Tag: USA

Personal Vendetta

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★★
“Heart in the right place, but…”

Bonnie Blackwell (Lesseos) is a battered wife, whose husband, Zach (Bottoms), eventually goes too far, putting her in hospital. He gets a spell in prison, and she decides to take control of her life and become a police officer. However, the scars of her abuse run deep, and she finds herself initially “freezing” when faced with potential threats, due to the PTSD resulting from her abusive relationship.  Encouraged by colleague Bill Starr (Douglas), she eventually manages to work her way past that, just in time for Zach to be released from jail without her knowledge. She discovers that he had been running a human trafficking operation, bringing in Vietnamese mail-order brides, and sets out to take him down.

After this, Lesseos would not star in another film for 15 years, until Double Duty. It’s easy to see why. Much like the rest of her filmography, I wanted to like this, but there were simply too many flaws for it to pass muster, even as a low-budget entity. There isn’t even that much action, to the point that I was teetering on the edge of not including it at all, until the final 15 minutes just about reached the minimum required level. Until then, it’s considerably more a drama, of the eye-rollingly boring TV movie type to boot. You can sense that it’s trying to be an empowering story of a woman’s climb out from under her traumatic experiences. Yet what I actually wanted, was Mimi kicking ass, not heart-warming soapiness unfolding over a shrill and cheap-sounding synth score.

Particularly in the first half, it’s therefore tough going, with Lieb’s directorial style not exactly helping – he apparently never met an opportunity for a montage sequence he didn’t like. Despite the copious efforts to convince us otherwise, there’s absolutely no romantic chemistry between Bonnie and partner John Beaudet (Wilson). Again, it’s an angle without which the film could quite easily have survived, since it adds nothing to proceedings. And don’t even get me started on the ridiculous story-line about Zach not just being a top-level white slaver, but having managed to conceal this activity completely from his wife for the entire duration of their time together.

As in the rest of her movies, Mimi is not the biggest problem here. There were moments where she looked like a middle-aged version of Zoe Bell, and she’s clearly putting in the work on the action side, even if the more emotional acting beats pose some problems. Occasionally the movie even looked like it might be going in an interesting direction. Not that it ever did, but the idea of her potentially teaming up with Vietnamese street gangs to go up against Zach was at least momentarily intriguing. This is the kind of movie which does not need or deserve anything close to your full attention, and if it’s going to be viewed at all, be sure to have something else handy, with which to occupy yourself.

Dir: Stephen Lieb
Star: Mimi Lesseos, Timothy Bottoms, Mark Wilson, Bill Douglas

Girls, Guns and Blood

  By

★½
“It’s trying. So very trying…”

Maybe I’m getting too old for this kind of thing. Perhaps there was a time in my callow youth when I would have been grateful for the light-to-moderate amount of gratuitous nudity which this contains. Now, though? Its flaws overwhelm any such merits. Or maybe it was the fact that I watched this while dozed up to the eyeballs on DayQuil, and frankly, coughing up phlegm proved to be a more satisfactory pursuit.

It takes place in a supposed “brothel” run by Monique (Love). Quotes used advisedly, since it looks considerably more like someone’s house. A party of high-rollers are scheduled to be coming in, dropping thousands of dollars: though quite why they want to, escapes me, since the staff here are no more than “somewhat attractive.” You could probably catch better fish with a bottle of Jager in your average night-club on a Friday evening. Anyway, doubts about this aside, it turns out this “party” is actually a robbery, who loot the place after abusing the women. 

Needless to say, they’re not standing for that, so Kitty (Nguyen), Trix (Amber), Beretta (Valentien) and the rest of the girls ride out in hot pursuit, intent on recovering the ill-gotten gains and punishing the perpetrators. Fortunately, the gang have gone their separate ways, which makes it easier for the women to take them down: the old “Let’s split up!” mistake. But perhaps things aren’t quite as cut and dried as they appear. Maybe there’s a snake in the grass, who is quite happy to let her fellow hookers thin out the herd on her behalf, because the fewer slices of the pie there end up being, the better it will be for the survivors.

It’s all tiresomely amateur. Not least, the feeble attempts at comic relief, such as the gangster kingpin, Kaiser, whose droning complaints about lost money to a ski-mask clad ninja, go on way past what could remotely be considered entertaining. The repeated us of Six Million Dollar Man sound effects also should also have been strangled at birth. The pacing in general is awful, and the lead performances generally reflect the fact that most of the actresses are better known for adult work than their Broadway resumes. Nguyen and Love are, at least relatively credible, capable of walking and delivering lines at the same time. Some of the others? Not so much. Let’s leave it at that.

There were a couple of moments in the action which did actually work. Though I’m not sure how much sense they could be said to make, e.g. one of the women suddenly pulling a flaming sword out of… well, I’m not even going to hazard a guess at that. But when you’re left yearning for the understated subtleties of an Andy Sidaris film, there’s clearly something wrong. It might have succeeded better with alcohol, but that would likely not have combined well with my medications. Not a risk I was prepared to take, at least.

Dir: Thegin German + Robert Rowland
Star: Christine Nguyen, Britney Amber, Kleio Valentien, Rebecca Love

Marie

  By

★½
“A not-so fair cop”

After an incident where she shoots dead a woman armed only with a toy gun, Marie (DeCianni) quite the police force to become a housewife. However, her husband, Barry (Spadaro), has some dodgy friends, in particular, Nadi (Regina, who also co-wrote this), a man with ties to organized crime. Barry falls behind on payments, and an unfortunate car “accident” befalls him: a recent large life-insurance policy named Nadi as the beneficiary. It’s all very shady, as Marie’s old police captain (Session) admits. However, there is just not enough evidence for the authorities to take action. That’s not an issue for Marie, however, who decides to take revenge for the loss of her husband, against Nadi and his associates.

This is almost entirely terrible, to the point that I have to wonder whether it was actually some bizarre project by actual organized crime to launder money. If so, I’m just hoping that enough years have elapsed since its release, that the statute of limitations has passed, and so me mentioning this won’t send them round to make me an offer I can’t refuse. It’s mostly a scripting issue, with far too many scenes that serve no purpose, and a heroine whose actions make little or no logical sense. Such as storming a mob birthday party, complete with gratuitous strippers (really, right from the opening, it feels like every bad boob-job in the Tri-State area got a callback for a role somewhere in this), and taking her shirt off in order to blend in, so she can whack one of them.

If DeCianni isn’t terrible, Marie seems to take a delight in announcing her moves, in a way which would, in the real world, simply make it painfully easy for her targets to take her out. Well, if they were halfway competent, at least. And the Captain seems perfectly happy for her to continue on her vigilante ways, showing absolutely no regard for law and order. About the only moment of interest sees her going above Nadi’s head to his boss, in order to suggest a partnership that would be to both of their advantages. However, this is rapidly discarded, in favour of a climactic “surprise” that a) is entirely unsurprising, and b) makes as little overall sense as anything else in this dog.

In lieu of writing anything more about this painful experience, I will instead note that a decade later, Carpenter and Regina would make Jesse, in which “Police detective Jesse turns vigilante as she investigates her brother’s murder and enters into a world of crime, corruption, and shocking deception.” Save swapping husband for brother, that seems perilously close to what we got here, not least because an IMDb review says the brother “got involved with a mafia loan shark and couldn’t repay the thousands that he owed.” Another review hints at the same twist we get here. Hmm… Maybe they did better second time around? I’m not inclined to bet on it.

Dir: Fred Carpenter
Star: Donna DeCianni, Paul Regina, Charles Sessions, John Spadaro

Ravage

  By

★★½
“Harper’s bizarre.”

Wildlife photographer Harper Sykes (Dexter-Jones) is out in the wilderness of the “Watchatoomy Valley” [fictitious, but apparently located somewhere in the Virginias], when she stumbles across a group of men brutally attacking a victim. She snaps a few pics before fleeing the scene, but her attempts to report the incident to the authorities backfire immediately, and she quickly finds herself at the mercy of their leader, the appropriately-named Ravener (Longstreet). He explains the victim was a scout for big business, whose predations would destroy the natural environment, and so had to be stopped. Now, Harper is next in line. However, she is not the innocent and helpless victim they think. Even when she has the chance to escape, Harper decides to stay in the valley, and take vengeance on Ravener and the rest of his clan.

It is an interesting idea. Frequently in the horror genre, the character arc is of the “final girl”, who only resorts to violence when finally pushed too far. That certainly isn’t the case here: indeed, Harper actually fires first, gunning down one of Ravener’s henchmen as soon as she steps from her truck. Yet there’s a reason the trope of the final girl exists, because it pulls the audience along with her. Here, Harper’s actions are unexpected enough they could well disengage much of the audience, coming as they do before we’ve established much sympathy for her. Another problem is her decision to stay and actively look for her revenge isn’t well-enough defined: I was left wondering for quite some time, why she didn’t leave. Some explanation of why she’s so skilled might have been nice: not much, just a quick reference to time in the military, or a survivalist Dad, would have been fine.

The structure is also a tad problematic, with the film being told in flashback, a heavily-bandaged Harper recounting her story to a disbelieving state trooper from her hospital bed. So, we know she will survive, and the early explanations also remove much other tension from subsequent proceedings. If you’ve seen more than, roughly, two of this kind of movie, you’ll also fail to be surprised that the kindly individual to whom the heroine turns for help, ends up being anything but. I could perhaps have done without the lengthy digression into medieval torture techniques and bovine anatomy. Though both do prove at least tangentially necessary to the plot, and the latter in particular, leads to a grisly payoff.

Dexter-Jones does a good job of selling her role, and Harper generally has no compunction about acting, e.g. blowing one of her target’s brains out at point-blank range. Yet, this is at odds with some of her other actions. She literally throws up after watching the initial savagery, and the sight of a dead body later makes her shriek like a little girl. It’s all maddeningly inconsistent, and left me rather annoyed, with too much the potential here wasted through sloppy execution.

Dir: Teddy Grennan
Star: Annabelle Dexter-Jones, Robert Longstreet, Michael Weaver, Bruce Dern
a.k.a. Swing Low

Grand Theft Auto Girls

  By

★★
“Preferred this when it was called Counterfeiting in Suburbia.”

Turns out that The Asylum are not the only company who makes mockbusters. As its alternate name makes clear, this Lifetime TVM is clearly a knock-off of the title mentioned above, down to the same, basic plot. Two teenage girls begin doing crime, largely for the excitement. A teacher becomes aware of their exploits and decides to blackmail them for his own benefit, by making them escalate their activities. This brings them increasingly under the scrutiny of both authorities and criminal elements, not to mention parental disapproval, eventually leading to a climax where all these aspects cross paths. As my review of Counterfeiting mentioned, it wasn’t even a particularly original idea there. As you can imagine, a second-generation copy is not an improvement, even if the idea of a knock-off of a movie about forgery possesses a certain irony. 

The main twist here is that instead of counterfeiting, the crime in question is car theft. Emily (Belkin) is being brought up by her mother, after her father died in a car accident, and is working to restore her late dad’s muscle car, a task which has helped give her certain car skills, including hot-wiring them. She has teamed up with classmate Max (Helt), to boost cars, purely for joy-riding purposes, but the pair decided to make a commercial endeavour out of it, and sell the vehicles to a local chop-shop they know. Their shop teacher, Mr. Curnow (Hynes) finds out about their work, and decides to use them to start stealing high-end cars, to provide seed money for his own business involving exotic sports vehicles. This doesn’t sit well with the chop-shop owner, the cops are beginning to close in, and worst of all, Emily’s Mom is growing increasingly suspicious. When she pays Curnow a visit at his home, she is held hostage to ensure Emily completes one final task, stealing a Hummer belonging to a well-connected local club owner.

This is so painfully bland, it should have been called Barbie and Friends Do Crimes. Admittedly, I was hoping for something like a female version of a Fast and the Furious movies. As I soon as I realized this was a Lifetime TVM, all hopes of that evaporated, but it could still have avoided having less edge than a rusty butter-knife. It shoehorns in a hot teenage boy delinquent (Manley) on whom Emily can crush, largely as a means of filling time, since he serves no real plot purpose. Even the car-stealing scenes, which could have generated tension, are feeble: witness in particular the example which consists largely of one girl starting intently into her handbag, waiting for a light to go green. Hitchcock is turning in his grave. It did manage to leave me yearning nostalgically for a film which only got 2½ stars, so that’s a new experience.

While I have already written more about this than it deserves, I just discovered there is still another TVM going down the same furrow: Smuggling in Suburbia. I’ll just leave its synopsis here. mostly as a warning that the possibilities appear, sadly, endless: “Joanie gets recruited to travel with other girls to exciting cities delivering camera lenses to photographers–and falls in love with Tucker, a partner in the courier business. When she searches the camera case she’s carrying and finds diamonds hidden inside a lens, Joanie realizes she is part of an illegal smuggling ring! She just needs to pay for her brother’s cancer surgery that would otherwise bankrupt the family.” Yeah, I’m good, thanks.

Dir: Jason Bourque
Star: Zoë Belkin, Samantha Helt, Tyler Hynes, Jake Manley
a.k.a. Hotwired in Suburbia

A Private War

  By

★★★
“You’re never going to get to where you’re going if you acknowledge fear.”

The profession of journalist is not exactly well-regarded by many people these days. So it’s nice occasionally to be reminded that they can still potentially be action heroes, risking their own lives in pursuit of the truth. In this case, it’s Marie Colvin (Pike), a foreign correspondent for London’s Sunday Times newspaper, who lost an eye while covering the civil strife in Sri Lanka, leading to a piratical eye-patch for the rest of her career. Most people would treat that as a sign from the universe to look into a change of profession. But Colvin was made of sterner stuff, despite a hellacious case of post-traumatic stress disorder, with which she largely coped by drinking heavily. So she and photographer sidekick Paul Conroy (Dornan) continue to venture into the world’s hot-spots, whether it’s Iraq, Libya or Syria. There, they expose the terrible human cost that the conflicts have on the local population, without apparent concern for their own safety.

It’s not a spoiler to say this doesn’t end well, for Colvin was indeed killed in Homs, Syria in a January 2012 explosion. And that’s kinda the thing which both drives the narrative and irritates the heck out of me. The film opens and closes with the quote from its subject at the top. However, to counter-quote her with Arthur Conan Doyle, “It is stupidity rather than courage to refuse to recognize danger when it is close upon you.” As depicted here, it seems as if the journalist almost had a death-wish, spitting in the face of danger long past what was prudent or even had much purpose. There’s little or no acknowledgement by Colvin that a dead writer won’t be able to achieve much. If you don’t get out safely to tell the stories you have gathered, what’s the point? You can argue, to some extent, it’s this and her other flaws which render its heroine human.

On the other hand, I found it extraordinarily hard to relate to Marie, with her choices and subsequent actions being so entirely alien to me. She insists on getting right to the core of suffering, even if this means asking its subjects brutal questions. Is this laudable journalism? Or a close cousin to the reporters who shove microphones at victims of tragedy and ask, “How do you feel?” Director Heinemann was responsible for the very good documentary Cartel Land, but seems to struggle a bit when he has to generate the narrative, rather than just recording it. We get only fragments that hint at Colvin’s character, such as a habit of wearing expensive bras, because she declares, “If anyone’s gonna pull my corpse from a trench, I want them to be impressed.” While there’s no denying the bravery of her chosen profession, or her qualifications for this site (albeit in the unorthodox wing!), and former Bond-girl Pike is excellent, I wasn’t left with any deeper appreciation of the why, rather than the how, of her life.

Dir: Matthew Heineman
Star: Rosamund Pike, Jamie Dornan, Tom Hollander, Stanley Tucci

Beyond Fear

  By

★★
“Carry on camping.”

Former WWF star Lesseos, where she was known as the Fabulous Mimi, carved out a small career for herself in low-budget action films, mostly in the mid-nineties. Though the ones we’ve covered before, such as Double Duty and Pushed to the Limit, aren’t exactly classics. This, unfortunately, continues that trend, with far too much sitting around campfires, and not enough action. Put another way, it’s a movie which is in tents, instead of intense. [Thank you, I’ll be here all week…] Lesseos plays wilderness guide and former mixed martial-arts fighter Tipper Taylor, who has been contracted to take a bunch of noobs out for a few days of camping. Unfortunately, one of them, Vince (Axelrod), happens to witness and videotape a murder at a campsite. The two perpetrators need to recover the incriminating footage, and set about stalking the party through the wilderness, abducting Vince in an effort to get him to hand over the cassette.

This eventually leads to what is largely the film’s sole redeeming feature: a fairly lengthy and not badly-staged rural brawl between Tipper and Boar (Bower), the most brutal of the villains. The key word, unfortunately, is “eventually”. Because, to reach that point, you have to sit through well over an hour of the most mind-numbing chit-chat you could possibly come up with. It feels as if the original script was some kind of ensemble relationship piece, onto which the makers decided at the last moment to bolt on some fisticuffs. This feels most obvious during our first exposure to the heroine’s talents, in a thoroughly clunky scene where she literally pulls over to try and break up a fight between two vagrants. Instead, everyone is given a deeply uninteresting back-story. For example, Vince and his wife are lottery winners, now working through problems with their marriage, and Tipper is feeling guilty over her final MMA fight, which left her best friend paralyzed.

None of which has anything to do with the main plot, and so can entirely be ignored. Though I can’t over-stress just how much of this nonsense there is. If you’re looking for an open-air soap-opera, this should be your jam. Which is a bit of a shame, as Lesseos brings an easy, likable charm to Tipper, making her someone for whom you want to root. Her fighting style is stiff –  though I should clarify, this is intended in the pro wrestling sense, meaning hard-hitting, It’s clear that’s where her background lies, with moves like drop-kicks not typically being part of the martial arts armoury! The problems here lie elsewhere, with a plot which just doesn’t foreground its action elements, never manages to set up Boar and his ally as any kind of credible threat, and all but entirely fails to explain why Vince never bothers telling anyone – least of all the authorities – about the snuff movie he recorded. Though I must confess to having laughed at the line in the trailer, “Mimi believes in women’s rights… lefts and uppercuts,” it’s all remarkably poorly thought-out, and I couldn’t help feeling that Mimi deserves better.

Dir: Robert F. Lyons
Star: Mimi Lesseos, Verrel Reed, Robert Axelrod, Wayne Bower

Annie Oakley (film)

  By

★★★
“Annie Gets Her Gun.”

While not exactly an accurate retelling of the life of noted sure-shot Annie Oakley, this is breezily entertaining. Indeed, you can make a case for this being one of the earliest “girls with guns” films to come out in the talking pictures era. There’s no denying Oakley (Stanwyck) qualifies here. The first time we see her, she’d delivering a load of game birds – all shot through the head to avoid damaging the flesh – to her wholesaler. When barnstorming sharpshooter Toby Walker (Foster) blows into town, Annie ends up in a match with him, which she ends up throwing, due in part to her crush on him. She still gets a job alongside Walker, in the Wild West show run by the renowned ‘Buffalo Bill’ Cody (Olsen) and his partner, Jeff Hogarth (Douglas). But Annie and Toby’s relationship fractures after he accidentally shoots her in the hand, while concealing an injury affecting his sight.

This hits the ground running, and roughly the first third plays decades ahead of its time. Don’t forget, this was made only fifteen years after women were granted the right to vote across the entire United States. Its depiction of a strong, perfectly independent woman as personified by Stanwyck is great – there’s also Walker’s former “friend,” Vera Delmar (Perl Kelton). When sternly warned the saloon she’s about to enter is no place for a lady, she breezily replies, “Oh, I’m no lady.” I’m quite impressed this was able to get through, given the rigid imposition of the strict Hays Code, beginning the previous year, with its goal “that vulgarity and suggestiveness may be eliminated.”

Almost inevitably, it can’t maintain this pace. There’s too much footage of the Wild West Show, which seems to consist largely of people on horses milling around the arena. I guess people were easily satisfied in those days. Meanwhile, the romance between Oakley and Walker (an entirely artificial construction, with Walker never existing as an actual person), fails to be convincing. Somewhat more interesting is the portrayal of Chief Sitting Bull, the Native American warrior who also became part of Wild Bill’s show. While depicted largely for comic relief – witness the scene where he turns out the gas lights in his bedroom by shooting at them – he is played by a genuine Indian, Chief Thunder Bird, which is considerably more progressive than some movies. He is also instrumental in Annie and Toby’s reconciliation.

Stanwyck does an excellent job of depicting the heroine, portraying her as someone absolutely confident in her own talents. I’d like to have seen more development of her character: as is, the one we see delivering quail at the start of the film, is almost identical to the one we see making up with Toby in its final shot. Sadly, the subject didn’t live to see her life immortalized in film, having died nine years before this was released. I think she’d probably have been quite pleased with her depiction.

Dir: George Stevens
Star: Barbara Stanwyck, Preston Foster, Melvyn Douglas, Moroni Olsen

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Hellcat’s Revenge II: Deadman’s Hand

  By

★★★
“Hello Catty!”

We reviewed Hellcat’s Revenge last year, and I’m pleased to report this is a small but palpable improvement from Kabasinski. Most of the players from its predecessor return, notably biker queen Cat (Neeld), who quickly finds herself framed and locked up in prison. There’s a target on Cat’s back, courtesy of rival gang leader, Rosie (Hamblin), who has formed an unholy alliance with the warden, and slips easily in and out of jail to manage her business, through a basement tunnel. She has driven both Cat’s gang, the Hellcats, and that of her lover, Snake (Kabasinski) off the streets, with the latter supposedly killed. That’s not the case – cue “I thought you were dead” comments to Snake, which I feel have to be an Escape From New York homage – and we soon learn, down is not out. For the tunnel out of jail goes both ways, and can also be Cat’s escape route, allowing her and Snake to take on Rosie and her crew.

It’s nice this largely addressed the issues I had with the first one. For instance, the lack of motorcycles isn’t a problem here, since this time round, it’s more a women-in-prison film – not many bikes in the slammer. And when pursuing the WiP path, it’s a good slice of fun, even if not much more than the usual tropes from the genre e.g. evil warden, sadistic guards, laundry-room brawls, etc. I particularly liked the turn of Dutch (who was in part one, playing a different character) as long-term inmate Vegas. Also: approaching seventy, if the IMDb is to be believed, and still doing a shower scene? Mad props. Hamblin, too, simply looks like a scary prison inmate, all piercings and face tattoos. In a film like this, that’s half the battle, and there’s no shortage of the requisite attitude and jailbird posturing to be found across the female characters.

The film is less impressive on the outside, not least because in the middle, Cat ends up becoming a supporting character in her own film, with Snake taking over. This isn’t as much fun, coming off as more like a low-rent episode of a Sons of Anarchy wannabe [and I speak as a fan of that show], with Snake carving a lone furrow there. I couldn’t help wishing they’d just stuck within the closed confines of those prison walls, where things appeared to be moving along quite nicely, thank you for asking. Things do perk up again once Cat is busted out of jail, and we get the expected face-off between Cat, Snake and their allies against Rosie and her minions. As in the first film, the limited resources do limit the scope of the action, though there’s a “bullet through the head” effect which was a good effort. It’s all slightly more polished this time, and that progression is what you want to see from any low-budget film-maker. Here’s to the next film being Cat III… :)

Dir: Len Kabasinski
Star: Lisa Neeld, Donna Hamblin, Deborah Dutch, Len Kabasinski

Becky

  By

★★★½
“Dear diary: my teen angst bullshit has a body count.”

Becky (Wilson) is the quintessential troubled teenager. Since her mother died, she has become increasingly estranged from her father, Jeff (McHale, replacing the original choice, Simon Pegg, who had to drop out due to scheduling conflicts), not least because of his new girlfriend, Kayla. Dad arranges a weekend away for everyone at the family cabin to try and repair things. However, relationship problems rapidly become the least of everyone’s concerns. For a quartet of escaped Aryan Brotherhood convicts, led by Dominick (James, going completely and effectively against type), have turned up, seeking a key they had hid on the property. Not too happy to find an inter-racial family, they capture everyone except Becky, who had stormed off in one of her huffs.

But hell hath no fury like a pissed-off teenage girl. Especially once Dominick starts torturing her father, the one person about whom Becky truly cares. Naturally, you do need to be able to accept that a 13-year-old – even one as unquestionably highly-motivated and vindictive as Becky – can take out hardened criminals, especially largely without the equalizer of a firearm. Yet the script does a fairly good job of overcoming this, setting up scenarios that allow her to use the tools at hand to her advantage. It helps some of her adversaries aren’t exactly the sharpest tools in the box, stupidity being a significant factor in their deaths by impalement and outboard motor.

The script also does a good job with villains Dominick and the 7-foot tall Apex (former WWE wrestler Maillet), who are respectively smarter and given greater depth than the bad guys usually receive in this kind of film. The latter, in particular, gets more of a character arc than anyone else bar Becky, becoming a surprisingly sympathetic character for a neo-Nazi. This development definitely helps the movie, when Becky is not extracting her furious, bloody vengeance [For instance, we could have done without the flashbacks to Becky playing the ukulele for her terminally ill mother. No, really]. Though it’s Dominick who provides the film’s most insanely hardcore moment, involving a scissors and an eyeball.

However, there is a fatal mis-step by having the movie’s climax take place after dark. This leaves the audience peering into the gloom, trying to figure out what’s going on. I’m still not sure what was being pulled behind the ATV on which Becky rides into her final battle. Going by its effect, I’m guessing at some kind of industrial strength earth-tilling equipment… This shadowy coyness is at odds with the in-your-face energy the film had shown up to that point, and which had it contending for a spot in Top 10, of any genre, for 2020. In the end, it probably falls just short, yet is still an enjoyable slice of brutal, hormonal savagery. As the end credits rolled, my mind drifted off to visions of a Hanna vs. Becky crossover story. Hey, we can all dream, can’t we?

Dir: Jonathan Milott, Cary Murnion
Star: Lulu Wilson, Kevin James, Joel McHale, Robert Maillet