Tag: USA

Queen of Cocaine (2023)

  By

★★★★
“Just the facts, ma’am.”

We’ve written about Griselda Blanco before. In particular, we reviewed telenovela La Viuda Negra, which was loosely based on her life and compared it to the facts. We also covered Cocaine Godmother, in which Catherine Zeta-Jones took on the role of Blanco in a bio-more-or-less-pic. She remains a fascinating character, so you won’t be surprised that when I heard about a new documentary concerning her life, it went straight to near the top of my watch-list. I was a little concerned, since it came out as a “Tubi Original”. I’ve been burned by some of these before, and so was expecting a lurid, shallow TMZ-style expose which played fast and loose with the truth. 

To my pleasant surprise, that’s not the case at all. Obviously, there’s a certain allure here, but it doesn’t needlessly glamourize or condemn its subject, and instead manages to do a good job of painting both sides, and depicting Griselda as a surprisingly complex character. This is particularly clear at the end, when her youngest son – named, amusingly, Michael Corleone – says of his mother, “Yes, it’s a legacy of violence. But she was a woman that had to become savage in a world that wasn’t made for her.” Then Detective Diaz, who headed the Miami task force charged with bringing her down, counters, “We have this bitch from hell who decides she wants to be meaner and more powerful than anybody else… Violence. Arrogance. Greed. That is her legacy.” Take your pick!

It covers Blanco’s entire career, from growing up poor in Cartagena, through her (illegal) emigration into America, where she got into the drug business, and built an empire which brought her a fortune estimated (likely conservatively) in hundreds of millions of dollars. With this came enemies on both sides of the law, but Blanco almost seemed to feel she was invulnerable, and continued acting with impunity, until first the authorities and then her foes, eventually caught up with her. They’ve got some very good interview subjects, with Michael in particular standing out. His description of how he witnessed his father being gunned down on a Colombian street is chilling.

Cops, journalists and even other criminals also chip in, and it’s edited skilfully together to tell a complex story with clarity. Another interesting character I’m going to have to look into is Jemeker Thompson-Hairston, the “Queen of crack” who served time alongside Blanco in federal prison. One of the key players in the eighties crack epidemic, she’s now an evangelist, and came over as very well-spoken and thoughtful. I do have to say, something about narrator Elena Hurst’s voice kinda grated on me. Perhaps it was the way she’d apparently adopt an outrageous Spanish accent, any time she said the subject’s name: “Greez-hel-dahh”. Overall though, this manages to be both informative and entertaining, even if it is perhaps helped by having a story it would be difficult to screw up.

Dir: Victoria Duley
Star: Michael Corleone Blanco, Bob Palombo, Raul Diaz, Dr. Amy Shlosberg

Homestead

  By

★★★
“Home on the (gun-)range”

This one does take a while to reach the necessary threshold: probably only truly qualifies for the final twenty minutes or so, though it does talk a good game until that point. Also, it’s a decent enough combination of Western and home-invasion genres to that point, to pass muster. Nothing special, mind you. It just knows its limitations and is careful enough to work within them. It takes place in the Old West. whee Beth (Bernadette) and her twin children, Brian and Irene (Betsy) now live with her new husband, Robert (Krause). The trio appear to have escaped an abusive relationship, and it’s not long after a railroad surveyor pays a visit, before Irene is cheerfully telling him, she’s going to go back and kill her father some day.

Turns out she doesn’t have to wait that long to carve some notches on her gun-belt. Because the “surveyor” is actually the advance scout for a gang of outlaws. for Robert wasn’t exactly an angel in his previous life either. He was part of a gang led by Ezekiel (Scurlock) and absconded with their loot. This bit of treachery has finally caught up with him, an his old associates are now ready to make him cough up the location of what they consider their rightful, if ill-gotten gains. They arrive one night, taking the family hostage in an effort to use them against Robert. However, they’ve forgotten about Beth, who has clearly had enough of this male nonsense, and in particular. Irene, who embraces wholeheartedly the opportunity to get some practice in for her future paternal reunion.

As mentioned, we do have to take a detour before the distaff side of the family take centre-stage. Robert and Brian are more or less useless. The former’s efforts to negotiate with his former pals go about as well as you would expect, and Brian is just no good for anything, especially after getting shot in the leg. This is retaliation for his sister stabbing one of the outlaws in the foot: in hindsight, they would have been much better off shooting Irene, considering she is the one who causes them no end of trouble, the deeper we get into the movie.

Eventually, for different reasons, Robert and Brian are no longer of significance, with first Beth and then Irene, finally getting the chance to show it was a fate mistake to overlook them. It’s a very good example of firearms as an equalizer. In a physical fight, they’d have no chance against men who are clearly much larger and more powerful. However, with a gun in their hand, and a steely resolve to use it in defense of their own survival, then strength is no longer a factor. How things unfold is mostly quite predictable, to be honest, yet is done with a reasonable amount of energy. and helped by performances which all feel like they are on the same page dramatically. All told, the ending justifies the means, I’d say.

Dir: Ehrland Hollingsworth
Star: Betsy Sligh, Jamie Bernadette, Brian Krause, Scot Scurlock

Fear The Night

  By

★★★
“Bows before bros.”

Director LaBute is best known around these parts for his ill-conceived remake of classic horror The Wicker Man, which is generally regarded as spectacularly bad,  and is probably best-known for spawning memes involving Nicolas Cage and bees. So expectations going into this were… not high, shall we say. On that basis, the three-star rating is something of a pleasant surprise, though most of the credit for this should got to its star, rather than the director. Tess (Q) is a veteran of the war in Iraq, who is struggling to reconnect to her two sisters. Rose is getting married, and is nice enough that Tess is willing to attend her bachelorette party at the family cabin, deep in the country. But Beth (Foster) is a straight-up bitch.

So Tess isn’t exactly having a good time. All the giggly gal-pals are not her idea of fun; between that and Beth’s sniping, Tess’s new-found sobriety is on thin ice. Such familial and mental health concerns are quickly rendered irrelevant, by the unexpected arrival of an arrow, right through the middle of one of the guests. Turns out a local group of drug dealers want inside the house, which up until the unexpected arrival of the bridal party, had been being used as a safe place to store their ill-gotten gains. All of a sudden, it’s less about cheeky appetizers, getting tipsy and male strippers, more like a no-holds barred fight to try and survive the night.

This isn’t exactly subtle: LaBute seems fairly obsessed with the battle between the sexes (something certainly an element of The Wicker Man), though here it’s more of an all-out war. Fortunately for the fairer sex: Tess is far and away the most competent of anyone here. This is established in an early, nice scene at a gas station where the women are being hassled by three locals. While Tess doesn’t exactly de-escalate the situation, it does a good job of establishing her background, and zero tolerance for anyone who disrespects her or the military. Of course, being Maggie Q, it’s no surprise when she can deliver, despite being severely outweighed by her opponents, in a crisp, crunchy manner that does not mess around.

Less effective are… Well, everyone else, to be honest. The villains, in particular, are a fairly mediocre bunch, who go down surprisingly easy, even when they end up going hand-to-hand with a bridesmaid rather than an annoyed veteran. For example, Mia (Crovatin) is chosen to try to make a break for a nearby house for help, having been a track athlete as school. When cornered by one of the men, the resulting bludgeoning is delivered from her end. Outside of their bows, the limited threat they present here definitely stops this from being all it can be, and the ending is more of a damp squid [on review, I’m letting that typo stand…] than Tess deserves to get. But Q is entertaining as ever, and helps overcome what sometimes feel like unnecessary attempts at social commentary.

Dir: Neil LaBute
Star: Maggie Q, Kat Foster, Travis Hammer, Gia Crovatin 

I am Rage

  By

★★★½
“Better living through abuse?”

By coincidence, I watched this not longer after the not very good Hunt Club, which covers a not dissimilar topic of women being hunted for sport. This, however, does considerably better with the concept, though it does take a while to get to that point. It begins with Erin (Bendz) going with her boyfriend, Adam (Nelson), to meet his parents for the first time. Also there is his brother and his new girlfriend, Sarah (Whillans). A few ignored red flags and a glass of drugged wine later, the two girls wake to discover themselves the latest in a long line of unwilling blood donors, ready to have their juices extracted and sold to the rich as rejuvenating formula.

And it works, too, as is proven by ageless matriarch Margret (Svetek). However, what the family don’t realize, is Erin is not the helpless victim they wanted. She had been abducted while very young, and subjected to years of horrific treatment, before escaping, brutally killing her kidnappers in the process. So this isn’t her first rodeo, and she’s not happy about it. Inexplicably – and this definitely had me rolling my eyes – Margret does not simply kill Erin, even after becoming fully aware of the threat posed, opting to make her one of the “rabbits” for the hunt. Later, Margret again has the jump on Erin, but opts instead for the old hand-to-hand combat thing. Guess how that works out for her?

Yeah, the story has issues. Such as this supposedly being set in Scotland (and it was indeed filmed there), where the family settled in the 19th century. Yet there’s no Scottish accents to be heard. I’m personally offended. To be honest, the basic concept sounds like some crazy conspiracy theory; if Margret had shape-shifted into a lizard person, I probably would not have been surprised. The notion of Erin being a ticking time-bomb reminded me a bit of Jolt, and its “intermittent explosive disorder”, though some more background might have helped. Perhaps Eric could have escaped from a psychiatric facility? It’s hard to imagine someone who committed multiple murders, even given the circumstances, simply being given a lollipop and released back into the community, with a pat on the head.

Fortunately, this kind of thing never relies on the story. We’re here for the carnage, and the film doesn’t hold back there, with only occasionally unconvincing CGI blood squibbing. The rest is full-on practical, with the heroine ending up wearing a full crimson mask – and it’s not her own blood. Most of the action choreography is solid, though there a few shots where the distances don’t quite match. But it’s nicely terse, with the highlight likely the fight between Erin and Margret in a disused churchyard. There’s some overlap of personnel with Army of One, yet this is notably better. Or, at least, notably more fun, and I’ll happily settle for entertaining nonsense over plain nonsense, any day.

Dir: David Ryan Keith
Star: Hannaj Bang Bendz, Antonia Whillans, Marta Svetek, Derek Nelson

Nemesis

  By

★★½
“Two’s company, Tree’s a crowd.”

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

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

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

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

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

Stowaway

  By

★½
“Doesn’t hold water.”

I had quite forgotten that Rose was part of John Wick: Chapter 2 in 2017. That should have been a gilt-edged opportunity on which she could have built over the following years to become a top action actress. But she managed to squander the chance, getting herself fired from Batwoman, and then making a series of largely unimpressive vehicles, which came and went without any impact. Perhaps it’s a symptom of insanity, in the sense of repeating the same action, hoping for a different result, but we keep reviewing them here. The Doorman, Vanquish and now this, which is certainly not going to rejuvenate anything. Its sole point of note is more or less it being a home invasion movie, which is set on a ship.

The heroine is Bella (Rose), who gets a call out of the blue, informing her that her long-estranged father has died, and left her a boat. This isn’t any boat either. It’s a $10 million, ocean-going yacht, much to her astonishment. Taking advantage of it, she crashes out on it one night. The next morning, she awakens to find it heading out to sea, the craft having been hijacked by her late father’s former associate, Meeser (Grillo), and his two henchmen. They are intent on breaking into the safe on board, which they believe contains $80 million in gold. Bella’s presence on the boat is just as unexpected to them, as they are to her, and threatens to pose a major problem in their plan to crack the safe and scuttle the ship.

This really does the bare minimum in just about every area. The villains are the Leader, the Psycho and the Nice One, while the only surprising thing about Bella is that she finds someone willing to have a one-night stand on the boat [really, that crew cut does nothing for me]. We get far too much creeping around the boat, though when the heroine does go toe-to-toe with one of these ex-military guys, she’s inexplicably able almost to match them. Though I did laugh at her response when she’s asked where she learned to fight, spitting back “Prisoner Cell Block H,” a joke likely lost on most non-Australian viewers.

It all proceeds in an utterly predictable fashion. Show Bella a picture of your family? You’re dead. Call the coastguard? You get a visit from Capt. Oblivious. The contents of the safe come as a shock only to Meeser and company, and once you’ve seen the explosives intended to scuttle the ship, there are no prizes for guessing things will end in a poorly-rendered and thoroughly unconvincing CGI explosion. Even Grillo, one of the more reliable of B-movie bad guys, isn’t able to do anything to sail this vessel out of the doldrums in which it quickly is becalmed. It begins to look like Rose’s career may be irreparably holed below the waterline, and is certainly sinking fast. I think that’s probably enough nautical metaphors for the time being.

Dir: Declan Whitebloom
Star: Ruby Rose, Frank Grillo, Patrick Schwarzenegger, Luis Da Silva Jr.
a.k.a. The Yacht

Under Lock and Key

  By

★★★
“From prison to fashion.”

I can’t recall seeing an action heroine movie with quite so much gratuitous nudity, even among the women-in-prison genre in which this (obviously, given both the title and the poster) operates – at least in the early going. It feels like there’s some kind of contractual obligation for a shower, medical exam or just an inmate randomly changing their clothes, about every three minutes in the first half hour. It’s helps that most of the residents appear to be incarcerated for crimes involving beauty parlours. Either that, or there is some kind of quality threshold applies for inmates. I should mention this does adhere to the standards of the nineties: and I’m not speaking about hair on the head, if you know what I mean.

It’s not entirely devoid of story-line, however, and there is an actual plot. Danielle Peters (Westbrook) is an FBI agent who has been sent undercover into the prison. Her mission is to get close to another inmate, Sarah Sands (Smith), who was the girlfriend of a drug kingpin, Carlos Vega (Anthony). Sarah still has a notebook containing compromising information, and Danielle is tasked with finding out its location. It doesn’t go well. Sarah is killed when the vehicle transferring them both gets ambushed, and to make matters worse, Vega kidnaps Danielle’s daughter as leverage. The whole undercover thing ends, with Danielle formally taken off the case. Naturally, she continues her investigation anyway – albeit after a long. hot shower – along with prison guard and new pal, Tina Lamb (Niven).

Let me be 100% clear. None of this makes the slightest bit of sense from the perspective of law enforcement or the penitentiary industry. Danielle’s wilful disregard for FBI procedure never gets her anything that a light tap on the wrist from her boss. And by FBI procedure, I mean the pair committing homicide (arguably justifiable), leading to this exchange with Tina:
    “What do we do with the body?”
    “I’ll call a friend, he’ll take care of it”
That’s not very FBI now, is it? Meanwhile, Tina doesn’t even call to let her employers know she’s going to be busy for a while, taking down an international drug lord ‘n’ stuff. Everyone involved, including their boss, is going to be faced with difficult performance appraisals, when it comes time for their annual review.

Plausibility very much aside, I can’t deny I was entertained by the ludicrous nature of this, which basically aims for the lowest common denominator of cinema, and somehow still manages to come up short. How can you not love a film containing the line, “Jennifer’s not only a high fashion model, but she also works for several European secret service agencies on occasion”? Especially when Jennifer has the blank, placid expression of a cud-chewing bovine. Westbrook does a better job, on occasion looking like her kicks and punches have impact, and having decent presence. While I’ll likely never watch this again, I’m certainly holding back any complaints.

Dir: Henri Charr
Star: Wendi Westbrook, Barbara Niven, K. Phillip Anthony, Stephanie Ann Smith

Guns of Eden

  By

★★
“Fires mostly blanks.”

Buffalo police officer Megan (Sadeghian) is a highly-skilled cop, but has a crisis of confidence after being involved in the accidental shooting of a colleague. To help get her out of that mindset, partner Jeremy (Johnson) invites Megan on a weekend camping getaway in upstate New York, along with another couple. This goes horribly wrong, after they stumble across the summary execution of a drug-dealer by the local sheriff, Preacher (Kennedy) and his death squad. The four campers are now a problem for Preacher, so he seals off the area, and unleashes a slew of hunters, putting a ten thousand dollar bounty on the head of each target. Of course, you don’t have to be psychic to see it won’t be easy, courtesy of Megan.

When your story is one with which every viewer will be familiar, like this, it increases the need to nail the execution. Here, the results are a bit of a mixed bag, and I’m being extremely kind with that description. The best thing the movie had going for it, is Sadeghian in the lead. As the poster indicates, it looks like she could have been a better Lara Croft than Alicia Vikander (y’know, back when Lara still used guns…). She does a good job of commanding the viewer’s attention when she’s on screen. Unfortunately, the villains are feeble in comparison: often they’re the biggest danger to themselves, either deliberately or, in one especially eyeroll-worthy scene, accidentally. There’s a political subtext here too, which seems all the more dubious, given the film’s topic.

The biggest issue, though, are the frequent ways in which its flaws are obvious. A convenience store shoot-out, in which not even a packet of chips is displaced. A villain who gets “knocked out”, by a stone, marginally above pebble sized, lobbed gently toward them. The heroine supposedly being chased by a random hovering helicopter, while the vegetation nearby barely moves. Bad guys (and girls) whose incompetence is only exceeded by their inaccuracy. Thoroughly unconvincing bullet-holes. The list of problems here is just too long to ignore. On the other hand, I very much appreciated the presence of veteran actress Lynn Lowry, as a local who is less than enamoured by Sheriff Preacher. In a movie often teetering on the edge of self-parody, she has a calming influence, that helps keep proceedings grounded.

Lamberson also makes decent use of the wilderness locations. In particular, a series of narrow canyons, that provide a mazelike setting through which the hunters and hunted must proceed. But the good elements – the final knife fight between Megan and Preacher is also energetic – never last long, before something shows up to take you out of the viewing experience. I’d been waiting for this to show up on a streaming service for a while. Suffice it to say, it fell some way short of my expectations, and I probably shouldn’t have bothered getting my hopes up.

Dir: Gregory Lamberson
Star: Alexandra Faye Sadeghian, Bill Kennedy, Peter Johnson, Nicole Colon

Lioness, season one

  By

★★★
“Crossing the Lion…”

If 2023 has been underwhelming on the theatrical front (to put it mildly), the various streaming services have certainly had no shortage of entries to keep us occupied here. This one comes to us from Paramount+, and stars Saldaña – already known around these parts, most likely for Colombiana – as CIA operative Joe McNamara, who uses undercover operatives against terrorist groups around the world. Her most recent mission does not end well, and she needs a new operative. She finds one in Cruz Manuelos (De Oliveira), a young woman who finds herself literally falling into the Marines, as a means of escape from a tough life and an abusive relationship. After acing boot camp, she becomes part of McNamara’s team.

The mission involves adopting the identity of a young Muslim woman and befriending Aaliyah Amrohi (Nur), daughter of a very rich Arab. The CIA believe her father is a major source of terrorist funding, but he is very hard to find. Aaliyah is engaged to be married, and her father seems certain to turn up at the wedding. So it’s up to Cruz, in her new identity, to insert herself into Aaliyah’s circle and get invited to the nuptials, so that the target can be neutralized as appropriate. Of course, it’s not quite as simple as that. In addition, Joe has familial issues of her own, as well as having to handle political manoeuvres among the alphabet soup of federal organizations, all with a finger in the pie.

I feel the characters work better than the scenario, which leans too heavily on cliched elements, such as Cruz and Alliyah falling for each other. I rolled my eyes quite hard at that, though it does lean into the “men are bastards” narrative occasionally present here. Hey, it applies both to American and Arab males, so that’s balanced, right? The scene where Cruz got drink-drugged also provoked ocular rotation. Though I was amused when the would-be date-rapist realized he’d bitten off rather more than expected, when a bunch of pissed-off Special Ops people showed up to rescue their comrade. I also enjoyed Wagner, former ditzy co-host of game show Wipeout, playing someone who looks like she’d give Vasquez a tough fight.

The action stuff is certainly well-staged, with De Oliveira giving a good account of herself through the selection process. And, when necessary, as part of her mission – leaving her with some injuries that required a bit of explanation to her new friend. The finale severely ramped up the stakes, especially when the groom-to-be ran Cruz’s face through facial recognition software. It all got… a bit messy thereafter, shall we say. Though it escapes me quite why he never alerted the large security contingent present about the Marine in their midst. If a lot of this doesn’t stand up to close scrutiny, the cast – also including Nicole Kidman and Morgan Freeman – give it their all, and if there turns out to be a second season, we’ll be down for it.

Creator: Taylor Sheridan
Star: Laysla De Oliveira, Zoe Saldaña, Stephanie Nur, Jill Wagner
a.k.a. Special Ops: Lioness

The Vigilante

  By

★★★
“The Noise of Freedom”

Not to be confused with A Vigilante, this is rather more downmarket and straightforward. It’s likely less thought-provoking, yet probably works a bit better as entertainment, albeit being so basic as to border on the simplistic. Marine Jessica (Jandreau) comes back from a tour of duty in the Middle East with PTSD, following an encounter with a kid wearing a suicide vest. Almost immediately on her arrival, however, her 13-year-old sister, Aimee (Timmons) is kidnapped by sex-trafficker Frank (Cesario), who plans to sell her off in the vilest of ways. It’s a race against time for Jessica and her army buddy and tech wizard Dan (Pierce) to track down those responsible before… [/gestures vaguely] y’know…

If this feels like it has a certain similarity to an unexpected hit in cinemas this summer, you’re probably right. In the movie’s defense, this has been in the pipeline for five years or more, so it can’t be called a quick cash-in – though The Sound of Freedom goes back even longer. Interestingly, director Whittaker worked on Freedom as a stunt co-ordinator, part of a career in that field which goes back to the early nineties. He brings that experience to The Vigilante and it shows, with the action probably the film’s best element. There are a couple of undeniably impressive fights for Jandreau, in particular the final one after she has located the house in which Aimee is being held by her kidnappers.

The other elements are a bit more variable. It begins with an earnest recitation of facts about sex trafficking, with voice-over from (real?) victims detailing where and at what age they were ensnared. But the concept of Frank literally ploughing into the car in which Aimee is a passenger, in order to kidnap her to order out of the wreckage, is hugely, almost ludicrously, implausible. The reality of sex-trafficking is considerably less dramatic: like murder, it’s far more likely the perpetrator is someone known to the victim, rather than a complete stranger. Some of the other elements also don’t feel like they ring true, and the sheer number of shots of underage girls in white underwear had me expecting Chris Hansen to pop out of my closet.

Another weak spot if quite what Dan is doing to locate the trafficking houses which Jessica and he then hit. It’s only vaguely explained, in tech-speak of the least convincing kind. However, there are times where the film does still hit the mark, such as the line said by one of the girls with almost chilling off-handedness: “The first time is the worst. Then you simply go numb.” You sense any creepiness is entirely deliberate, although it is undeniably playing up the more sensational aspects for the viewer. Nothing new there, of course. In many ways, The Vigilante is simply a spiritual successor to the white slavery movies which date back well over a century to the silent era, and titles like Traffic in Souls. As such, this is no better or worse; it succeeds well enough, despite low ambitions.

Dir: Lee Whittaker
Star: Jet Jandreau, Eric Pierce, Jamie M. Timmons, Julien Cesario
a.k.a. Aimee