Tag: r

Regarding the Case of Joan of Arc

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★★½
“Joan of Waco”

Joan is always a figure who has the potential to be co-opted into other times and locations. Recently, we reviewed Maid of Baikal, a novel which relocated her to the Russian Revolution. This takes a similar approach, moving her from the 15th century to a contemporary setting, and also relocating it to middle America. It begins with largely unseen forces orchestrating the bombing of a federal building, also only heard. We then leap forward to the military tribunal trial of “Joan (LaLiberte – such a conveniently appropriate name for the role, I have to wonder if it’s a pseudonym), who is convinced her actions were in accordance with God’s will. Not everyone is in agreement, shall we say.

The main plus here is the lead actress, who is instantly plausible in the role, It’s clear that Joan, as first encountered, is absolutely possessed with unshakeable faith. However, things like an encounter with a relative of one innocent victim, begin to suggest her belief is not on the utterly solid foundation it initially appears. On the other hand, the main problem is an obtuse and distanced approach, which makes it hard to be sure what approach the film-makers are taking. It’s brave to position an extremist as the heroine of your film. Yet, it feels like they chicken out, and are unwilling to take that ride to its natural conclusion, instead swathing almost every scene in a haze of moral ambiguity.

The modern setting does cement the moral that historical – or, indeed, current – narratives are almost always subjective. At the time of her death, Joan of Arc was a heretic to the Catholic Church; now, she’s a saint to the same body. A similar angle becomes very apparent here: the script has Joan visiting locations such as Waco, Ruby Ridge and Oklahoma City, the stories of which depend largely on your own, pre-existing beliefs. Everyone surrounding the case seeks to manipulate it and Joan to their own ends, whether it’s chief interrogator Major Calhoun (Cook), or the Human Rights Watch advocate (Hunter), who wants Joan to use her rights, in order to help LGBT activists in Hungary. It’s agendas, all the way down. Hell, there’s even a character identified in the end credits as “The Deep State.”

I think I’d rather this had picked a lane and stuck to it. I don’t care particularly which lane: make Joan a terrorist who totally deserves to die for her crime of cold-blooded murder, if you want. Or a heroine, bravely fighting for what’s good in the country, a reminder of the awkward truth that the United States was formed by armed insurrection. This wants to be both, and neither, playing its cards too close for the audience to be willing to bet on it with any emotional investment. As a result, the ending doesn’t pack the wallop you feel its aiming for, though I certainly admire the attempt to spin the story in a new way.

Dir: Matthew Wilder
Star: Nicole LaLiberte, Christopher Matthew Cook, Erin Aubry Kaplan, Alice Hunter
a.k.a. American Martyr

Rendez-vous

  By

★★★★
“There’s so many crazy people out there…”

I did not originally expect to be reviewing this here. I watched it because of the technical elements, which I’ll get to in a bit. However, by the end, it does qualify – though you certainly wouldn’t think so from how things begin. It gets underway with Lili (Puig) waiting for a date arranged over the Internet with Eduardo (Alcantara). He shows up late, very apologetic after having been mugged, and having had his phone taken, but is utterly charming, and the chemistry with Lili is immediate. They end up back at his place for dinner. But as he’s cooking on the kitchen, the tone of the evening changes, when she hears his supposedly stolen phone going off in his jacket…

That’s the beginning of a shift in content from warm romance into something considerably darker, and in which the dynamic changes several times before the final credits roll. As the above indicates, it initially seems that Eduardo is the problem. However, it’s considerably more complex, with Lili also having her own secrets. Quite how it’ll play out remains in doubt until the final scene, with the best-laid plans going astray along the route. I will say this though: if I ever engage in a kidnapping scheme, I won’t be answering the door to visitors. This does deliver some black comedy, when a drunk pal of Eduardo swings by, and wildly misinterprets the situation unfolding in front of his booze-filled eyes.

I mentioned the technical side. The hook here is the movie unfolds in a single, 100+ minute shot. Even more startling is what director Arrayales said: “We couldn’t afford another chance to shoot the movie again, so the movie is the only take we did. We really prepared hard, for three weeks with the actors, and a week with the DP just to plan the whole movie. That was about it: four or five weeks of rehearsals and one chance to make it.” Hard not to be impressed. While certainly not the first to use a single shot, most either fake it or, at least, get to use multiple takes. It’s a tribute to the makers that, after initially being the focus, you largely forget about the gimmick, with the story and characters taking over.

A good portion of the proceedings are more mental than physical. Eduardo pushes Lili for what he believes to be the truth, while she is resolute in stating he has got the situation very, very wrong. However, it eventually becomes more direct in its action, with a hunt unfolding around the two levels of Eduardo’s house (complete with make-up and effects artists sneaking around to apply their art out of shot!). You may well figure out the final direction before it happens, yet I’d be impressed if you accurately predict the specifics of the resolution. Though it’s not especially important if you do. Between the technical execution and the other elements, there’s more than sufficient elsewhere to justify the experience. 

Dir: Pablo Olmos Arrayales
Star: Helena Puig, Antonio Alcantara

A Resistance

  By

★★★
“Not your usual women-in-prison film…”

This takes place in 1919-20, when Korea was under occupation by the Japanese [there seems to be quite a lot of this about; I’ve seen a bunch of Chinese movies set when that country was occupied by Japan as well]. Even demonstrating against the Japanese, or in favour of Korean independence, was sternly forbidden, with those taking part likely to be arrested and thrown in prison for months. If they were lucky, that is: an opening caption tells us 7,500 were killed in the protests or died in jail subsequently. Even for those merely arrested, this was not a “nice” prison, to put it mildly, with horrendously over-crowded conditions (24 to a cell!), freezing temperatures and meagre rations.

Once such prisoner was Yu Gwan Sun (Go), 16 years old at the time of her imprisonment: her sentence was three years, due to contempt of court being added on to the normal charge. However, she would not be cowed by the punishment, and refused to bow to the will of her captors – for example, refusing to speak to them in Japanese, even though she could. Such disrespect, and her “defiant face”, inevitably brought Yu into conflict with the authorities, including the warden, and Korean collaborator Jung Chun-young, who acts as a translator. They try to break her will, but her refusal to accept even her status as a prisoner, never mind their authority, remains defiant.

The historical Yu does seem to have been an unrepentant, patriotic bad-ass, sometimes referred to as Korea’s Joan of Arc, and with at least half a dozen films based on her life story. While in prison, she wrote: “Even if my fingernails are torn out, my nose and ears are ripped apart, and my legs and arms are crushed, this physical pain does not compare to the pain of losing my nation… My only remorse is not being able to do more than dedicating my life to my country.” Joe films almost the whole movie in stark black-and-white, save for occasional coloured flashbacks, and music is also used sparingly. This certainly gives a realism to proceedings, though I did feel the portrayal here was a bit too good to be true – putting the “Saint” in “Saint Joan”, if you wish.

It may also be a little restrained, with the tortures inflicted on her coming across as little more than an inconvenience. Perhaps the little things here are most effective, such as the prisoners sharing body warmth, to try and protect a new-born baby. It builds to Yu’s carefully crafted act of defiance, leading a cheer for Korean independence which flows through the prison and to the outside world, triggering further anti-Japanese protests. Even after her fellow inmates are released, she is kept in jail: the final lines of dialogue are an exchange that sums up her obstinate refusal to give up. Asked “Why must you do this?,” Yu almost shrugs: “Then who will?” [She died at age 17, still in jail, a few days before her scheduled release date.] This shines a light onto an area of history I knew nothing about, though I’m hard pushed to say it illuminated much more than the heroine.

Dir: Joe Min-ho
Star: Go Ah-sung, Ryu Kyung-soo, Kim Sae-byuk, Kim Ye-eun

Recompense, by Michelle Isenhoff

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

This is set around fifty years after “the Provocation”, a series of unsolved mass abductions which led to Capernica becoming a strictly-controlled hierarchical society of Uppers, Lowers and the Military. Orphan Jaclyn Holloway is a Lower, living in near poverty in the seaside town known as Settlement 56. The only way out for a Lower is to pass the stringent test which allows entry into the Military. On graduating from the local school, Jaclyn Holloway, known as Jack, narrowly fails to make the grade, but is visited by Willoughby who offers her instead a position in the Axis, a shadowy security organization. It turns out the abductions are starting up again, and Jack has a key role to play in finding who is behind the new wave, and stopping them.

There are chunks of this which are a little too Hunger Games. Most obviously, the authoritarian government and rigid class structure, with the heroine at the bottom. There’s also the (sigh…) love triangle, with Jack increasingly torn between hunky local boy Will, who did pass the Military test, and hunky sophisticate Ethan, her partner in the Axis. Is is just not possible for any YA heroine to remain in one, committed relationship for the duration of a series? Hell, a single volume? That’s the bad news. The good is… well, just about everything else, to be honest.

What I particularly liked was that it’s not the case that Lowers = good and Uppers/Military = bad. It’s easy for this kind of book to settle for simplistic black and white; Isenhoff doesn’t go that route, and it’s the better for it. The motivations of almost all the characters seem legitimate and well thought-out, though as yet, we don’t know much about the real antagonists here. For spoilery reasons, I can’t say a lot, but I imagine they are going to come out of the shadows much more in subsequent volumes. Jack’s ties to them [again, has there ever been an orphan in YA fiction without a dark secret hidden in their past?] weren’t a great surprise, yet help act as a counter-balance to her growing skill-set.

The physical action is quite low in quantity here, not least because the heroine is in training for a good chunk of this book. However, it’s well-handled, and to some extent, the restraint makes the moments that there are, more effective. Particularly notable was towards the end, with Jack scaling a 70-foot high grain elevator to help with a bit of impromptu demolition. Credit is also due to Isenhoff for getting balance right at the end, between tying up loose ends and holding the door open for the next episode. What you get here is fully satisfying, and if you’re not curious what happens next, you’re a tougher critic than I. If I didn’t have forty odd books already in the “to read” pile, I’d likely be interested in seeing where this goes.

Author: Michelle Isenhoff
Publisher: Amazon Digital Services, available through Amazon, both as a paperback and an e-book
1 of 5 in the Recompense series.

Resilience and the Lost Gems

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★★
“Lost and found”

I certainly admire the aim here; there’s aren’t enough action-heroine films which are aimed at a family audience, especially with a young protagonist. We’ve had The Golden Compass, Enola Holmes and Abigail, but they are pretty rare. This is a considerably lower-budget entry than those, though make no mistake, it still certainly qualifies here. Its 11-year-old heroine, Resilience O’Neil (Finn) – known for obvious reasons as Rizzie – has no apparent fear, whizzing around the Utah desert on her mini-bike, until a flash flood separates her from her parents and younger brother. She then has to survive on her own, fending off wolves, haboobs and a pair of predatory creeps, while making her way back to civilization to get help for her family.

What’s weird is, the titular gems are all but irrelevant. In the opening twenty minutes, there’s a lot of talk about them, and their loss 150 or so years ago. But apres le deluge, they are almost entirely forgotten, and what we have instead is a straightforward wilderness survival story. To be honest, this is a considerable improvement over the thoroughly unconvincing historical re-enactments in the beginning, complete with sepia tinting and fake film scratches. The flood is staged surprisingly well, to the point I was convinced everyone concerned was sure to be dead. Finn seems to do a lot of her own stunts too, and not just on the bike. There’s a sequence of her clambering down a rockface which had me looking up the number for Child Protective Services. Decent dronework and the pleasant Utah scenery also stopped me from turning this off entirely.

For much, much worse are both the script and the performances. There’s hardly a line here which doesn’t seem forced and/or unnatural, and as noted above, the lost treasure thread is set up at painful length, before being abandoned for an hour. Then there’s the stuffed chicken carried around by one of the villains, who in addition are so incompetent as to pose no credible threat at all. I will give Kiara a pass; it’s her debut, and few actresses her age would be able adequately to put over the emotions necessary here, after the apparent loss of her family. [Natalie Portman in Leon remains the gold standard]

However, none of the adults are any better, either engaging in wild over-acting or resorting to a dull monotone when delivering their dialogue. It doesn’t help that there are issues with some of the audio, which varies wildly in quality, and is occasionally indecipherable. As a result, you’ll find yourself gritting your teeth just about every time anyone opens their mouth. This is probably the first time I’ve felt that a movie would have been better off, filmed as a throwback to the silent era – just pit Rizzie against the natural world, without chit-chat. I admit it would have been considerably more challenging as a project. Yet even if unsuccessful, I think I’d have preferred that approach.

Dir: Brian Finn
Star: Kiara Finn, Don Shanks, Adam Johnson, Gisi Hong
a.k.a. Resilience and the Last Spike

Revenge is Her Middle Name

  By

★★½
“Junkie. Whore. Mother?”

This is an unashamedly grimy item, whose main character, Cat (Brennan), we first meet turning tricks in a back-alley. She then goes home to her equally addicted boyfriend, Dolph (Schneider), whom she is trying to convince to get her pregnant. Eventually, her mission succeeds, and to provide for their impending child, they rob their dealer. Cat then bails on Dolph, leaving him to take the fall, and gets her act at least somewhat cleaned up, with the help of friend Marilynn (Bellin). Eight months later, however, neighbourhood boss Mutton Chop (Bell), shows up on her doorstep with his thugs, and extracts a particularly vicious form of revenge. Seven further years pass, and Cat is just about back to normal, when the violent behaviour of a man she meets in a bar awakens her inner Ms. 45. She’s soon cutting up his corpse with a hacksaw and stuffing it into garbage bags, then progresses to extracting long-dormant vengeance on her attackers.

There’s no doubt, this wears its grindhouse attitude mostly on its sleeve – except for a strange unwillingness on the part of its lead actress, to take off her clothes. There’s no shortage of gore, certainly, and it’s the kind of film after which you’ll probably want to take a shower. It wallows, unapologetically, in the worst that human nature has to offer. However, that’s as much a flaw as a strength. This kind of film works best – indeed, works at all – when you can feel some sympathy for the protagonist as she goes through hell. Here, that’s not the case. Cat is hardly a nice person, and is perhaps the best argument for forced sterilization I’ve seen in a long time: she hardly seems fit to be a mother, and comes over as an entirely selfish creature. Dolph is no more than a sperm-donor, and she spurns all Marilyn’s efforts to help her, until Cat wants them. The person I feel most sorry for, is her foetus.

The look of the film is considerably more low-fi than the poster, though it’s not inappropriate to the generally scuzzy atmosphere. It could probably have benefited from some trimming, as there are points where things do drag. The actual “revenge” which appears in large, red letter on the promo image, doesn’t arrive until well into the second half. I’d likely have started by editing out the pair of detectives, who serve no purpose at all. This is the kind of movie which needs to keep moving forward in order to hold the audience’s attention, as most of the performances are little more than functional, especially among the cartoonish villains. Credit to Brennan though, for going full throttle into her portrayal. By the end of this, if I was still some way short of liking her character, Cat was someone I’d certainly not want to cross. If I have no interest in seeing this again, I don’t feel as if the time was entirely wasted.

Dir: Anthony Matthews
Star: Lissa Brennan, Douglass Bell, Paula Bellin, Michael Todd Schneider

Revenge Ride

  By

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

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

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

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

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

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

Rag Doll

  By

★★★
“Punching up”

Truth be told, this took me two attempts to get through. The first foundered inside about thirty minutes, because I just wasn’t feeling it at the time. The movie made so little impression I managed to forget completely I’d seen it, and so it eventually made its way back onto my watch-list. When I realized this, I almost debated nixing it again; however, I persisted, and am at least somewhat glad I did. If falling well short of being a classic – not least, because of a twist ending which is both superfluous and a terrible misfire – there is enough here to merit a review.

Nora (Murray) is juggling several life elements, all of which demand more than she is able or prepared to give, and which are interfering with each other. Firstly, she has a mother, Catherine (Erb) with stage 4 cancer, requiring constant care. Then there’s her job, which involves cleaning motel rooms – and, to make ends meet, turning occasional tricks. Finally, there’s her actual passion: mixed martial-arts at a local gym, under the eagle eye of trainer Rosheen (Jones). Nora is there mostly as a sparring partner (read: punching-bag) for the more talented Aisha (Sanchez). But there’s a tournament for female MMA’ers coming up, with a $100,000 prize. That would take care of a lot of her problems, if she could win it. Life, however, appears to have other plans for her, not least her workmates’ intense, increasing dislike of her.

It’s a very earnest film, with not much in the way of light-hearted moments, beyond Catherine’s death-bed self-sarcasm. It stands almost entirely on the strength of Murray’s performance, which is intense to the point of occasionally being uncomfortable to watch. The MMA scenes are well-staged, the camera getting right in there with the participants, and incorporating some particularly good audio work (you can hear the muscles stretching). These elements work much better than the script, which is an awkward combination of sports movie cliche with kitchen-sink working-class drama, and is not particular convincing as either. In particular, there’s an attempt to shoehorn in a romantic subplot for Nora, which ends up being more cringeworthy than effective. Indeed, the same goes for the sexual tension between Nora and Aisha, though fortunately, that lasts just one scene.

The problem is that neither Nora nor the film need anyone else. She’s the very epitome of a strong, independent heroine, who is trying to make her way in life, through circumstances which would reduce most of us to a wreck in short order. Simply having her handle this would prove sufficient drama for most purposes. Neither the romantic entanglements nor the climactic tournament offer as much proof of life as, for example, her standing up against her part-time pimp. Then there’s that twist, which presumably seemed like a good idea. At some point. To someone or other. I can’t imagine when or who though. I would not be averse to seeing Murray in future, however, on the basis of her powerful performance here. Providing you are in the right mood, anyway.

Dir: Bailey Kobe
Star: Shannon Murray, Stephanie Erb, Dot-Marie Jones, Roxana Sanchez

The Retreat

  By

★½
“Striking a blow for equality. With an ax.”

After the unexpected pleasures of What Keeps You Alive, I guess what this proves, is that film-makers are able to make shitty lesbian horror movies every bit as badly as straight ones. Truly, a lack of talent is blind with regard to sexual orientation. This begins in a way not dissimilar to Alive, with a lesbian couple whose relationship is on shaky ground, heading out into the wilderness.  Sadly, things then diverge in just about every metric of quality. In this case, it’s Renee (Pirie) and Valerie (Allen), who are heading off to a country B&B to meet up with two gay friends.  Except, when they get there, the friends are nowhere to be seen. The new arrivals then proceed to ignore more red flags than would be found on May Day 1980 in Moscow, until they get kidnapped by the local homophobic psychos. They have a thriving business in live-streaming snuff films, and welcome the arrival of some fresh meat.

Well, until Renee and Valerie escape, and rather than hightailing it out of there – you know, like any normal, sensible person would do – opt to take on their attackers, because Rural Homophobes Must Die. Oddly, those subsequent deaths are shown in a degree of detail that borders on the gloating, while the murders of their victims take place out of frame. Hmm. Well, when I say “shown”, I’m talking loosely, because this has to be close to the most atrociously-lit film I have ever seen. At one point, our heroines are enjoying a nice picnic in broad daylight. Just a few minutes in story time later, it’s either the middle of the night, or an unexpected total solar eclipse popped up. Because the audience are left peering into darkness, trying to figure out which vague, blobby shadow is doing what, and to which other vague, blobby shadow. I don’t know whether it’s bad film-making, or a really bad transfer, but it’s borderline unwatchable.

From what I could determine, peering into the gloom, it doesn’t have anything much new to offer either. But then, the specific sexual orientation of horror movie characters is rarely relevant: I just don’t care. The film, meanwhile, seems to think that putting lesbians in, is enough to allow them to trot out any number of overused elements everywhere else. They’re wrong. A poorly filmed, cliched horror movie does not become any better because its two heroines are sleeping with each other. Dangling ends abound, such as Renee’s easy familiarity with firearms, which serves no notable point, and there is precisely one (1) decent kill. It even fails as a commentary on society, being far too obvious and simplistic to work on that level. To succeed, a film like this typically needs to have at least one of the following body-parts: a brain, a heart, or guts. Trying to replace all three with a vagina isn’t a recipe for success.

Dir: Pat Mills
Star: Sarah Allen, Tommie-Amber Pirie, Aaron Ashmore, Munro Chambers,

Restless (2020)

  By

★★
“Mom on a mission”

Single mother Naomi Harper (Anderson) is devoted to her son, and he to her. In an effort to help Mom make ends meet, he gets a job working for notorious local “businessman”, Noah Oliver (Wilson). When her child turns up dead, Naomi is sure that Oliver had something to do with it. The police, in particular Detectives Emory Kota (Conell) and August Hayes ( Jeziorski), don’t necessarily disagree, but their hands are tied. This is partly due to a shortage of actionable evidence, partly because Oliver’s connections run deep into the local political and judicial establishment in Conyers, Georgia, making it impossible to take action against him. Well, at least officially. Naomi has no such limitations, and this apparently mild-mannered loan officer has a background that may prove of help.

The script here isn’t bad. There are a number of interesting angles, such as the parallel actions of a vigilante, working in same area as Naomi, and targetting those who consider themselves above the law. Naomi isn’t the only strong female character either, with Det. Kota frustrated by the restrictions of her position. Then there’s Sophia (Rachel Burger), Oliver’s right-hand ma… er, woman, who proves capable of handling herself physically as well. Though I probably would have been more impressed had Naomi not done that crappy, gangsta “holding the gun at an angle” thing, as she headed towards her final confrontation with Oliver. Nobody with experience and an interest in being taken seriously would be caught dead doing that.

However, the problems here are most readily apparent in the resources here. Or, to be more accurate, the lack thereof. Even though the film tries to work within the budgetary limitations, these are so severe, they can’t be hidden. For instance, scenes which are supposed to take place in a police station, very clearly don’t. Indeed, there’s very little effort to make it look like anything, except a bare, empty room. The same goes for a number of other locations, where the bare minimum appears to have been done in terms of set dressing. Hardly less glaring are the plugs for local venue, Triplz Lounge. I’m sure it’s a lovely place.

Another weakness is that most of the actors don’t appear to fit their characters. Wilson is probably the worst offender, never being convincing as a mob boss – he’s just not intimidating or threatening enough. But to a lesser extent, the same goes for Anderson. Despite copious flashbacks to a time when her son was alive, she rarely seemed like a distraught mother, pushed into unthinkable acts by the callous and indifferent hand of fate.  She’s not a bad actress, competent enough from a technical point of view. There just wasn’t any reason for the viewer to pay the emotional buy-in to her portrayal. I’d not mind seeing what Jackson and his team could do with more money, and I’ve certainly seen worse. Here though, the challenges prove just too much for them to overcome.

Dir: Rodney Jackson
Star: Tai Anderson, Tavares M. Wilson, Robyn Conell, Will Jeziorski