Tag: s

Steele Wool

  By

★★★
“Puts the ‘hard’ in hard of hearing…”

Daphne Wool (Varela) has finally had enough of her abusive husband, so has killed him, chopping up the corpse and keeping it in a storage locker. Which actually is a good thing, because it turns out he was wanted by the Mob, and there was a price on his head. For their “help” in carrying out the hit, Daphne and pal Tony Steele (Cappello) are rewarded, but things go further. Daphne becomes a full-time assassin for the gangsters, learning to kill with everything from a paper-clip up, while Tony acts as her facilitator. However, they quickly become a liability to the organization, and are given a “poison pill” contract, being sent to kill weapons inventor Vincent McCabe.

The approach here is very much light in intent. Witness how Daphne’s training is largely watching movies like La Fille Nadia [sic], or the way in which she does, in fact, use a paper-clip as the instrument of one target’s demise. The film does a decent job of countering this with an awareness that this is a dirty and unpleasant business, as when she visits (from a distance) the widow of a target and their now fatherless child. It is a difficult balance for a movie to strike, and I’m not convinced Cappello gets it right, resulting in some awkward lurches in tome from the comedic to the supposedly heart-felt. Both come off a bit flat: I never got past a wry smile, and was never completely engaged.

This is not Varela’s fault, nor that of her character. Daphne is played gloriously against all the tropes of the female assassin: it’s no coincidence her most effective undercover disguise is an estate agent. Add to this, Varela is deaf: this element affects, yet does not define, her character and that’s exactly the way disability should be portrayed. It is even worked nicely in to the plot, with one of McCabe’s weapons in development being a sonic cannon. However, I’d like to have seen more of her in action; perhaps for budgetary reasons, this is limited, or perhaps Cappello just wasn’t interested in that aspect.

This brings me to the other issue: Cappello the director is too much in love with Cappello the actor. The latter wears out his welcome well before riding to the rescue of the supposed heroine, in McCabe’s underground lair. This is a shame, since Daphne is such a gloriously unconventional character, the reverse should have happened. Tony is never interesting to begin with, the script (also by Cappello, naturally) forgetting to give him any particular reason to exist, beyond Daphne needing someone to talk to. Having him become the hero for the finale, feels forced and unnatural. This is not enough to derail an excellent concept, or negate what I think is likely only the second disabled action heroine on this site, after Ready, Willing and Able. Yet it’s definitely a pity.

Dir: Frank A. Cappello
Star: Cami Varela, Frank A. Cappello, Nicholas Ontiveros, Arina Manta

Sister Wrath

  By

★★★½
“Nun-conformist”

I think it’s safe to say you’ll probably be able to decide within a few minutes, whether or not this is your cup of tea. The opening scene is set in a strip-club where the next act on the main stage is dressed as a nun. After a couple of minutes, she pulls out an unfeasibly large weapon from under her clerical garb, and guns down the mobsters present, in gory fashion. Thereafter, you can expect more of the same, along with extremely savage jabs at organized religion. Catholicism is the main target, but Judaism and Hinduism get their share of jabs: for example, Gandhi is a martial arts teacher. Or there’s a Yiddish hitman, Viper Goldstein (Lavallee), who practices the art of “Jew Jitsu”. If you just roll your eyes at that, this is likely not for you. However, if you roll your eyes and also laugh, then you, like me, may be the intended target audience.

The heroine is Kelly (Nicklin) an aspiring nun with a bad temper, who ends up enrolled, not entirely willingly, in the Order of the Black Habit – though surely Order of the Bad Habit would have been an even better name? Whatever… They are a group of fighting nuns, each named after one of the seven deadly sins. Unsurprisingly, Kelly becomes Sister Wrath, and joins her colleagues, such as Sister Pride (Cipolla), in taking down the criminal empire of Momma Rizzo (Tretheway, shamelessly channeling Shelley Winters in Bloody Mama). Momma isn’t going to sit back and let that happen, however. After her own goons prove not up to the task of taking on the Black Habit, she brings in Goldstein and his Ninja Throwing Stars of David, to escalate the war. With the help of a mole inside the church, he kidnaps Sister Pride, in order to lure Wrath and the rest of the nuns into a trap.

There’s a lot of glorious invention here, not least the remarkably catchy musical number in heaven, which rivals the one at the end of Monty Python’s The Meaning of Life. [In one of the film’s rare subtle moments, the same actor is here playing both Jesus Christ and the Devil] It’s gory and foul-mouthed, though for whatever reason, remains remarkably chaste: the stripper in the opening scene is wearing pasties. Likely only a lack of the necessary gratuitous nudity prevented this from getting a seal of approval, because the rest of it is right in my wheel-house of poor taste. Cameos from Debbie Rochon and Lloyd Kaufman – again, if you don’t know who they are… – only add to the sense of fun. The latter plays the Pope, who shows up late to absolve everyone of their sins. If not quite reaching the dizzy heights of post-grindhouse classics like Hobo With a Shotgun, it’s one of the rare cases where a B-movie genuinely lives up to the promise of its poster.

Dir: Richard Griffin
Star: Sarah Nicklin, Alexandra Cipolla, Rich Tretheway, David Lavallee Jr.
a.k.a. Nun of That

Siren of the Muncy Hole, by James Halpin

  By

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

The main theme of this book appears to be, “How far will a mother go, to protect her daughter?” Based on what we read here, the answer to that question appears to be, “Very, very far.” The heroine is Sherica Daniels, who initially appears to have somewhat lucked out and escaped a nasty and abusive relationship. Her husband, drug addict Roy, has just died following a pair of botched armed robberies. That should leave her and teenage daughter Ashlynn to get on with their lives. Not so fast. For it’s only a short while before Roy’s drug dealer, Tokie, shows up. He’s demanding Sherica pays her husband’s debt – and more, because he believes she knows where the unrecovered loot from Roy’s robberies was hidden. When she fails to convince Tokie otherwise, he abducts Ashlynn.

The police are limited in what they can do, for Ashlynn has substance abuse issues of her own, and tells the authorities she wasn’t kidnapped. Sherica knows otherwise. She sets out to track down and rescue her daughter, from a man who turns out to be not just a drug dealer, but also a pimp. Though how do you rescue somebody who doesn’t want to be rescued? Especially when you have no experience, few resources – though Sherica does have her late husband’s .357 Magnum – and your only ally is a gas station clerk, a refugee from the Yemen. The answer is mostly tenacity: the heroine simply won’t sit back and accept any other outcome, except for getting Ashlynn back.

The style here is occasionally a tad clunky. I found myself having to reread some sentences several times to figure out their meaning, such as, “After all, you can’t live your life thinking back about what you should have done if only you’d known something you could never have known in the first place. You just can’t.” Uh… Sure, I guess? Despite the cover, it is also very restrained on the action front. There is only one such sequence, and most of its content unfolds over little more than a minute in real-time. Though it is spectacularly gory, and partly makes up for in intensity, what it might lack in duration.

The book’s main plus point is probably the character of Sherica, who is not your typical heroine. Her situation largely sucks, mainly as a result of poor choices, yet Halpin still manages to make her sympathetic. The fierce devotion to her daughter, and desire to give Ashlynn a better life, goes a long way in this regard. While told in flashback, there are hints at the downbeat way things will turn out throughout and the significance – indeed, even the meaning – of the title only becomes clear at the end. I’m not entirely convinced a situation like this would [and I’m skirting spoilers here!] conclude in the manner described. Yet it’s just plausible enough, and this is more about the journey than the destination.

Author: James Halpin
Publisher: Amazon Digital Services, available through Amazon, both as a paperback and an e-book
Standalone novel

Silent Dove

  By

★★★
“Flips the bird at the bad guys”

While obviously cheap, and occasionally laughable, the straightforward nature of this helped it remain generally entertaining. It’s not over-burdened with unnecessary plot complexities and this gives it a clarity of focus that works to its advantage. Dove (Atkins) is an assassin for the mob, but her boss, Teddy (Mensoza) wants her and her handler father (Sanford) out of the picture. So he begins setting Dove up to fail, giving her bad intel on a job, hoping that will lead to her death. She survives the unexpected scenario, so on her next hit, Teddy “forgets” to mention the presence of a young child, whom Dove ends up shooting as well as her target. That gives Teddy the excuse he needs to unleash his dogs on her and her father. But Dove is not going to be easy to eliminate, especially after Teddy makes it considerably more personal than business.

It’s the kind of film which would be quite easy to pick apart. The relationship between Dove and her father, for example, is so scantily drawn, you wonder why they bother at all, and there is also an odd flashback sequence to Dove being tortured. Was this some kind of origin story? It’s purpose is never made clear. There are gaffes and mistakes to be found, if you try. After killing the child, Dove’s gun suddenly vanishes between shots, and later there’s a bizarre moment where she sews up a wound in her arm through a bandage. As you do…? Most of the mobsters are hardly convincing in their roles, lacking the necessary sense of threat you’d expect from them, and quite why Teddy feels so compelled to get rid of Dove, since she’s clearly more competent than any of his operatives, is not explained to any satisfactory level.

And, yet…. Probably the biggest compliment I can give this is, if I made a girls-with-guns flick, it would probably look not too dissimilar to Silent Dove. For example, the script is not lumbered with any unnecessary romantic angles. Atkins’s performance, while so low-key as arguably capable of being called flat and disinterested, somehow seems perfectly fitting for her role, capturing someone who appears to be emotionally dead inside (which may be part justification for the flashback sequence?). Though relatively long, at 105 minutes, there didn’t feel as if there was any real amount of slack, in the way of unnecessary scenes, and it has at least one memorably imaginative kill, involving a significant quantity of sulphuric acid.

The bottom line is, I was always kept watching, and was never bored, even if it was generally fairly obvious where things would end up. It more or less does, though there’s a pleasant final twist that I did appreciate. Filmed in ten days on a budget of $15,000, the makers have put the whole thing up on YouTube, and I’ve certainly seen far worse movies given away for free there.

Dir: Paul Dupree
Star: Chelsee Atkins, Johny Mendoza, Gary Brumett, Malcolm T. Sanford

Stolen Future, by Cameron Coral

  By

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

A woman wakes up in a bedroom, with no knowledge of where she is, how she got there, or even who she is. Gradually, she (and the reader) find out the answers to at least some of those questions. Her name is Diya, and the bedroom is on Luna, which has now been settled and colonised by humanity. That’s the simple part. The rest? It’s complex. But is summary, she is a cyborg, created as part of a black budget research project by the NeuroDyne Corporation (Earth’s biggest employer – they basically own Iceland). An employee who had moral qualms about the scheme, smuggled Diya off-planet, stashing her with his blind sister Terry and a robot caregiver. But NeuroDyne aren’t letting their investment just walk away. 

It’s a bit of a slow-burn. While there’s no doubt that Diya has been significantly upgraded in a number of areas, her new talents are only gradually revealed. She doesn’t even leave the apartment until about a quarter of the way through, and that’s only briefly, to rescue Terry from some street thugs. The heroine does eventually head off on her own, seeking more information on the streets of Luna, with the help of a memory hacker called Ryken. However, that puts her firmly on NeuroDyne’s radar, who send another cyborg, called a Scyther, to track Diya down and bring her back. It won’t take “No” for an answer, and the company’s power gives their minion an almost unfettered lack of responsibility. 

It feels like Battle Angel Alita is definitely an inspiration, with both having a human-machine hybrid as a heroine, seeking her own identity in a futuristic, urban environment, and starting from a “blank slate”. The world Coral creates is quite detailed, and it’s nice that it is one we discover alongside Diya. This future is clearly one where corporations hold power, though in this volume at least, we only scratch the surface of their influence. That partial nature was, I think, my main complaint. Ending on a cliffhanger is one thing, yet this feels like almost nothing of significance has been resolved. For example, we barely know anything about Newt, the employee who freed her, or why he vanished from the apartment.

To be frank, it’s all a bit less than satisfying. I was left with the impression that the story was just about to get going, when I turned the (virtual) page to see “End of Book 1”. It feels like it wouldn’t be too hard to skip this entirely, start with the second part, and get to the meat of the action. This probably involves Diya realizing her true potential, working out what happened to Newt, and (if my instincts regarding the usual approach in this kind of thing, are in any way accurate) taking the fight to NeuroDyne. I think I am fine just figuring out the rest of the story on my own.

Author: Cameron Coral
Publisher: Independently published, available through Amazon, both as a paperback and an e-book
1 of 3 in the Cyborg Guardian Chronicles series.

See For Me

  By

★★★
“Wait Until After Dark”

Yeah, as the above might suggest, this owes a rather large debt to Wait Until Dark, with its central theme of an attractive, blind protagonist threatened by home invaders. It is not the first to have gone down that road (see also In Darkness), and I must say, the concepts here are considerably more contrived. However, the film does just about enough to sell them, to make for an entertaining end product. The heroine Sophie (Davenport) was a promising skier until a degenerative eye condition ended her career, leaving her almost totally blind. Now, she’s rather grumpy, frequently berating her mother (Brown), and picking up occasional house-sitting gigs, engaging in small-scale larceny against her employers to fatten the paycheck. 

Her latest such position turns unpleasant when a trio of thugs, under the direction of Rico (Coates), enter the house, seeking a large stash of cash hidden behind a panel. They are as surprised by Sophie’s presence, as she is by theirs. You’d think this would be a quick, one-sided struggle. But Sophie has an ally, in the form of the titular app. It connects her with a seeing helper, typically for assistance with humdrum daily tasks, and the helper in this case is former army member Kelly (Kennedy). Between her military training and fondness for first-person shooters, she knows a thing or two about creeping stealthily around a house, and taking out enemy targets – skills she’s happy to use to assist Sophie. 

What’s at least somewhat interesting, is that Davenport is legally blind. This seems an ongoing trend. While it makes sense, considering Hollywood’s recent obsession with “authenticity” in things like gender identity, I’m always reminded of the famous story about Dustin Hoffman and Lawrence Olivier from Marathon Man – “Why don’t you just try acting?” It’s also notable that she’s not your typical heroine. Indeed, she arguably borders on the unlikable, between her abrasive attitude and petty thievery. Though some other reviews I’ve read suggest that severely weakens the film, I can’t say I minded too much. My bigger concern was a plot that teetered almost forever on the edge of implausibility, e.g. the way Sophie’s phone battery went from 20% to zero in a couple of minutes. While there was nothing utterly outrageous, all these micro-implausibilities added up over the course of proceedings. 

Within those constraints the film still had some successes. The best sequence probably had a police officer show up, with Sophie trying desperately to get the cop to go away. This screwed the tension level up considerably, with the officer insisting there was more going on than Sophie would admit. Thereafter, it does degenerate somewhat into lots of creeping around dark corridors. Or, at least, the level of dark corridors movies tend to have, which are just enough well-lit for a camera, and thus the audience. If the ending abandons the film’s titular concept, and probably provides the cherry of implausibility, the cake as a whole remains adequately edible. 

Dir: Randall Okita
Star: Skyler Davenport, Jessica Parker Kennedy, Kim Coates, Natalie Brown

A Serial Killer’s Guide to Life

  By

★★½
“Too politely British for its own good.”

Lou Farnt (Brayben) is stuck in her life, with a dead-end job, no apparent friends to speak of, and still living with her domineering mother (Ball). She seeks escape from one self-help guru after another, spending her money on their books, DVDs and audio-tapes, though with little or no apparent positive results. Then, she meets the unconventional Val Stone (Roe), who lives in a seaside caravan and promises to change Lou’s life forever. After some qualms, she agrees to depart with Lou, who does indeed deliver on her promise. For, as the title suggests, Val is a psychotic if smart killer, who is specifically targetting those same gurus. Either she regards them as a curse on humanity with their vapid schemes, or she simply wants to dispose of the competition.

It seems clear that writer-director Roe holds a strong, likely personal grudge against self-help tutors, in order to create a movie which is largely based on showing their flaws, and then killing them off. This isn’t a cause I particularly care about: if not my cup of tea, I’m sure some people find them helpful. So this naturally limited my buy-in to the concept here. Kill off social media “influencers,” reality TV celebrities or Los Angeles Dodgers fans, and I’d be right there with you. Motivational speakers? Meh. It is somewhat amusing how naive Lou is, in regard to Val’s extra-curricular activities, and how long it takes her to realize she is taking life advice from a psychopath.

When she does, her reaction is little more than a shrug, admitting it feels quite empowering to kill. The movie really needs to buy into this concept considerably further, rather than gently nodding its head. The likes of Killing Eve have shown even we British can engage in a gleeful embrace of the darker side of things. The script here is simply too gentle for the subject matter, not least with much of the violence happening off-screen. We never get much insight into what makes it particularly empowering, since there’s no sense of catharsis for Lou. These aren’t people who have wronged her in any way, more than the most superficial. Unless “being annoying” is a capital crime? In which case a lot of people are in trouble…

I enjoyed Roe’s performance, which does have much of the same failure to give a damn as Villanelle in Eve. But how much you get out of it may depend on two things. Firstly, how long you see the end twist coming before it’s announced. Note: not if, when. For it’s one that most viewers will see coming, especially if they are familiar with a couple of cult movies from 1999 and 2003, the latter reviewed here. The other issue is how much this bothers you. Personally, less than I’d have expected. Though that may reflect the film’s general lack of impact. It feels like the kind of horror-comedy which would rather invite you in for a nice cup of tea than horrify you.

Dir: Staten Cousins Roe
Star: Katie Brayben, Poppy Roe, Ben Lloyd-Hughes, Sarah Ball

Shark Huntress

  By

★½
“Eco-garbage.”

I’ve previously talked about – OK, “ranted” may not be inappropriate – the perils of message movies. But I did wonder whether it was the specific content to which I objected. Would I dislike a film so much, if I was on board with its strident message? On the evidence here, I can confidently state: hell, yes. For this is painfully earnest and hard to watch, much though I agree with the environmental topic, that humanity’s use of plastics are threatening the oceans. An alternative needs to be found. By which I mean, I strongly suggest you find an alternative to watching this movie. The poster has clearly strayed in from a far more entertaining offering, and bears little resemblance to what this provides. 

The heroine is Sheila (Grey), who heads out to a Pacific island, after the disappearance of her mother. The body turns up, showing marks indicating she was eaten by a great white shark. Which is odd, since they’re not found within a thousand miles of the place. Sheila comes increasingly to believe the attack was not a natural occurrence, but engineered by “the plastic people” in response to her mother’s research, which threatened their business. She wants to kill the shark in question, but also expose the truth behind it, and make those responsible pay for their actions. To that end, she teams up with a group of like-minded ecowarriors, to investigate the company. Naturally, the target isn’t just sitting back and letting their nefarious machinations be exposed. 

There is the germ of an interesting idea here, along the lines of Moby Dick, only for it to be ruthlessly strangled in incompetent execution. Far too much time is spent pounding home the message about waste, which should have been used to develop the plot. There is no real antagonist, just an all but faceless corporation, whose actions make little or no sense. I mean, if you want to get rid of somebody, your plan is flying a shark thousands of miles, letting it go and… hoping it eats the target? Later, they’re quite happy to take someone out by more conventional means. Meanwhile, rather than being any kind of shark huntress, it takes Sheila over 65 minutes before she goes past her ankles, anywhere except a hotel swimming-pool for lessons in Diving 1.0.1.

I didn’t mind Grey, despite English not being her first language: there are occasional moments of effective emoting, such as her mother’s funeral. The photography is occasionally good, though the film desperately needs better colour matching. The problems are… everywhere else, such as a supporting character who literally says things like “thumbs-down emoji”. Or an ending of staggering abruptness, which involves a stabbing with a pen and a conveniently passing shark, while low-key elevator music plays in the background. I must admit, long before we reached that point, I was hoping the shark would bring in some of its mates, and consume everyone involved with this, in one giant feeding frenzy. Spoiler alert: no such luck.

Dir: John Riggins
Star: Katrina Grey, Dean Alexandrou, John Flano, Russell Geoffrey Banks

Super Bitches and Action Babes, by Rikke Schubart

  By

Literary rating: ★★★
Kick-butt quotient: N/A

Subtitled, The Female Hero in Popular Cinema, 1970-2006, this is non-fiction, being a feminist – I guess, more post-feminist – analysis of action heroines over the time in question. It made for an interesting read, being considerably more dense than my typical reading material: Schubert seems to be aiming at an audience that already know what she means, with a good number of terms left unexplained in the text. Yet it was equally frustrating: for every section that had me nodding in agreement, there was one where I was at least raising an eyebrow, if not snorting derisively.Parts are incisive and smart. Others exemplify the worst excesses of ivory-tower academia.

The basic concept appears to be that action heroines fall into five archetypes: the dominatrix, the Amazon, the daughter, the mother, and the rape-avenger. Some may incorporate elements from more than one; Schubart makes the argument that The Bride from Kill Bill is all five, to some degree. To make her case, she looks at example of actresses who have made their careers in the genre, from Pam Grier through Michelle Yeoh to Milla Jovovich, and also specific entries such as Xena: Warrior Princess and the Alien franchise. There are some issues here: calling Pam Grier’s Coffy “action cinema’s first female hero,” is simply wrong. Even if you ignore silent heroines like Kathlyn Williams and Pearl White, who have admittedly fallen into obscurity, Cheng Pei-Pei is more deserving of the title for 1966’s Come Drink With Me. Schubart clearly knows of Hong Kong cinema, as her section on Yeoh indicates. So why no mention of Cheng?

Indeed, Grier is also called “the biggest, baddest and most beautiful of all female heroes in popular cinema.” While she undeniably deserves respect, I’d disagree with all three of those claims. There are some other gaffes as well, e.g. references to an Israeli fighting style called “krav manga“, which is presumably the art of hitting someone with Japanese comics. Or quoting Kill Bill as “Silly rabbit. Tricks are for kids,” and analyzing it on that basis. Perhaps Trix breakfast cereal doesn’t exist in Denmark? Or the assertion that Charlie’s Angels was guilty of “copying the martial arts wirework of The Matrix“. Um, wirework hardly started there, and in any case, that’s because they shared an action choroeographer in Yuen Wo-Ping? Other sections have not aged well, such as the blunt proclamation that “there is no historical evidence” as to the existence of genuine Amazons, and the analysis of Jovovich’s career as characters that “appear almost ugly with marked features, an androgynous appearance, and a hysterical behavior” does not stand up well from a current perspective.

On the other hand, Schubart is entirely willing to go against prevailing wisdom. For example, I can’t argue with her calling the much-derided Barb Wire “a shameless and witty remake of Casablanca” (though it gets scant coverage, considering its cover placement). She also defends Ilsa, She-Wolf of the SS, saying “My experience is that men who have enjoyed the ‘nauseating’ and ‘sickening’ pleasures of Ilsa have turned out to become quite normal social beings.” Guilty as charged. I must also agree – to the point that I’d like this on a T-shirt – when Schubart says, “A film is not better because it is politically correct, nor is it worse because it is politically incorrect.” In comparison to some academics, she seems utterly sane. She quotes one such scholar, the apparently borderline lunatic Richard Dyer, as saying “For the male viewer, action movies have a lot in common with being fellated.” Okay. Whatever, dude. Schubart, mercifully, largely avoids such excesses.

Largely, but unfortunately not completely, such as her claim that “Being a man is not an essence, but something which must constantly be tested and proved by, for example, raping women.” [Emphasis added] It is moments like that which do make it hard to buy into her analysis, since they appear to stem from a world-view incompatible with my own. Yet, Schubart would perhaps be fine with that, since one of the tenets of postfeminism she espouses, is a film can be read in different ways, depending on the reader’s experiences, and that all such readings have legitimacy. Seems reasonable to me: presumably the same applies to her book. That flexibility, and the five archetypes, are worthwhile elements here, which I’ll absorb going forward. “Men’s recognition of each other’s accomplishments rests on acts of violence”? Not so much.

Author: Rikke Schubart
Publisher: McFarland, available through Amazon, both as a paperback and an e-book

Stressed to Death

  By

★½
“Definitely a stress test.”

The concept here is intriguing. It’s just the execution – and the script in particular – which is bad. A robbery at a convenience store ends in the death of David, the husband to Victoria Garrett (Aldrich). She blames the paramedic on the scene, former soldier Maggie Hart (Holden), for the loss of her spouse, though the incident hits Maggie equally hard. She quits her job, raising daughter Jane (Blackwell) with her husband, commercial real-estate agent, Jason (Gerhardt). But Victoria hasn’t moved on – in probably the film’s most memorably loopy elements, she feeds her husband’s ashes to a pot-plant she calls David, to which she chats. She’s also clearly a believer in that saying about revenge being served cold.

For she waits a whole ten years after the incident, before putting into motion a plan for revenge, hiring a pair of thugs to kill Maggie’s family in front of her. Fortunately for her target, they’re two blithering incompetents – or maybe the script just makes it seem like they were acquired through the ‘Help Wanted’ section of Facebook Marketplace. Adding spice to the situation, she has hired Jason as her subordinate, and Jane turns out to have a crush on Victoria’s son. Complicating matters further is Maggie’s PTSD, which is naturally the movie-friendly version, only kicking in when required by the plot. It can also apparently be cured by violent trauma: specifically, someone hiring a pair of thugs to kill your family in front of you. What are the odds?

Even by the low standards of Lifetime movies, this is bad. It’s not just the script that is sloppy, the production includes a bike helmet suddenly appearing on Jane’s head, and a knife that teleports from the floor into Maggie’s hands. But let’s not kid ourselves: it’s mostly the script. I lost count of the points at which I sighed heavily. Probably peak sigh was achieved at the sequence where Maggie and Jane have been captured. The thug doesn’t just leave them alone, he falls asleep in the next room, allowing them to escape. Guess that whole thugging thing really takes it out of you. Worse, after the mother and daughter get away, they show no urgency at all, wandering around while chatting casually about Jane’s crush. Oh, look: they get caught. Again.

This all builds to a ridiculous excuse for a climax in a motel room, which ends with the police describing what happened to the chief thug. The only things that saves this from total disaster are performances generally better than the story deserves. Holden, in particular, does a decent job with her character, and actually, the chief thug is surprisingly sympathetic, when telling Maggie about his abused childhood. Or something. I expected better from Brian Skiba, an Arizona native who co-wrote this, and whose films Chokehold and .357: Six Bullets for Revenge have previously been reviewed here. While they weren’t great, they look like Oscar-winners beside Stressed to Death. I think I’m the one coming down with a case of PTSD after sitting through this.

Dir: Jared Cohn
Star: Gina Holden, Taylor Blackwell, Sarah Aldrich, Jason Gerhardt