive potential, that fall short of realizing it. Here, you have a film which would potentially be a classic, if it started at the hour mark, then built on what follows, for another hour after the credits actually roll. Because what kicks off – at the 67-minute mark if you’re interested in fast-forwarding to that point – is beautifully staged. There’s a spectacular sequence of kung- and gun-fu, whose highlight for me was Ai taking the term “human shield” to a whole new level. Then a revelation to set up a whole new scenario, one that looks very interesting, and… The End.

I do have to mark this down for the film trying to pull off the most clichéd of clichéd twists which, to a significant degree, renders everything previous to that point a waste of everybody’s time. You need to be a supremely confident film-maker to pull it off; while it’s clear Oshii doesn’t lack in confidence, pulling the carpet out from under the viewer really needs to have happened 10-15 minutes in. The longer the conceit is sustained, the more likely the audience’s reaction will be “You’ve got to be kidding me” – and there might well be an epithet dropped in before “kidding”, too. Some day Oshii will deliver on his undeniable talent and imagination. Just not today.

Dir: Mamoru Oshii
Star: Nana Seino, Nobuaki Kaneko, Lily, Hirotaro Honda

No Honor in Death, by Eric Thomson

  By

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

This SF novel takes place in the future where the human Commonwealth is engaged in a brutal space war against the militaristic Shrehari Empire – imagine Klingons on krack, perhaps. They have superior technology, but humanity’s ability to think outside the box and improvise has helped level the playing field. Siobhan Dunmoore has just survived  – emphasis on “just” – a battle against the Imperial cruiser Tol Vakash of Captain Brakal, forcing him to retreat by attempting a kamikaze crash of her badly-damaged craft into his. As a “reward”, she is assigned command of the Stingray, a craft with a bad reputation. Its previous captain is now facing a Disciplinary Board, and the crew are barely even trying. It seems Dunmoore has been set up to fail, and she’ll need to overcome resistance from enemies both domestic and alien, as well as overt and covert, before she can even think about going another round with Captain Brakal.

I felt the most interesting section of this was following Dunmoore as she attempted to lick her crew and the Stingray back into a shape, where they could survive an encounter with the Shrehari. Both of them are in need of a lot of work. The former are utterly demoralized after events under the previous captain (including a number of suspicious deaths), and the latter has been short-changed on supplies and resources, to the point it’s largely held together with sticks and wire. Fixing them require their new captain to use a lot of psychology, both in order to get the crew to trust her, and extract the necessary materials from the Commonwealth and its bureaucracy. It works almost as a “how-to” manual for aspiring leaders, and even if that’s not exactly me, still makes for an engaging read. I also liked the very final face-off between Dunmoore and Brakal, their two ships edging round the perilous environment of an asteroid field, where Stingray‘s manoeuvrability gives it an edge. 

However, in between the Stingray taking off and the last battle, the book struggles with its descriptive passages. There is a large chunk taking place in hyperspace, and Thomson never manages to make clear the rules which apply here, resulting in the discussion of “jumps” and “bubbles” failing to make sense. Worse, this brings the pace of the book to a halt, with entire pages you find yourself barely skim-reading. There’s also rather too extended of a coda after the battle, as the book tries to tie up a lot of loose ends – mostly ones we never particularly cared about to begin with. On the other hand, I did appreciate the effort put into making Brakal an interesting adversary, with his own set of motivations. He and Dunmoore represent the book’s greatest strengths, and it’s at its best when concentrating on them. If subsequent volumes do that, I’d be tempted to try them.

Author: Eric Thomson
Publisher: Sanddiver Books, available through Amazon, both as a paperback and an e-book
1 of 7 in the Siobhan Dunmoore series.

The Novice

  By

★★★
“Rock out, with your cox out.”

Rowing is not a pastime to which I’ve ever given much thought. It’s the backdrop for this, and is based (to some extent) on writer-director Hadaway’s experiences of the sport at college. Her cinematic background is in sound editing, where she worked on films such as The Hateful Eight and – probably of most relevance here – Whiplash. The latter was a study of obsession in the pursuit of talent, and is echoed in the story here.

Alex Dall (Fuhrman) is the archetypal Type A personality, driven to push herself beyond what normal people would consider necessary. For example, she chooses her weakest subject of physics to be her college major, largely for the challenge. Similarly, she decides to take up rowing, and approaches this with the same, relentless single-minded determination and will to succeed. It’s not enough for her simply to make the freshman team. She wants to be part of the top-ranked varsity crew. And Alex doesn’t care about making friends in the process.

As such, she is a contrast to Jamie (Forsyth), another rookie, who joins the team at the same point. Her motivation is very different. She needs the scholarship that making varsity will bring, otherwise (in a rather snobbish plot-point) she will have to go to a less prestigious educational establishment. Inevitably, despite Alex and Jamie being initially friends, through the shared traumas of the hellacious training regime, their competition eventually puts them at odds with each other.

In another film, Jamie would be the protagonist, with Alex the nemesis who has to be battled. Here, though, the focus is on Alex, and the almost self-destructive way in which her obsession with being the best, wrecks every relationship she has, including that with teaching assistant Dani (Dilone). While her coaches certainly admire Alex’s unbeatable work ethic, the film also makes the point, quite forcibly, that in a team sport like rowing eights, other factors matter as much as, if not more so, than just talent. People skills are important too: for you do not necessarily have to like your team-mates, in order to become a cohesive unit. But you do have to respect them.

Hadaway’s experience is particularly apparent in the audio design, which definitely enhances the action oriented sequences, and the sardonic use of music such as Brenda Lee’s “I’m Sorry”. However, it does also appear she never met an opportunity for a montage she could turn down, and if you’ve seen any sports movies, you’ll know these are beyond cliche, even with all the director’s talents in the sound department. Alex is also not a very likable character: while that is clearly the point, it still has a distancing effect on the viewer. Part of me was subconsciously hoping for Alex to fail or even get struck by lightning (an apparently significant threat to rowers). The end does imply at least the potential for change in Alex is still there. Whether it will ever stick, I’m less convinced.

Dir: Lauren Hadaway
Star: Isabelle Fuhrman, Amy Forsyth, Dilone, Jonathan Cherry

Never Back Down: Revolt

  By

★★★½
“The women are revolting!”

The “underground fighting” subgenre is among the most macho of action films, so it’s interesting that this entry doesn’t just feature a female protagonist. It’s also written and directed by women, with the lead villain also from that gender. It’s a particularly novel twist, considering the previous three installments in the Never Back Down franchise were, by most accounts, competent yet entirely generic, male-dominated movies. I say “by most accounts,” since I’ll confess to not having seen them. This is both a positive and a negative, I think. It means I can go into this with no preconceptions or expectations. On the other hand, it also means I can’t compare it to the rest of the series.

The latter is perhaps less important since it seems to be a sequel in name only, without any characters or story-line carrying forward. The heroine is Anya (Popica), a Chechen refugee now living in London with her brother, Aslan (Bastow), who takes part in those underground fights. After failing to throw a fight, he finds himself thirty grand in debt to some very nasty people. But Anya, who’s no novice with her own fists, gets an offer from swanky promoter Mariah (Johnston) to help pay off the arrears with a trip to Italy. Naturally, it turns out to be a front for “fight trafficking”, with the female participants held against their will, and shipped off to Albanian brothels, when they can no longer battle for the amusement of rich patrons. The title tells you the rest of the plot.

Madison isn’t without an action pedigree, having directed rather good short, The Gate, starring site favourite Amy Johnston. That’s currently being shopped around to become a feature; fingers crossed that happens. In the meantime, this would appear to match its predecessors in being competent, yet entirely generic. Everything unfolds exactly as you would expect, if you’re at all familiar with this kind of thing. It’s the kind of film where you can pop into the kitchen for 10 minutes without pausing it, make a sandwich and a cup of coffee, and return, safe in the knowledge that you’ll still be able to follow the plot perfectly well. I can neither confirm nor deny having done exactly that.

While predictable, it’s never dull though. Popica doesn’t appear to have any particular martial arts background, yet is decent enough to pass muster (even if you wonder what someone like Amy Johnston might have done in the part). There’s a laudable and complete lack of romance here, just the sibling relationship. I could probably have used some more action, even if the quality of what there is, is decent. I particularly liked the fate meted out to the chief guard. The size issue, inevitably present in mixed-gender fights, is overcome by having him held down by two women in a bath, while a third shanks him very enthusiastically. In comparison, Ghislaine Maxwell Mariah seems to get off easy, just when I was looking forward to her getting her just deserts. Still, solid enough to leave me anticipating what The Gate feature might be like.

Dir: Kellie Madison
Star: Olivia Popica, Tommy Bastow, Brooke Johnston, Nitu Chandra