Tag: USA

Goodbye Honey

  By

★½
“Trucking terribly written.”

There is a good concept here. Unfortunately, rarely have I seen an idea so conspicuously derailed by dreadful execution. Let’s not get ahead of ourselves though, and begin by focusing on the positives here. Dawn (Morgan) is a truck driver who is on a cross-country route, and pulls off the road into a remote, wooded location for an obligatory rest stop. Barely has she come to a halt, when a terrified young woman, Phoebe (Gobin), shows up outside her cab, demanding help. She claims to have been abducted, and been held nearby. But she managed to escape from her kidnapper, who is now hot on her heels, with evil intentions. However, is the new arrival speaking the truth or is she dangerously deranged?

It’s safe to say, you have my attention with this set-up, and Morgan is nicely unarchetypal as an action heroine, both in her middle-age, and a world-worn appearance which is about as unglamourous as you could imagine. She’s likely the best thing about this, and her performance was good enough to stop the whole thing from imploding entirely. This matters, because the script appears almost intentionally crafted to wreck any suspense or interest, resulting from both the premise or the lead performance. Within a few minutes of Phoebe’s arrival, Dawn has lost the keys to the truck and had her phone broken. Given the character is intended to be a highly competent, no-nonsense sort, this just doesn’t work. 

There are then two major mis-steps in terms of story-telling. A pair of stoner dudes show up, and the film grinds to a halt as Dawn has to deal with them. It’s painfully obvious they have nothing at all to do with Phoebe’s situation, and it’s embarrassing how shallow the writing for them is. Then, after they have mercifully departed the film, we get a lengthy, entirely superfluous flashback, telling us in detail how Phoebe was abducted, and what life was like in the cellar where she was kept for months. Guess what? We don’t care. It doesn’t matter, and adds nothing at all to the situation at hand. The final straw is the revelation of a connection between Dawn and the kidnapper, Cass (Kelly), which completely defies belief. I may have snorted derisively.

Inevitably it leads to him showing up and a confrontation between him and Dawn, where we learn the truth about Phoebe’s claims. Guess what v2.0? By this point, I didn’t care about then either. The film was on the screen, and I was looking in its general direction. But it would be a stretch to say I was paying any kind of attention, There is something to be said for a low-budget film cautiously writing its story within the limitation of what can be afforded: here, that’s a truck and a forest. However, the failure to convert that into anything meaningful or interesting thereafter, must also be laid at the door of the writers. 

Dir: Max Strand
Star: Pamela Jayne Morgan, Juliette Alice Gobin, Paul C. Kelly, Peyton Michelle Edwards

The Assault

  By

★★★★
“Assault on Shelter 13”

This was a very pleasant surprise. I wasn’t expecting much from this, especially after seeing Wynorski’s name – let’s be honest, he is best known for bargain basement soft-port. That said, he does occasionally hit one out of the park, such as the sublime Deathstalker II. This is definitely one of his better entries, even if it is, by and large, a low-budget version of Assault on Precinct 13.

Lisa Wilks (Ryan) witnesses the murder of her boyfriend by mob boss Blade, but is too scared to testify. Stacie (Randall), a detective on the force. is told to take care of her, and when Lisa says she’s too scared to go home, takes her to an isolated women’s shelter run by Stacie’s sister, Cindy (Dobro). However, Blade is intent on making sure Lisa doesn’t change her mind and sends his minions to storm the shelter and terminate the threat. However, he reckons without the pluck and resilience of the residents, bolstered by Stacie, as well as ex-army maintenance man, Mike (McCoy).

This has its share of questionable moments. The firing of a good twenty bullets from a hand-gun without reloading would be one, and then’s there’s the supposed two-minute countdown to the climactic explosion, which takes closer to six minutes to happen [I know, because I rewound and timed it]. But there’s a breezy energy which I found highly enjoyable, and the characters, if briefly sketched, are effectively drawn. For example, Toni (co-writer Melissa Brasselle) plays a Latina with a grudge against Stacie, for putting her boyfriend in jail. Or there’s Sandahl Bergman from Conan the Barbarian, as a paranoid schizophrenic, convinced the government is out to get her.

These are simple traits, yet prove entirely usable for plot purposes. We don’t need or want much more than this – it’d only get in the way of the action. There’s certainly no shortage of that, with wave upon wave of faceless minions storming the house, as the inhabitants try to board it up and repel any who make it through their barricades. At points, it feels almost like Night of the Living Debbies, with the thugs playing the role of the zombies. This being a Wynorski movie, there is the contractually obligated strip-club scene. However, showing unexpected restraint to keep its PG-13 certificate, the employees go no further than their undies, and are even strippers necessary to the plot, as that’s where we first meet Stacie, working undercover to expose a protection scam.

You do have to take as read the casual approach for the authorities, the first hour spent dispatching a apparently procession of cop cars into the area, who then either fail to notice anything, or vanish off the grid – because they’ve been mown down. Blade’s tactics, too, seem a bit questionable, especially considering how out-gunned the women are. But as a PG-13 actioner, I found this thoroughly entertaining, moving relentlessly forward, and making the very most of its limited resources.

Dir: Jim Wynorski
Star: Stacie Randall, Matt McCoy, Carrie Dobro, Leslie Ryan

Confessions of a Homicidal Prostitute: Demonatrix

  By

★½
“Nice title. Shame about the film.”

I must confess I have not seen Confessions of a Homicidal Prostitute, to which this is a sequel. It’s marginally possible, I suppose, that the character development, story and nuance were present there, and explain why these are all but entirely absent in its successor. I would not, however, be prepared to bet on it. I suspect the original was every bit as mean-spirited as this: and “suspect” is all I’ll ever do, because I won’t be making any effort to track it down. In fact, I probably wouldn’t watch it if my aged mother begged me to on her death-bed. Too harsh? Perhaps. Yet I don’t think I’ve ever seen a flat-out uglier film, in terms of largely repellent people being extremely unpleasant to one another, shot in a way that exacerbates its grimness. In its defence, that may be the point. Again: may. It could also just be torture porn of the lowest-rent kind.

From what I can gather, Lilith (Baun) is the titular hooker; I’m not sure if the weird contact lens she wears in one eye is a tribute to Christina Lindberg and her eye-patch in Thriller: A Cruel Picture? Anyway, she apparently got pushed over the mental edge by abuse, and responded to violence with violence. Here, she introduces gal pal and fellow prostitute Eve (Shenk) to the lair where Lilith carries out her torture and slaying. Eve is remarkably blasé about the whole, potential “accessory after the fact” thing, and politely declines to get involved, saying “I don’t think I could stomach it… Not for me!” This reluctance lasts about 30 minutes into the film, where she gets brutalized by the vicious Jackson (McGinnis). All of a sudden, she’s rather more gung-ho, a tendency encouraged by Lilith (“The empowerment you feel after you kill this bastard, will be indescribable”). After initially both being caught and tortured by Jackson, the pair are able to turn the tables on their captor, taking their revenge and sodomizing him with a metal pole.

They then begin a two-woman killing spree, washing the scum off the streets. There’s a montage sequence here, which is quite effective, and rescues the film from receiving the dreaded one-star rating. But otherwise, we’re dealing with content which is cheap and poorly-executed, and possesses little or no emotional impact at all. Weirdly, given the topic and grindhouse-oriented title, the only nudity present is extremely fake penises being abused. Otherwise, it’s remarkably chaste. Though, to be honest, I’m fine with the lead actresses keeping their clothes on. No worries there. I’m good. With special effects that are largely unconvincing, this doesn’t even work as a gore flick, and there’s no sense of development of plot or characters. I got to the end with no sense of.. well, anything. I was neither entertained, educated or appalled. Overall, it’s the kind of film where I wonder if I’ve spent more time writing this review, than was actually spent making the movie.

Dir: Emir Skalonja
Star: Casey Baun, Krystal Shenk, Paul McGinnis, Richard Ruiz

Loss Prevention

  By

★★★½
“Missing this would be your loss”

After a series of recent films which… well, let’s just say, left a little to be desired, it was a real palate-cleansing pleasure to encounter this. Oh, make no mistake: this is no classic. But, considering the budget was supposedly under $20,000, this operates within its limitations very nicely. The makers sticks to what they can do, and what it does, it does more than adequately. In particular, the movie is populated with a good number of interesting characters, that are fun to watch. The central one is Nik (Uhl), a young woman who dropped out of college and is now scraping by, working behind the bar at The Soggy Weasel, the pub belonging to her father (former wrestler Snow).

However, her slackerish lifestyle is rudely interrupted when one patron drinks too much, and has to be separated from his keys. Unfortunately, the key-chain also holds a flash drive of industrial espionage data, which he was supposed to hand over to Boland (Wells), the operative of a rival company. Boland is unimpressed, and will go to any lengths to retrieve it, providing the bottom line is deemed sufficiently profitable. Fortunately for Nik, also on hand is Brooke (Albert), a thoroughly competent operative of the company who is the data’s rightful owner, and she takes on the defense of Nik and her father. Not that Nik is averse to getting her own hands dirty, as things turn out.

It does take a little while for things to kick off, as we get introduced to the characters. Nik is more than slightly sarcastic, so can only be respected as such, and also a thoroughly unrepentant lesbian – both combine in an entirely unrepeatable comment about breath mints. But Hollywood could learn a lot about depicting sexual identity from this, which makes absolutely no attempt at moral posturing in this area. Instead, it’s far too busy providing a fast-paced gallop around the city of Louisville, ending up in Brooke and Nik mounting an assault on the headquarters where Boland is holding her father hostage. Yet there’s a twist or two to come, with things not quite ending in the massive firefight you’d expect – another way in which this manages to confound expectations.

In its depiction of corporate warfare, this is rather sophisticated for a low-budget action flick. In particular, Boland’s actions are entirely determined by an accounting of the expected profits and loss. For instance, is it cheaper to buy someone off, or kill them, with all the resulting collateral expenses? It absolutely is not personal with him, just a question of what will balance the books most profitably. The same is true, to a slightly lesser degree, for Brooke – if I heard a late line of dialogue correctly, her surname in the film is Shields! This is an approach which plays into the unexpected finale, when Nik comes up with a solution which satisfies everybody. Well, almost everybody… This has not one, but two, action heroines who are fun to watch, and was considerably better than I expected

Dir: Brian Cunningham, Matt Niehoff
Star: Abisha Uhl, Al Snow, John Wells, Lauren Albert

Suga Babies

  By

★½
“The drugs do work”

As usual, I begin with the normal disclaimer, that I’m about as far from the target audience as you could imagine. For this is an inner-city story about a drug war between three rival gangs in South Carolina: the Guardians, the Dynasty and the GeeChees. That said, however, there have been other films, with not dissimilar themes, which I have enjoyed. Most obviously, I am not the target audience for Pam Grier’s seventies output either. But those still kick ass. Even among the modern entries, there have been ones like Candy, which have felt authentic in their depiction of urban life. This, on the other hand, feels more like a no-budget hip-hop video.

About the main positive is that nobody makes a particular fuss about the Guardians being an all-girl gang, under the loose leadership of Naomi (Mott). They’re just part of the landscape, and everyone accepts that. The cause of the war is a new drug called sugar. In an odd twist, this actually makes people who take it better. We are told it literally cures cancer. I genuinely LOL’d at that. However, the interest of the authorities is limited to a spokesman for Big Pharma, who expresses concern at the street muscling in on “their” turf. It might have been interesting if it turned out Big Pharma had secretly released the drug to the GeeChees for distribution, as a test of its effectiveness. Sadly, not much is done with the concept, with this largely being an excuse for more black-on-black crime.

Indeed, that social crisis is expressly referenced during one of the multiple sequences of “The Buzz”, some chat-show. These really add very little, and the same goes for the supposed “courtroom” scenes. As well as being woefully unconvincing, I don’t think I ever worked out quite who was on trial, or for what. It’s all horribly disjointed, for example a lengthy scene that’s just multiple people picking up drugs from a motel room. Add in sequences which genuinely are no-budget music videos, and the dramatic pickings became painfully thin. There’s just one scene that has any impact. Mouse (McCoy) gets picked up by the Guardians and is found to be dealing sugar for the GeeChees. Her impassioned explanation that she did so because sugar helped her family, is certainly the movie’s emotional high-point.

According to the IMDb, the director had made eight feature films since her first in 2020. That’s an admirable work ethic, to be sure. But I can’t help thinking that churning out fewer movies might lead to an increase in their quality, because this definitely feels rushed, in almost every aspect. Maybe this is what the target audience wants? But it would be patronizing to believe their standards can be satisfied with this kind of thing. On the other hand, this wasn’t even the worst thing I watched today (hello, Battered), at least reaching a bare minimum of technical competence. However, that’s scant praise for any movie.

Dir: Felicia Rivers
Star: Diamond Mott, Patrice Jennings, Shakeela Koffey Scott, Samantha McCoy

Battered

  By

★
“Of unsound mind.”

My first surprise here was that this clocks in at a crisp 44 minutes. That’s an awkward length for any film: too short to be a feature, but most festivals that accept short films will balk at a submission of that length, when the time could instead be used to accept three x 15-minute entries [as someone who runs a festival, this is definitely a consideration]. Quite how this got distribution, I’m therefore not sure; but there it was, sitting on Amazon Prime. However, less than two minutes into the viewing experience, I found myself thanking my stars the running time was so brief. Because this is hamstrung by the worst audio I’ve seen on any film in several years. When even an envelope being opened sounds like a burst of automatic gunfire, you’ve got a problem, and there’s hardly a scene here where this aspect is not bad enough, as to be an unbearable distraction.

It is something of a shame, since it has at least the germ of a decent idea. Piper (Paris) is in an abusive relationship, one that ends up with her being sent to hospital. On her release, she joins a support group for similarly battered women, who share video diaries, as part of the healing process. However, revenge eventually becomes part of their therapeutic activities, taking out their anger on the men who abused them, and these prove viral successes. There is potential for exploration here, not least in the way social media can create and inflame a lynch mob mentality – with the potential for it to spill over into the physical world too. Of course, for that exploration to work, you’d firstly have to be able to tolerate dialogue which sounds like it was recorded either in a wind-tunnel or a diving chamber. Not helping matters: characters that might harbour dreams of some day developing and blossoming into shallow stereotypes. And that’s just the women. Do not get me started on the men.

Then there’s a philosophical argument to be had here. We can all agree it’s wrong for men to beat up women. But this movie seems to make the claim – without much in the way of counterpoints being made – that it’s perfectly fine for women to beat up men. Because social justice. Or #MeToo. Or something, it’s unclear. This could be a viable approach, even without coherent and explicit debate, if the film engaged the lizard brain, and made the violence justifiable, even on a visceral level. Yet it fails to do that either. Instead we get a number of scenes which frankly border on the exploitative, offering a dubious counterpoint to the female empowerment narrative being pushed. Ugly camerawork and performances that, at best, do little more than propel forward the story, are other aspects which left me underwhelmed. It also ends in an abrupt and unsatisfying manner, as if Leslie eventually realized this was going nowhere. Shame it took him 44 minutes to reach that point.

Dir: Lewis Leslie
Star: Mia Paris, Paula Marcenaro Solinger, Carly Jones, Heath C. Heine

Claw

  By

★★★
“Jurassic dog park”

Yeah, the scale here is a bit smaller than the Spielberg classic, to put it mildly. As in… there’s precisely one (1) velociraptor. For reasons that are a bit unclear, this is roaming a deserted Wild West attraction on the road to Los Angeles. Heading to LA are wannabe stand-up comic Julia (Walker) and her flamingly gay best friend, Kyle (Rennie). An accident forces them off the road, and with – what a surprise! – no cell signal, they are forced to seek help at the previously mentioned attraction, where Ray (Mede) is the only inhabitant, and is acting a bit odd. Turns out, there’s good reason for this, with a large, carnivorous prehistoric reptile roaming the facility, the work of a mad scientist (Mertz). Will Julia ever make it to Tinseltown?

Clearly, you have to understand that this is a low-budget entity, and not expect the kind of spectacle provided by larger dinosaur movies. That said, if you stick with it – and the 30 minutes it takes for the lizard mayhem to kick in, seems a lot longer – this isn’t without charm. Once it gets going, there is a fairly non-stop degree of energy, and there’s an interesting role reversal to the typical dynamic of couples in these movies. Kyle is the one who spends much of the time cowering in a corner; it may be stereotypical in its portrayal of homosexuality, but not gratingly so, and it allows Julia to become a bit more pro-active than normal.

If she is not exactly Ellen Ripley, to be sure, we are starting from a considerably lower level to begin with, and that does make her a bit more relatable. Most of what she does, is stuff that you or I could do (okay… probably just you. Getting out of bed is a battle, personally!), rather than any kind of superhuman feat. Between the writing and the performances, the film does a good job of making the characters seem like real people, to a better degree than most cheap B-movies. There’s a lengthy coda, after the film basically ends not past the hour mark, with several unnecessary scenes apparently added to reach feature length. It is probably just worth staying around, purely to hear Julia perform her velociraptor-themed stand-up routine.

The dinosaur is mostly CGI, and is integrated adequately enough into proceedings, though its actual interaction with any physical people or things, is limited to put it mildly. On the other hand, it manages to avoid the frequent pitfall of movies shot at night, where most of the action here takes place. You can actually tell what’s happening, without straining your eyes to peer into an underlit darkness. This positive is less common than you might think. Again, I cannot stress enough that it offers small-scale carnage, at best. However, I was still entertained more than I expected, and was left willing to give this the benefit, of the more than considerable doubts I had going in.

Dir: Gerald Rascionato
Star: Chynna Walker, Richard Rennie, Mel Mede, Ken Mertz

Chained

  By

★★
“Puts the gang in chain gang.”

Jaz (Severino) gets arrested by the cops and hauled off to Rikers Island on… well, let’s say slightly bogus charges. Her long time pal, Trouble (Martinez) is on the outside and sets about raising bail for Jaz, by any means necessary. That involves putting together a crew of her own who will seize the opportunity to take over drug-running territory in part of their neighbourhood. Needless to say, this decision doesn’t come without perils of its own, both from the authorities and the others with eyes on the profits to be made. Jaz, meanwhile, is having to come to terms with prison life, and isn’t exactly making friends on the inside. Even when the money for her bond is raised, Jaz’s issues aren’t over. However, Trouble finds a solution, after discovering the cops who arrested her have a little side-hustle of their own.

Considering this was made for $15,000, it has its strengths, Most obviously, it feels authentic. The players here may not have much in the way of formal acting experience or training. But I sense they’re not particularly required to do more than be enhanced versions of themselves. The way they act, talk and behave seems legit. Admittedly, who am I to judge? I didn’t exactly grow up on the mean streets of New York. But I can still tell when there is Obvious Acting going on, and it’s a flaw you often see in this kind of low-budget enterprise. I didn’t have to endure that kind of fakery here, and on the whole, the individual scenes were generally fine.

What didn’t work, unfortunately, was the overall flow, with the various plot threads never coming together into a coherent and engaging narrative. I felt like it was taking place over the span of several decades, but there were points when this wasn’t clear. Any film which wraps up with a brief “Twenty years later” scene – in which nobody seems to have aged a day – is on shaky ground. There were also a lot of moments where the script outran the budget. The “police van” in the opening scene, clearly isn’t. Indeed, I genuinely LOL’d later, as the same interior shows up on a van, rented from U-Haul, used for a raid on another gang. If you can’t afford a police van, or at least a decent facsimile, don’t write a scene needing one. The police station and Rikers Island were also… less than convincing, shall we say.

It is likely a little over-stuffed too. For a movie running only 76 minutes, the story tries to cram a lot in, and some of the threads (such as a pregnancy) end up feeling like afterthoughts. More restraint in writer-director Cardona’s ambition would have been for the best. She’s clearly familiar with street life, its characters, and how they behave. When the story sticks to this, the movie is at its most effective, although there’s nothing particularly new or important being said. When it tries to be more expansive, though, the resources just aren’t there, and the shortcomings are painfully apparent.

Dir: Deborah Cardona
Star: Rosemary Severino, Sheerice Martinez, Tyhem Commodore, Lexie Jose

Jack Squad

  By

★★
“Considerably less would have been more.”

At 85 minutes, this might have been fine. For it’s a fairly simple tale, of three women who decide to escape their financial woes by drugging and robbing married men, banking on their victims not being willing to involve the authorities. While this initially works as planned, inevitably, they end up targeting the wrong guy, a minion of feared drug dealer Grey (Anderson). How evil is he? Grey appears to have an employee whose full-time job is to fan him. That’s some Evil Overlord style, right there. Grey doesn’t just want his stolen money back, he wants the trio to continue their activities – for his benefit. And that isn’t the only problem which the trio face, with Tony, the estranged other half of Dawn (Tares), unhappy at her having escaped their abusive relationship.

Somehow, in the hands of writer-director-producer Rankins, this uncomplicated story runs 128 minutes, which is way too long. If ever there was evidence that films sometimes need someone else to step in and say, literally, “Cut that out,” this would be it. You could go at the “director’s version” blindfolded, with a rusty bread-knife, hacking entire scenes out, attacking others with all the savage brutality of a starving man at a Vegas buffet, and would be incapable of doing any real harm to the end product. If you can’t see where half an hour couldn’t be excised, to the general improvement of the pacing, you’re not trying hard enough.

Which is at least somewhat of a shame, since this wasn’t otherwise as bad as I thought it might be. It is certainly an improvement over the director’s almost unwatchable, Chop Shop. The three leads are adequate, and the script gives them reasonably well-delineated characters. As well as recovering abuse victim Dawn, there’s fashion student Kennedy (Halfkenny), who has qualms about the whole endeavour. Though she’s also the one who triggers the escalating body-count, by robbing Grey’s underling. And then we have Mona (Williams) who develops a liking for the violence, and gradually becomes a fully-fledged psychopath. The three different personalities certainly provide plenty of scope for drama and conflict, as they try to figure out how to handle their increasingly untenable situation.

That said, some of the attitudes here are difficult to empathize with. For example, Kennedy ghosts the kind but poor fellow student, apparently preferring the lure of well-heeled “pharmaceutical” workers. And that’s how you end up in abusive relationships, folks, or having to chase down your baby daddy for child support, as recently documented in Sweet Justice. There’s also no getting over the low-budget approach, most obvious in “gunfire” which couldn’t be much more fake, if the people wielding the weapons were yelling “Bang!” and using their fingers as firearms. But the major problem is the one described above: a self-indulgent approach, almost as if Rankins believed everything filmed had to be included in the final product. When making a low-budget feature, like this, you may need to wear many hats. But that does not negate the need for external and neutral guidance.

Dir: Simuel Rankins
Star: Dawnisha Halfkenny, Onira Tares, Patshreba Williams, Benjamin Anderson

A Killer Rising

  By

★★½
“FBI Agent Jekyll and Hyde”

At least a star of the above rating is purely for the concept, which is one just brimming with potential. The problem here is entirely down to execution that isn’t just lacklustre, it’s entirely devoid of all lustre. First and foremost, there is absolutely no reason for this to have a running time of 122 minutes, especially when the first half makes its point inside about ten, and then sits there, as if waiting for a bus. It’s a particular issue, because it’s only the second half where things get adequately interesting. You will need a great deal of patience – or, probably more likely, some household chores to take care of – in order to reach that point.

The heroine is Kacee Rhona (Beckly), an irascible FBI agent with a long history of disciplinary issues, going back to her days at Quantico. It’s perhaps not surprising, considering her childhood was a hellish landscape of abuse, from which she barely escaped at all, only after defending herself against her biological father. You do wonder how someone with such obvious psychological issues was accepted into the FBI, but whatevs. Seems she’s quite good at her job, and is now hot on the trail of a serial killer, Montague (Anderson) who has been kidnapping, raping and murdering (not necessarily in that order) a slew of women. It’s largely your standard “loose cannon with issues” thriller, with which we’re all (overly) familiar. While Beckly is… okay, the rest of the cast are well short of convincing, and the production’s resources are insufficient for what it’s trying to do.

Then, however, the killer brutally attacks Agent Rhona, leaving her literally dead for several minutes, and causing something inside her to snap. She becomes a vigilante while officially on sick leave, targetting those whom the law has not been able to punish. And who better to become a serial killer of serial killers, than someone trained to catch serial killers? It’s a bit like an unhinged, female version of Dexter, and is an awesome concept. Her colleagues are… well, for obvious reasons, somewhat ambivalent about this, when their suspicions are drawn towards one of their own kind. On the other hand, Rhona’s operation outside the law has its advantages, especially with Montague still on the loose.

I’d love to see this given the production it deserves, with a better supporting cast, and elements that accurately reflect the supposed FBI setting, which never reaches even “unconvincing”. It feels like a nicely twisted take on Silence of the Lambs, and I could imagine a young Jodie Foster or Angelina Jolie in the role of the heroine. But any remake would also need to go at the script with a pair of garden shears, removing all the extraneous nonsense which drags the front hour down to an uninteresting crawl. There was eventually marginally enough here to keep me going, yet I’d not blame anyone if they chose to cut their losses before that point.

Dir: Michael Fredianelli
Star: Stacy Beckly, Derek Crowe, Kevin Karrick, Jaren Anderson