Tag: s

The Squad

  By

★★½
“#SquadGoals: Try not to suck.”

I was braced for this to be terrible, based on IMDb user comments which were either scathing, or came from accounts with one review – a sure sign they were astroturfed. On that basis, I guess I was pleasantly surprised. Don’t get me wrong: it’s not great, and only occasionally brushes against good. But it’s semi-competent, at least once the director calms the hell down, and stops giving us musical montages in lieu of content. The titular trio are Gina (Carrasquillo), Bella (Hansinger), and Dani (Evans), orphans who grew up together and have now turned to a life of crime. In particular, this spring break is spent by a lake in Oklahoma, seeking to muscle in on the local drug trade.

If you have ever seen Ozark, you will know that such activities are never received kindly, and it’s not long before the expected trouble shows up. This is most notably in the shape of rival drug dealar J.C. (UFC fighter Avila), but she is only the tip of the problem-shaped iceberg. People want The Squad out of the way, and/or to provide the source of their supplies. Double-crosses, backstabbings, police activity, abductions, rescue and a fairly significant body count follow as a result, though largely in a by the numbers approach, all the way to an ending that is clearly hoping for this to become a franchise. I would not be holding my breath for this to come to fruition, shall we say.

The three leads are both the best thing this has to offer, and its biggest problem. They’re photogenic, and spent much of the time wearing bikinis, which is not a chore for this viewer. However, when it comes to being convincing drug dealers, the results are much less consistent. It’s only now and again that they succeed in projecting the necessary sense of threat when facing off against their rivals: Gina probably does best in this department. The rest of the time they feel more like coeds cosplaying as drug lords, and seem about as dangerous pushers as Ed from Shaun of the Dead. The whole orphan thing feels like padding, despite the short running time of seventy-eight minutes.

To a certain degree, it feels like it wants to be Charlie’s Angels for bad girls, though regrettably, seems more inspired by the “gritty” reboot version, than the fluffy concoction of the original movie. It’s also hampered by the lack of personality to be found here: there is only one character, sliced up thinly and divided across the three protagonists, where again, Gina seems to have co-opted the lioness’s share of proceedings. Despite a plot that does keep moving forward – occasionally, a little too forward – the action is nothing special, with the trio ending up having to be rescued by a man on more than one occasion. Not exactly empowering. Looks better than it sounds, and I think that applies to almost every aspect of this.

Dir: Rick Walker
Star: Meghan Carrasquillo, Alea Hansinger, Grace Evans, Julia Avila

Special Delivery

  By

★★½
“Good only in car parts.”

Based on the trailer, I was hoping for something like a Korean version of The Transporter. It seemed to promise this, with Jang Eun-ha (Park) playing a courier for Baekgang Industries, a company who will transport things – mostly people, it appears – from Point A to Point B, when regular delivery methods are not possible. For example, because the passenger in question is being chased by enemies, and needs to make a quick exit from the country before he’s found. Her latest mission involves baseball pitcher Kim Doo-shik, who has blown the whistle on a match-fixing scandal, so needs to escape before those behind it get hold of him and young son Kim Seo-won (Jung).

So far, so sprightly, especially after an enthralling early sequence which showcases Eun-ha’s mad driving skills in avoiding pursuers through the narrow streets of Busan. However, the attempted pick-up of Kim Sr. goes badly awry, as he’s being chased by Jo Kyung-pil (Song). Jo is a corrupt cop who is also behind the gambling ring involved in the match-fixing. Eun-ha ends up in possession of Seo-won, and… Hang on, didn’t we write about three different versions of this story in October 2022? Yeah, for much of the rest of the film is basically another take on Gloria. Brash, beer-drinking Eun-ha is lumbered with a kid whom she cannot initially stand, yet inevitably, comes to care for Seo-won over the remaining course of the film.

Now, this isn’t all that different from The Transporter, where Jason Statham was also lumbered with an unwanted human package, in his case Shu Qi. However, there, it was the jumping off point for some cool and generally entertaining action, e.g. the classic garage fight, involving a well-oiled Statham. Here, not nearly so much, even though Jo is keen to get hold of the kid, who has a computer dongle which is key to the recovery of $30 million. While this could have been the source of multiple exciting car-chases – and as the opening shows, technically, the makers were more than capable – it feels as if director Park is more interested in how suddenly enforced maternal responsibility changes his heroine. I can’t say I’m with him there.

The concept can work, but seems incredibly trite here, and doesn’t help matters that Seo-won is a very generic child, with little personality compared, say, to Newt in Aliens, or Mathilda in The Professional. Consequently, Eun-ha’s decision not to drop the child off at the nearest police-station seems contrived for plot purposes, rather than resulting from a natural release of suppressed nurturing emotions. It’s well-enough assembled that it never becomes unwatchable, yet proceedings remain just that: assembled. It’s not without merit, since both protagonist and antagonist make for interesting characters. But it the end, Chris described it as “cute,” and that’s borderline damning with faint praise in her vocabulary – one step above “interesting.” I can’t honestly say she was wrong in her assessment.

Dir: Park Dae-min
Star: Park So-dam, Song Sae-byeok, Kim Eui-sung, Jung Hyeon-jun

Safehouse

  By

★★
“Safehouzzzzzz…”

I ended up having to watch this twice. The first time, I literally fell asleep. In the film’s defense, it had been a tough day, highlighted by a trip to the dentist to get a crown reattached [in related news, I’m now off Milk Duds]. But a couple of days later, I watched it again. While I did manage to retain consciousness this time, I can’t say I enjoyed the film significantly more than the dental work. This is mostly down to a script which seems to mistake being confused and borderline incoherent, with being mysterious and interesting. Not giving the audience enough information simply results in them tuning out, rather than becoming intrigued. 

Carla Perez (Delgado) lives in the dangerous border town of Mexicali, with her brother, and hoping to become a doctor. He’s playing a dangerous game, informing on the local cartel to the American authorities. This, inevitably, gets him a visit from their hitmen. In the ensuing gun-battle, he is killed and Carla, fleeing for her life, finds a tunnel in a scrap yard. Using it to escape, she surfaces on the other side of the border, in a residence being used by federal agents Caskill (Seay) and Marshall (Jenkins) as a safehouse for a key witness. However, before even meeting them, she finds herself on the wrong end of a shotgun being wielded by a wounded woman. While fleeing that, she discovers a corpse in the next room. 

It is, sadly, more or less downhill from here, in terms of a plot, with the film almost willfully concealing relevant details from the viewer. This simply allows us the chance to ruminate on the ludicrous central idea. Specifically, that the best place to hide a cartel witness is… right by the Mexican border. In a house which just happens to have a smuggler’s tunnel exiting in it. And when things go pear-shaped, don’t bother to call in reinforcements, or anything like that. Mind you, Carla’s actions don’t exactly make much sense, right from the point she pops out of the tunnel like a cork, and just kinda hangs around, rather than high-tailing it to anywhere else. It’s not as if she’s being chased by the carte… Er, never mind. 

This is a shame, since some of the other elements aren’t bad. The performances do the job, and Street seems to have a decent amount of directorial talent, shooting the action in a way that is energetic without being hyperactive. Carla isn’t an especially action-oriented heroine, yet she shows plenty of courage, and empathy for those she ends up nursing (though the medical elements are probably not a strong suit!). Other female characters do more, such as the blonde cartel sharpshooter who shows up for the final assault (top). She’s cool. In the end though, I think that my initial reaction – falling asleep – was probably an accurate assessment of the film’s overall quality, and I should have stuck to that.

Dir: Paul Street
Star: Alondra Delgado, Robert Seay, David Thomas Jenkins, Jessica Martin del Campo

Snatched

  By

★★½
“Everything comes to he who waits. Eventually.”

The title here seems quite deliberately a nod towards Taken, which similarly has an ex-government operative chewing up and spitting out bad guys, after they make the fatal mistake of abducting the operative’s child. In this case, it’s CIA operative Angela (Bozeman), who lost her husband Jason in murky circumstances, but subsequently put away Dmitri (Weber), the criminal mastermind responsible. Now, six years later, she can get on with living her life, bringing up son Jason Jr. (Cheatham), and hanging out with fellow agent Byron, who seems a possible husband replacement. Well, until Dmitri escapes from prison and starts killing off everyone he considers responsible for putting him behind bars.

Sooner or later – and as we’ll see, it’s not the former – that brings him into Angela’s circle, and ends up in him kidnapping Junior, with the aim of luring her into his (very well-appointed, it has to be said; I particularly liked the chandelier) lair. However, he doesn’t realize what he has done. Once this all gets going, it’s not bad. If hardly seeming an accurate portrayal of CIA practices, unless they’re utterly slipshot and incompetent, it’s kinda fun as long as you don’t ask awkward questions. Such as, where the heck does Angela get those groovy remote-controlled gun-toting little cars? Was Andy Sidaris having an estate sale? Dmitri also has a groovy bad-ass sidekick, Sophia (Camille Osborne), though her fight with Angela is disappointingly brief.

The problem is mostly the long, meandering, roundabout and largely uninteresting way in which the story gets to the amusing stuff. The first half or more is largely comprised of extremely conversational scenes of merely passing interest. In these, Angela talks to Byron about wanting to retire. Or talks to Junior about the realities of her career. Or talks to her mother, Carolyn (Hubert), about her not really a relationship with Byron. Dear lord, it’s far from the action-packed trailer, and you would certainly be forgiven if you gave up on all this soapy drama. Though I was eventually entertained by Carolyn’s ability to kick ass in a grandmotherly way, like Pam Grier on an AARP outing. At least until she encounters Sophia, anyway.

The score above is likely a composite, with two stars for the first half and three for the second, when things do reach an acceptable level of entertainment. Bozeman seems better known as a singer, but does a decent job of portraying the highly upset mother, and has a terse style of close-combat that is effective. On the plus side, it is quite gory, with a number of head-shots and other fairly graphic deaths. On the minus side, these are mostly CGI, as is apparent from the blood spray never landing on anything in the environment. You probably want to have something on hand for the sluggish early proceedings: either a good book, some snacks or an alcoholic beverage would all serve that purpose.

Dir: Chris Stokes
Star: Veronika Bozeman, Charlie Weber, Jered Cheatham, Janet Hubert

The Swimmers

  By

★★
“Sink or swim.”

This is the story of Syrian sisters Yusra Mardini and her sister Sarah, played by real-life sisters Nathalie and Manal Issa. Growing up, they were trained by their father, a professional swimmer himself, and had the goal of reaching the Olympics for their country. The (still ongoing) Syrian Civil War led to the sisters leaving their homeland, and this is mostly the story of their journey, through Turkey, across the Mediterranean in a very flimsy dinghy to Greece, then across Europe to Germany. It’s a journey fraught with peril, on which predators looking to scam migrants (or worse), lurk at every turn. However…

I don’t typically like to get political here, but when a film explicitly does, I will go there. I have every sympathy for refugees, who want safety. But once you leave your home country and reach a safe destination, that’s it. If you then decide to move on – making a beeline for a country where lax immigration laws let you pull the rest of your family with you – you’re not a refugee, you’re an economic migrant. My sympathy for you drops a whole order of magnitude. It’s like if your house burns down, I feel sorry for you. It doesn’t give you the right to move into the neighbourhood’s swankiest residence. Most of the film’s attempts to pull on my heartstrings failed due to this. As soon as the sisters left the Turkish beach, they were 100% responsible for putting themselves back in danger.

Rant over. What about the film? It’s a bit of a mixed bag. Having sisters playing sisters definitely works. Especially at that age, this is the kind of relationship which is hard to simulate for teenage actors. There’s a genuineness here, for obvious reasons, which makes the family devotion at the film’s core, easy to see and appreciate. Less successful is the apparent random switching between languages. Many conversations occur in a hodge-podge of English and Arabic. While I can’t speak to the authenticity of it, as a viewer, it was jarring to switch repeatedly from listening to reading subtitles. I ended up basically tuning out the dialogue and sticking with the subs.

I appreciate the necessity of bending the facts to fit a cinematic narrative, but this probably goes too far. It’s one thing to have Yusra overhear snark from other competitors about how she doesn’t deserve to be there. But maybe avoid this when the movie then omits to mention the only swimmers she beat were, basically, other charity cases? The Olympic Selection Time was 60.80 seconds. Mardini finished in 69.21, and even her personal best is more than five seconds off the OST. The awkward truth is, she really did not deserve to be there, but few are greater at virtue-signalling than the IOC. It all feels like there are probably better refugee stories which could have been told. All the gloss this applies to its tale. can’t disguise that it is uncomfortably close to well-made propaganda.

Dir: Sally El-Hosaini
Star: Nathalie Issa, Manal Issa, Ahmed Malek, Matthias Schweighöfer

The Secret Weapon

  By

★★★½
“Woo’s the boss.”

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

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

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

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

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

Scorned

  By

★★★½
“Hell hath no fury, like…”

RIP James Caan. I mention his passing, because by coincidence I watched this the same day, and there are a couple of nods to Misery, one of Caan’s most famous works. There’s a character called Mrs. Wilkes, and we also get an explicitly acknowledged re-enactment of that scene. You know the one. That aside, I’d be hard pushed to call this a good film, yet I can’t deny I largely enjoyed it. It feels like an influence on Knock Knock, and if perhaps not quite coming up to that mark, it’s only marginal below, and I’m still a sucker for a full on, scenery chewing psycho bitch. In Sadie (McCord), we certainly get one.

She and boyfriend Kevin (Zane) are starting a romantic getaway in a remote cabin. Well, that’s his plan. Sadie’s is rather different, having found incriminating text messages on his phone – worse still, to her best friend, Jennifer (Bianca). Not helping matter: Sadie recently discovered she was pregnant, and out of concern for her unborn child, stopped taking her lithium and anti-psychotic meds. Kevin wakes to find himself tied to a chair, with some very awkward explaining to do, and Jennifer is being lured to the cabin with a not-so-genuine text message saying Kevin had split up from Sadie. Adding to the mix, a scary looking convict (Drucker) has just escaped from the prison just down the road, and is headed in their direction.

There’s one scene where I fell… well, I won’t say in love with the movie, but I’d not mind a one-night stand with it. It’s when Sadie has Jennifer and Kevin tied to the bed. She drags a microwave in there too, slaps Sadie’s pet in there and demands Kevin go down on his other woman, “or I will start this microwave, and her little doggie will cook from the inside out.” No, seriously. It’s clear that this film is not to be taken seriously, and the three performances at the core are perfect for that, with Zane and Bianca dead-panning their way through the carnage, playing the straight man and woman to good effect, in contrast to McCord’s over the top, dramatic excesses. For she is going to make Kevin and Jennifer pay for their betrayal. PAY, I tell ya!

Turns out she was brought up in a mental facility and given electroshock therapy, after an incident when she was 12. She is, in essence, the poster child for “Don’t stick your dick in crazy.” Which makes it all more fun to watch her tormenting the errant couple for their sin. It all builds, inevitably, to a climax which is just as gloriously silly. I mean, who keeps a loaded spear-gun on their sideboard? Kevin, meanwhile, is moving with the agility of a gazelle, considering what happened to his ankle previously. All that said, I genuinely didn’t know who would survive at the end. I’ll say it again: I enjoyed this considerably more than I would necessarily recommend it, and the rating above reflects the former.

Dir: Mark Jones
Star: AnnaLynne McCord, Billy Zane, Viva Bianca, Doug Drucker 

Snowbound

  By

★★
“Snow up to much…”

Though not formally listed on the IMDb as a made for television movie, it has all the hallmarks of one, down to what look suspiciously like pauses into which commercial breaks could be inserted. It’s the story of work colleagues, Liz Bartlett (Schnarre) and Barbara Tate (Eleniak). The former is attacked in the company’s parking garage one night, and confesses to her friend that her former husband is stalking her. She fears for her life, having helped put him behind bars. So what is the most sensible thing for the pair to do in these circumstances? If your answer is, “Head off to a remote mountain cabin, in the middle on an impending blizzard”, give yourself two points.

Unsurprisingly, this does not work out well, and you can more or less tell where this is going, from the moment when the cabin’s host says “The owner was very specific about this: do not go into the gun cabinet, it’s in the lease.” Liz and Barbara will be getting a two-star review on their profile, because you should not be in the slightest bit shocked to hear, they do end up going into the gun cabinet. For it’s not long before sketchy characters start harassing Barbara in town, and we also learn that Liz was considerably less than forthcoming with the truth to her supposed BFF. This isn’t a surprise – at least, to the viewer – since we had previously seen her take a case of “camera equipment” on the trip, which we know actually contains a gun and a large amount of cash.

It’s all very much by the numbers, the overall vanilla flavour not helped by two leads who manage to look somewhat pretty, while creating almost nothing approaching memorable characters. Heck, I’d have settled for a depth roughly approximating the alleged snowfall. I say “alleged”, since considering there’s a supposed blizzard in action, sealing them off from the rest of civilization, I’m not sure I actually saw a single flake fall from the sky over the duration of the entire movie. It takes about an hour for Barbara to catch up to what we the audience already knows, and for the ex-husband to appear at the cabin.

Things do get at least somewhat interesting thereafter, with Barbara being forced into steps significantly outside of her comfort zone, in order to stay alive from those in pursuit of her. She’s helped by the fact that the pursuer may not exactly be the sharpest tool in the box, and engages in acts which certainly end up back-firing on them. It’s still all low-impact stuff generally, and not enough to distract you from Eleniak’s resemblance here to a slightly less wholesome version of Meg Ryan. Don’t expect anything along “those” lines either; again, I strongly suspect this was intended for Lifetime, rather than late-night on Cinemax. I’ve already forgotten about it, and feel no great sense of loss thereof.

Dir: Ruben Preuss
Star: Erika Eleniak, Monika Schnarre, Peter Dobson, Bill Mondy

Saving Karma, by Reid Bracken

  By

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

On Amazon, this is subtitled, “A full-throttle Thailand thriller,” but that’s a little bit of a misleading label. The bulk of the story – at least, the bits that matter – actually take place in China. The book itself goes with “A full-throttle thriller throughout Asia,” Except it starts off in the not-exactly Asian setting of San Bernardino, California, where Bree Thomas is just about to graduate. This is despite the problems of her adopted family, who she was sent to live with after her parents were killed in Thailand. She gets a chance to escape it all, in the form of an apprentice program with the Meng Foundation, a charitable group who help refugees around the world.

Of course, it’s not as simple or easy as it seems. The apprenticeship requires an extremely harsh training regime in the Asian jungle, which really puts Bree through the wringer, though she bonds with another recruit, Japanese girl Nikko. When they come out the other side, they begin the work, including liberating people who are basically slave labourers in a Burmese jade mine. They are then given new lives in an isolated city, New Lingyang, which the Meng Foundation has taken over in the heart of China. Except Bree gradually comes to realize that it’s not the charitable endeavour it initially appears, and there’s a very unpleasant underlying agenda at work.

This started out on shaky ground, with the early stages a shallow portrayal of Bree as little more than a victim. However, once the story took her out of the conventional high-school setting, she becomes a more laudable character, and things improve considerably. There are a few elements which did stretch plausibility too far for my tastes. I really cannot see the CIA director getting her hands dirty in quite the way described here, taking part directly in actions which would never pass congressional oversight: “plausible deniability” is an actual thing. And Bree’s method of escape from the final peril… Well, let’s just say my thoughts echoed those of a character who exclaimed, “Are you fucking kidding me?” on seeing it.

If you can get over those hurdles and accept the premise, you’ll find a solid enough story. It really accelerates in the second half, becoming almost non-stop as Bree figures out the truth behind New Lingyang, and goes on a near-suicide mission to stop it. I also appreciated the irony that she is using skills the Meng Foundation taught her, as well as their resources, in order to take them down. The book does end on a revelation that had me going “Eh?” as much as anything: it doesn’t make much sense at this point. This was clearly intended as an opener for a series, but so far, is the only book by the author – the sequel was supposed to be released in “early 2021”. Maybe we should blame COVID. After all, the Chinese authorities aren’t exactly portrayed very favourably here…

Author: Reid Bracken
Publisher: Independently published, available through Amazon, both as a paperback and an e-book

Scarlett Cross: Agents of D.E.A.T.H

  By

★★
“Hot, Cross buns.”

To be honest, I enjoyed this a good bit more than the rating above would indicate – probably another star or so. But I have a particular tolerance for cinema with rough edges, which I know not everyone will share. This is such an entity. I can’t really recommend it, since most people won’t be able to get past the micro-budget anesthetics, which the film rarely bothers even to try and hide. But I could appreciate the obvious passion that went into this. Put it this way, if I had twenty quid with which to make a movie, it could end up looking something like this. Probably not with such a kick-ass poster though.

I suspect we credit Meadows there, since it seems he did everything else. Specifically, he wrote, directed, shot, edited, produced this and was stunt co-ordinator too. Plus he plays foul-mouthed gangster Danny McQueen. Unlike most such cases, there’s no obvious deficiency in any of these areas. It’s all adequate: if there’s a weakness, I’d say it is the audio, which is especially weak in the fight sequences. “Seventies kung-fu movie” bad. Mind you, the fights themselves occasionally are two people, clearly trying to hit each other’s weapons, rather than the opponent. On the other hand, there are times where things do come together reasonably well. The titular heroine (Clatworthy) looks the part and seems competent enough for a job as an assassin working on behalf of the British government… Or is she?

The story-line beyond that is kinda fractured. It’s described as an anthology, and there do appear to be various “chapters”, which are or more or less loosely connected to Scarlett’s quest for her own identity. And her survival, since it seems that some parties are keen to dispose of her, because that whole “identity” thing poses a potential threat to said parties. There’s a side-plot about a woman who is seeking revenge for all the abuse she suffered at the hands of the church, which does at least give us the immortal line, “No, I’m deadly serious. We’re dealing with a fucking killer nun!” This kind of self-aware sarcasm is likely when this is at its most effective.

This needs to embrace its exploitative elements to a greater degree, though I wonder if the version I saw (on Tubi) was edited. I did read one review which said, it “opens rather salaciously with a truly bizarre, literally titillating, yet oddly engaging fight sequence, not for the children. In fact this movie if rated would probably be an NC:17.” Not the movie I saw. One rather chaste shower scene was about the extend of the mature content, and the violence – lots of digital muzzle-flash – is along the same lines. That CGI does play against the grindhouse aesthetic for which Meadows is definitely aiming, down to the fake film scratches. As a debut, however, this is not without premise, so let’s see where he goes from here.

Dir: Dean Meadows
Star: Kat Clatworthy, Maria Lee Metheringham, Tayah Kansik, Hannah Farmer