Tag: USA

Darlin’

  By

★★★½
“Mother of all predators”

This strange little film probably makes more sense if you’ve seen The Woman, in which a feral cannibalistic woman, played by McIntosh, was captured and kept in the basement of a dysfunctional family. While this features McIntosh in the same role, it does work as a standalone film: its predecessor may help explain some of the background. Here, the woman drops off her equally uncivilized teenage daughter (Canny) at a hospital. Unsure of quite how such an unusual child should be handled, Darlin’ – called that, because of a bracelet spelling that out which she is wearing – is handed over to the Catholic church.

In particular, to St. Philomena’s Home, a dubious institution run by an even more dubious Bishop (Batt). He sees in Darlin’ the chance for his parish to make a name for itself by “redeeming” their new ward in the name of the Lord, which would help them stave off an impending financial crunch. But when the Woman returns to the hospital, and finds her daughter is no longer there, it quickly becomes clear that she will go to any lengths to recover Darlin’ and punish those who are trying to exploit her. And even though the teenager is no longer quite the wild child she was, as the saying goes: You can take the child out of the woods, but you won’t necessarily take the woods out of the child…

McIntosh is probably best known for her work on The Walking Dead. But on this site, we adore her for Let Us Prey, and her directorial debut is little if any less savage. However, it is probably fair to say that the script – also written by McIntosh – tries to cram too many things into its pages, and comes up short as a result. Not to say there aren’t moments of supreme effectiveness. Just that they are diluted by the film’s desire to go in so many different directions. For example, despite the Woman’s apparently inexorable quest for Darlin’, she vanishes for much of the second half, instead just hanging round a homeless women’s encampment to no particular purpose. It’s a shame, as I don’t think I’ve seen a more genuinely scary female character in a film for a very long time. [Though Darlin’ doesn’t fall far from that tree, at least initially]

The rest is more hit or miss. Going after the Catholic Church for child abuse is… Well, it feels kinda obvious, though there’s a righteous anger here which does at least seem honest. And the civilized version of Darlin’, despite now being able to communicate through speech rather than growls, seems less interesting, as if she had lost much of what separated her from any other teenage girl. Neither of these really work so well, as the more linear concept of a mother prepared to do absolutely anything to reclaim her daughter, which is when the film is at its best and most memorable.

Dir: Pollyanna McIntosh
Star: Lauryn Canny, Bryan Batt, Nora-Jane Noone, Pollyanna McIntosh

Stripped Naked

  By

★★★
“Firmly dressed to kill”

Even if the film doesn’t quite live up to the title and poster, it turned out to be better than I expected… from the title and poster, to be honest. It has been my experience that, the more lurid the advertising, the more disappointed I’m likely to be. Films like this often don’t just fail to deliver on what they promise, they also struggle with basic aspects of film-making, like plot and characterization, providing a double-whammy of failure. While the former is true here (no-one, at any point, is ever stripped naked), the underlying construction proved to be solid enough to keep me watching and engaged, to a greater degree than I was anticipating.

Cassie (Allen) gets dumped out of the car after a bitter argument with boyfriend, Jack (Cor). Seeking help from another car, she finds herself in the middle of a drug-deal which goes horribly wrong for everybody else. This leaves her in possession of $90,000 in cash, and about the same value of meth, providing a potential way out of her job as a “professional undresser”, shall we say. However, Jack finds the money in Cassie’s house, which she shares with fellow dancer, Jade (Pirie), and the former owner of the money sends a hitman (Slacke, looking like a low-rent version of Bill Oberst Jr.) to recover it. It’s not long before the bodies start piling up, and Cassie realizes she has bit off more than she can chew.

From the sex-and-violence angle, this is remarkably tame. Despite being strippers, both Cassie and Kyle seems remarkably attached to their clothes. There is some secondary nudity from the background, but on the whole, the story could have had them be waitresses, without the slightest impact. It also takes Cassie a while to tap into the inner bitch she needs to be, for survival, but that does become an increasing part of her character as the film develops. One incident in particular had me remarking, “Good riddance to bad rubbish.” There’s another interesting dynamic present, in the shape of Kyla (Cinthia Burke), one half of the sibling team who run the venue where Cassie works, and who turns out to have a murky past of her own.

It’s characters like these which make it work. Kyla and brother Howie (Linden Ashby), for example, are not your prototypical sleazy strip-club owners, being rather kinder than generally depicted. Cassie and Jade both have unexpected depths, too, though I do have qualms about the latter’s eyebrows, which have been tweezed into near-oblivion. Jack is probably the most underdrawn and, consequentially, least-interesting character. The plot unfolds along the lines you’d expect, though the final reel delivers some unexpected twists, and not everyone you think is going to survive, ends up doing so. Had this actually provided the heady mix of grindhouse elements promised by the title, poster and trailer (below), it could have been a classic, rather than the acceptable way to pass the time it turns out to be.

Dir: Lee Demarbre
Star: Sarah Allen, Jon Cor, Tommie-Amber Pirie, Mark Slacke

The Obsidian Curse

  By

★★
“Cursed or worse.”

Blair (Brauns) gets out of prison, after a year inside for drug offenses, and is shocked to find her boyfriend (Caraccioli) has married Yvonne (Cameron), who has become the step-mother of her young child. Worse follows, for visitation is contingent on Blair finding and maintaining regular employment – not easy given her rap sheet. Her boyfriend’s new wife, very kindly, points her in the direction of a job as a tour guide at a local cavern. So far, this sounds more like some kind of Lifetime TVM – and not even the good Lifetime TVM – to the point I was wondering why I had this one on my ‘to-do’ list.

Ah, here we go. For, it turns out, the cave system is home to a witch who has been infected with a curse. Blair has become the patsy who is going to take the curse off. And it’s a particularly nasty curse, which basically turns her into a magnet for evil creatures of all kinds, from zombies to vampires. If she’s going to see her daughter again, “maintaining regular employment” has just become a relatively minor problem. I love this idea. It’s like a more feisty and action-oriented version of Night of the Demon [the fifties movie, rather than the eighties one], with the concept of a curse which cannot be dispelled, it has to be passed on to someone else to get rid of it. The concept of Blair having to figure out how to do that, while simultaneously fending off a selection-pack of night creatures, is one with great potential.

Unfortunately, it’s not what we get, at all. To begin with, there’s the ending [spoilers follow]… Well, it doesn’t have one. There’s absolutely no sense of closure. Blair is still cursed, little or no closer to finding a solution, and separated from her kids. I’ve grown used to this kind of thing in books, where you’re given the first volume free, then left dangling to try and get you to buy future volumes. It doesn’t work there, and here, the movie doesn’t even have the grace to inject a cliff-hanger ending into things. It just… finishes, lying there like last night’s empty beer-cans. [spoilers end] Nor is there any escalation: you’d expect things to ramp up, towards a battle against a particularly Big Bad. Nope.

On the positive side, the monsters are surprisingly well-realized for the budget, with some particularly effective mask work. And despite a strange accent, Brauns (from Sweden, reaching Los Angeles via England, New Zealand & Australia – which explains the accent far better than the movie does!) is a decent heroine, driven by her strong maternal love. There is some good camerawork, not least a sequence in which Blair has to battle her way across some heathland, through a small army of zombies. However, neither this, nor even a cameo from horror icon Bannister (star of the Phantasm franchise), can come close to countering the thoroughly underwhelming effort, put into what’s little more than half a story, and missing any final climax entirely.

Dir: Rene Perez
Star: Karin Brauns, Cody Renee Cameron, John Caraccioli, Reggie Bannister

47 Meters Down: Uncaged

  By

★★★
“One for the shark buffet, please.”

Director Roberts returns for a sequel to 47 Meters Down, once more diving (literally) into similar territory. Here, he doubles down, this time sending four young women underwater to be trapped and become shark bait, rather than two. Munching ensues. But there’s enough variety in this iteration for it to prevail, after a pretty shaky opening act. This plays like some bizarre version of Mean Girls, with heroine Mia (Nélisse) getting pushed into her school’s swimming pool by a bratty fellow pupil. It’s all very short skirts, perfect teeth and family drama, to the point that Chris was beginning to look at me oddly and wonder what the hell I’d put on.

Anyway, Mia and stepsister Sasha (Foxx) bail on the intended sailing excursion to go off with pals Alexa (Tju) and Nicole (Stallone) to a secret swimming hole in the Yucatan where they, and apparently no-one of Hispanic origin, live. The pair’s dad is some kind of marine archaeologist, who found an underwater Mayan city down there, so for a lark, the four decided to do an impromptu bit of cave diving. BIG mistake. A collapse seals off the exit, and the only way out is to go on, down and through the underwater complex. Not helping, to put it mildly, are the giant white cave sharks which are apparently delighted to have a bit of variety in their diet, in the form of American teenager.

It certainly perks up when the angsty teenage drama is abandoned in favour of swimming and screaming. Roberts pushes the camera in really close for the most part. Combined with the (understandably) limited amount of light, this does make for some rather chaotic sequences. Yet on the other hand, it unquestionably emphasizes and enhances the claustrophobia which is the tension’s main contributor. The sharks are genuinely creepy too, not least having lost their sight due to the conditions – if shark eyes are chilling, then sightless shark eyes are worse still. I got the impression this was wanting to be an underwater version of The Descent, and there are much worse targets at which a horror film could aim.

It all ends in a grandstand sequence of increasing peril, as the (less than four) survivors try to make their final escape from the water. Admittedly, it does rely on sharks that apparently don’t want to commit to the munching, preferring a little love-nibble to snapping their victims in half (a similar issue to Crawl, where the non-disposable characters appeared to be made out of kevlar). Despite this cop-out, it’s a rousing enough finale, largely making me forget the early struggles. If there’s nothing much among the performances to suggest the daughters of Jamie Foxx and Sylvester Stallone should be following in their fathers’ footsteps, as adequately entertaining shark movies go, this one is certainly… adequately entertaining. And I speak as something of a connoisseur of adequately entertaining shark movies.

Dir: Johannes Roberts
Star: Sophie Nélisse, Corinne Foxx, Brianne Tju, Sistine Stallone

The Old Guard

  By

★★★
“Who wants to live forever?”

While a serviceable entry in the beloved genre of “Charlize Theron kicks ass”, this does have to be classed as disappointing in comparison to the epic awesomeness which were Atomic Blonde or Mad Max: Fury Road. This is considerably more obviously a comic-book adaptation than Blonde, and more restrained than Fury Road, resulting in a film which plays more like X-Men: The Highlander Years. Andromache of Scythia (Theron), for obvious reasons known to her mates as Andy, is a neo-immortal bad-ass who has been roaming the Earth since pre-Christian times. But she’s beginning to wonder what the point of it all is, endlessly doing jobs somewhere between mercenary and humanitarian.

Two things disrupt the playing field. The first is the “birth” of a new neo-immortal, Nile Freeman (Layne), a US marine who survives having her throat slit, and is brought on board the team, despite her severe initial doubts. The other is less pleasant: the Merrick pharmaceutical company is out to find what makes them tick, and will happily trample Andy and her friends’ rights, in the name of “the greater good.” This involves them kidnapping two members of the group for scientific experimentation, and they are intent on completing the set. Needless to say, Andy isn’t having any of that, along with some help from Nile, as well as a Merrick employee and former CIA agent who is now having second thoughts (an underused Chiwetel Ejiofor). However, it turns out Andy is approaching the “neo-” phase of her neo-immortality…

That is a bit of a cheat: they’re basically immortal, except when necessary for the plot or dramatic reasons. It’s a double-standard which also seems to permeate the film more generally, The film wants to deliver the mayhem audiences want to see, while having characters who loudly express being tired of exactly that, borne down by world-weary ennui. It’s a mindless action movie which doesn’t like being a mindless action movie, and I suspect would rather be something else. That may be the only way to explain the contrived shoehorning in of two characters’ sexuality, in a scene of no relevance that couldn’t be more clunkily woke if it tried.

It is better when letting go of the angst, and instead embracing its inner John Wick. Theron proves why she is still the top action heroine working in Hollywood, getting valuable support from Layne. There’s a lovely hand-to-hand battle between the two of them on a transport plane, for example, and Andy busting out of the church which is under attack by Merrick thugs is also a pleasure to watch. As seems almost required, there’s a scene at the end, setting up The Old Guard 2 with the apparent promise of an insane neo-immortal for the big bad there. It’s perhaps telling that it’s a prospect which may be more exciting than the humdrum stock genre plot rolled out here. Not even the best Netflix original action movie of the year (that’d be Extraction), yet entertaining enough, if your copy of Fury Road isn’t to hand.

Dir: Gina Prince-Bythewood
Star: Charlize Theron, KiKi Layne, Matthias Schoenaerts, Marwan Kenzari

Sweetheart

  By

★★½
“Creature from the Blue Lagoon”

After a boat-wreck, Jennifer Remming (Clemons) washes ashore on a deserted tropical island, and has to make do with what she can find and forage. While there are no other people on the island, she’s not alone. It becomes increasingly clear that a “something” is predating for food at night there. She eventually finds out what it is: a large, amphibious and very hungry creature, walking on two legs, and capable of dragging its prey back into its lair beneath the water. Needless to say, she’s delighted when two other survivors wash up in a lifeboat: her boyfriend Lucas (Cohen) and friend Mia (Mangan-Lawrence). But convincing them of the threat, and the need to get off the island immediately, is a little tricky, because it turns out Jennifer has a little history of making things up. However, “being eaten” turns out to be fairly convincing proof, as evidence goes…

Have to say, the first time we get to see the creature is glorious. After some warning signs have set the scene, such as a dead shark with claw marks on the side, it’s a great reveal, which literally gave me chills. The problem is, it’s also about the last time we get to see it. For its nocturnal nature means we have to deal with it only popping up in extremely subdued lighting. While this makes sense – it being a tropical island, there’s not exactly much natural light – it makes for an extraordinarily frustrating experience. Too often, the viewer has to peer into the murk, trying to figure out exactly who is doing what, and to whom. I can only presume this was done to enhance the tension in some “lurking in the darkness” way. If so, it’s remarkably counter-productive, triggering considerably more annoyance than terror.

I did like Jennifer as a heroine: she doesn’t seem to have particular survival skills, yet managed to make a good fist of things. Certainly, much better than I would have; I suspect I’d last on a desert island, only as long as my fat reserves permitted. I also appreciated the fairly linear nature of the film: Girl Meets Monster, Monster tries to kill Girl, Girl tries to kill Monster. If only The Shape of Water had gone this route. It does get rather less effective when it’s no longer a party of one, with the usual (and considerably less interesting) bickering which follows. However, the presence of other people is probably necessary: even Tom Hanks needed a supporting performance from a volleyball to sustain Castaway for its running-time.

After an aborted escape attempt, it all builds to the inevitable final confrontation. Which, conveniently, takes place in a relatively well-lit arena, courtesy of some torches. Once we get to see it, this is quite a cool monster – perhaps slightly influenced by what the Predator wore under its mask. Just a shame it doesn’t truly show up until the party is all but over. Between that and a script with too many loose ends, it one of those cases where the film isn’t as good as the trailer.

Dir: J.D. Dillard
Star: Kiersey Clemons, Emory Cohen, Hanna Mangan-Lawrence, Andrew Crawford

Wonder Woman: Bloodlines

  By

★★
“I wonder what they were thinking?”

Having enjoyed the previous animated Wonder Woman film, this was a significant disappointment. It doesn’t seem to fit in to any established universe and loos designed more as a quick cash-in on the success of the live-action version, than existing out of artistic desire. It begins with a broken, modern-day update of the latter’s opening, with the plane of Air Force pilot Steve Trevor (Donovan) making a crash-landing inside the bubble which has protected Themyscira  over the ages. He’s desperate to return to tell the world about the demonic entities which attacked him, and Diana (Dawson, who played Artemis in the previous animated version) rebels against her mother and the decision of the other Amazons to imprison Steve, going with him to the outside world.

Except, there’s basically no explanation as to Diana’s revolt, beyond a throwaway line about a prophecy. And in the next scene, Diana is sitting in the back of a cab on the way to house of historian Dr. Julia Kapatelis. Demonic entities? What are they? With those entirely forgotten, the film then focuses on the doctor’s daughter, Vanessa (Avgeropoulos), who turns bad, becomes Silver Swan, and eventually teams up with Doctor Poison and a slew of B-villains, of whom I’ve never heard, e.g. Giganta, Cheetah, Doctor Cyber. They plan to attack Themyscira and profit from its technology, and to that goal have revived and powered-up Medusa, who ends up becoming more of a Med-zilla.

This is all full of ridiculous and contrived circumstances. For instance, Diana “forgets” the location of Themyscira. But – what are the odds – there’s a fountain from which she can drink, which will restore her knowledge! And Julia discovered the location in her research! Or, the dispatch of Medusa will turn everyone whom she has petrified, back to being human again. Hmm, must have missed that bit in the mythology. It will certainly lead to some very confused ancient Greek warriors, who suddenly find themselves inhabiting the 21st-century… It feels as if the writers were making stuff up as they went along, and repeatedly painted themselves into corners, from which they could only fabricate escapes out of thin air.

All of which I could take, were the animation decent. When in motion, it’s okay, and some of the action scenes work moderately well. But otherwise, it’s painfully basic, with characters’ faces not moving, except for their mouths. Up until Medusa appears, there’s no indication that any of the antagonists are able to pose a genuine threat to our heroine. Their ludicrously-named group, “Villainy, Inc”, feels like something out of a superhero spoof like Mystery Men. While the initial set-up make it looks like Vanessa will become Diana’s main opponent, she just ends up just another faceless minion.  As someone familiar only with the various adaptations and not the source comic-books, this wasn’t worth my time. Heck, even the unaired TV pilot was more entertaining. 

Dir: Sam Liu, Justin Copeland
Star (voice):  Rosario Dawson, Jeffrey Donovan, Marie Avgeropoulos, Adrienne C. Moore

Outlaw Women

  By

★★½
“In which Iron Mae eventually breaks.”

The city of Silver Creek is on the way out, and many of its inhabitants are leaving, including town doctor Bob Ridgeway (Nixon). Originally heading to Kansas City, he is convinced at gunpoint to take up a position instead in “Las Mujeres.” That’s Spanish for “The women,” and is an appropriate name since the place is a gynocratic society, where the ladies are in charge. Top of the heap is Iron Mae McLeod (Windsor), who runs the local saloon and ensures that the the other women in the town are kept safe from exploitation. She does, however, have to navigate the straits between aspirational gambler Woody Callaway (Rober) and outlaw Frank Slater. Ridgeway, meanwhile, because the target of affection for both Beth Larrabee (Balenda), one of Mae’s enforcers, and her big sister and star of the saloon’s show, Ellen. But when all of Mae’s money is about to be transferred out of Silver Creek, and becomes a target for Slater and his gang, romance has to take a back seat.

This was shot in Cinecolor, at a time (1952) when many more expensive productions were still in black and white. That helps up the production value, though it otherwise remains an obviously low budget approach. It’s a shame the makers didn’t quite use that freedom to make something truly subversive. The ending instead manages to be almost cringeworthily patriarchal – particularly following, as it does, a gun-battle in which we see, again, that firearms are the great equalizer, allowing Mae and her gals to play their part in holding off the outlaws. Up until this disappointing coda, it has been a fairly decent romp, with Windsor holding things together effectively. She gets good support from Balenda, as well as Maria Hart, playing bouncer Dora. She casually manages to judo-flip the fastest gun in Silver Creek, after he refuses to give up his gun, while simultaneously disarming him. Dora can also strike a match on her teeth, an impressive party trick for either sex.

Coming in at a brisk 75 minutes, it still manages to waste some precious time, on things like musical numbers by a barbershop quartet called The Four Dandies. tnd The film doesn’t delve into the implications of its idea as far it might. Despite the noble intentions of Mae, Las Mujeres seems little if any different from any other town in the wild West. Though that could be the point, I suppose. I did like the pointed way in which the system – in the form of male-only suffrage – is the tool used by Callway to dismantle Mae’s gynocracy. Though as noted, the ending manages to embarrass the entire film, effectively dismantling the strong portrayal of Mae which we had enjoyed to that point. That aside, there’s no denying the movie remains well ahead of its time, paving the way for probably better entries, such as Johnny Guitar and Woman They Almost Lynched, later in the decade.

Dir: Sam Newfield, Ron Ormond
Star: Marie Windsor, Richard Rober, Allan Nixon, Carla Balenda

Riot Girls

  By

★★
“Two girls, one gun.”

After a disease has wiped out all adults, the town of Potters Bluff has divided into two camps, delineated by the river running through the town. On the west are the Titans, a quasi-fascist order of jocks operating out of the old high school and led by Jeremy, whose motto is “Strength, power, respect.” On the east are the free-spirited remainder, living under and protected by Jack (Bourgeois). However, after hijacking the contents of a Titan truck, Jack is abducted by them and held hostage. A three-person party sets out on a rescue mission: Jack’s sister Nat (Iseman), her best friend  – and painfully obvious lesbian, right down to the mohawk – Scratch (Kwiatkowski), and Sony (Friese), a former Titan who recently defected to the East, and whose inside knowledge is essential to their survival and the success of the mission.

This provides a slightly different twist on the usual post-apocalyptic scenario, though the idea dates back at least to Roger Corman’s 1970 film Gas-s-s-s, in which a deadly gas wiped out everyone over the age of 25. Canadian show Between also explored similar territory, and the conflict-driven nature here brings us almost into Battle Royale territory. Though it’s more of a team sport than an individual pursuit, and natural division instead of artificial construct. But I have to wonder, how did Potters Bluff reach this point? What’s the back story which saw, for example, Jack and Jeremy become leaders of their factions and implacable enemies? I suspect this may have been more entertaining than what we actually get. And why is the soundtrack apparently fascinated with hair metal songs from a long bygone era? [I’m pretty sure it shares one with the 35-year-old Return of the Living Dead…]

After a bright, comic-book styled opening sequence to set the scene, at first it seems this may be building and then subverting expectations. For example, when on a foraging expedition, Scratch is delighted to come across a vibrator… But in a twist, her interest is purely for the batteries it contains. However, the further on it goes, the safer and more predictable everything seems to become. The hurdles Nat, Scratch and Sony have to overcome on their journey, are precisely the ones you’d expect (although there is one eye-poppingly brutal head-shot), and it all inevitably leads to a confrontation with Jeremy and his troops in their high-school gymnasium.

Most irritatingly, it ends up getting too bogged down in class and gender politics. The Titans are largely defined as the bad guys almost purely because they are white, straight and male. Meanwhile, it’s “diversity = good” for the Eastsiders – even if its tenets like affirmative action are a civilized conceit, which wouldn’t last two days in a proper apocalypse. Consequently, it’s absolutely no surprise Nat and Scratch end up as An Item – not minutes after the former has spurned a heterosexual advance, and while Nat’s brother is still in the clutches of his enemies. I guess, for some, the line between free love utopia and devastated dystopia is severely blurred.

Dir: Jovanka Vuckovic
Star: Paloma Kwiatkowski, Madison Iseman, Alexandre Bourgeois, Ajay Friese

Satanic Panic

  By

★★★½
“Good girls go to hell. Bad girls come from there.”

It’s the first day as a pizza delivery gal for Samantha Craft (Griffith), and things aren’t going well, with no tips being received. When given the chance of a delivery to a rich neighbourhood, she pounces – only to find herself getting stiffed again. This time, she sneaks in to demand her gratuity, which drops her in the middle of a satanic ceremony overseen by coven head, Danica Ross (Romijn). They’re attempting to summon Baphonet, but have hit a snag. Their intended vessel, Danica’s daughter Judy (Modine), no longer qualifies as a virgin, so Sam’s presence is highly convenient. For Sam? Not so much. Though perhaps to her benefit, there’s a bit of a power struggle in the coven, with Gypsy (Myrin) fed up of playing the second satanic banana to Danica.

This is largely anchored by Romijn, from the moment we see her literally up to her elbows in a dead body, groping around for its soul. You might not realize how much she matters, until a moment where it looks like she has abruptly cashed in her chips. The sense of disappointment I felt was palpable, and it was a great relief to find this was a red herring. She hits just the right spot between coolness and insanity, and is a lot of fun to watch. Modine brings the moody teenager to the max, though you can see why finding out your mother intends to sacrifice you would make you a bit grumpy. She gets some deliciously foul-mouthed lines, such as, “They’re not going to stop until you’re strapped naked to a barbed-wire altar with the 15-foot beast of Gehenna and his double-pronged demon dong walking out of your cooch chute like it’s a revolving door of ground beef.” Towards more picturesque speech, as Reader’s Digest used to say.

In comparison to this mother-daughter pairing from (literally) hell, Sam is a little bland: likeable enough, yet needs a better character arc. The Sam we see at the end feels only slightly changed from the one being shaken down for a $5 “security deposit” by her boss at the beginning. Otherwise, it’s definitely a case of the bad girls also having more fun. There are nods toward social commentary: the war here is both class-related and generational i.e. boomer vs. millennial. Much the same goes for the gender depictions, where almost without exception, all the men are incompetent idiots. Yet this is all handled lightly enough to avoid being ham-handed, and any message remains subservient to the entertainment content, as it should.

Not skimping on the red stuff, it skews strongly towards practical rather than CGI, which is always laudable in my book. It builds towards a decent finale, even if not quite delivering the killer rabbit demon god for which I was hoping. There’s still enough here to make for a cheerfully bloody time, even beyond watching Romijn wipe the floor with her younger co-stars.

Dir: Chelsea Stardust
Star: Hayley Griffith, Rebecca Romijn, Ruby Modine, Arden Myrin