Tag: USA

Vendetta

  By

★★★
“Ripe for a remake starring Zoë Bell.”

vendettaMovie stunt-woman Laurie Collins (Chase) is out for the night with her sister, Bonnie, until the latter accepts the company of a young man. When things get more than a bit rape-y, and Bonnie ends up shooting her attacker dead. She is convicted of second-degree manslaughter, much to the chagrin of her sister. Worse is to follow after Bonnie is sent to prison, as there, she then falls foul of the jail’s top dog, Kay Butler (Martin). Bonnie soon turns up a corpse, with the incident written off as suicide, due to the heroine found in her veins. But Laurie doesn’t believe a word of it, and deliberately commits grand theft auto, among other crimes, in order to be sent to the same prison, where she can find those responsible, and make them pay for what they did to Bonnie.

Starting with a film-within-a-film scene which had me wondering if I was watching the wrong, post-apocalyptic movie, it’s a nice idea to have the heroine be a stunt-woman, and gives a credible explanation for her physical talents. This 1986 film is also ahead of the curve in making, in explicitly making the facility a “for-profit” prison, something which would eventually become an issue almost three decades later. That said, this does appear to be a rather cushy penal establishment, where inmates are well compensated for their work, and there is both a swimming-pool(!) and a video-arcade(!!). It doesn’t skimp on the exploitational aspects, with the shower scenes typical for the genre, and the rape of Bonnie is genuinely nasty.

In this, it shares something of the same look and feel as Reform School Girls, made that year, right down to the presence of an blonde, obvious Ilsa-lookalike in charge, though Collins’s Miss Dice is far more sympathetic  than Sybil Danning’s Warden Sutter. [Coincidentally or not, both films also feature the Screamin’ Sirens’ song, “Love Slave”, during a scene of sexual abuse.] The main weakness here is likely Chase, who seems rather unconvincing in terms of physical presence, though does acquit herself half-decently in the action scenes. Her Laurie just doesn’t quite feel like the kind of character who would go to such elaborate lengths to extract brutal vengeance – and it’s a damn good thing she wasn’t sent to another facility. You can contrast her character with that of Martin, who definitely feel like the kind of scum that would rise to the top inside.

There is a certain bleakness to the ending [spoilers follow]. After Laurie has completed her revenge, with the help of Miss Dice, the warden turns to her and says, “Did it bring Bonnie back?”, then adding, “You have the rest of your life to think about that.” It’s somewhat disconcerting for the viewer who has been brought along on Laurie’s quest, suddenly to have the moral carpet yanked out from under them like this, instead of any closure. If the hairstyles haven’t aged well, this philosophical ambiguity has.

Dir: Bruce Logan
Star: Karen Chase, Sandy Martin, Kin Shriner, Roberta Collins

Electra Woman and Dyna Girl

  By

★★★★
“They’re super, thanks for asking…”

Initially a web series, the eight episodes are combined into a feature-length production here, and it’s done well enough you can’t see the join. It’s inspired by a Sid + Marty Krofft creation from the mid-seventies, which parodied the Batman and Robin dynamic. Four decades later, when it seems every other movie is a superhero of one form or another, the updated concept works deliciously well, helped by a winning lead performance from Hart as Dyna Girl. She and her partner Electra Woman (Helbig) are low-tier superheroines – without any particular powers, in fact – who operate out of Akron, Ohio until video of them disarming (literally) a convenience store robber goes viral.

That gets them the attention of CMM, the top talent agency for caped crusaders, which necessitates a move from Akron to Los Angeles. With the fame and fortune comes its share of problems, as the more photogenic Electra Woman is seen as the lead, with Dyna Girl increasingly reduced to “sidekick” status. Worse is to follow, as the first supervillain in a long time shows up in Los Angeles, and the ‘Empress of Evil’ rapidly takes out Major Vaunt, the city’s top hero. Can EW + DG patch up their creative differences and save the City of Angels? [Or, at least, the City of Vancouver, attempting to stand-in for the City of Angels…]

I was genuinely and pleasantly surprised by this. I had no clue at all what to expect, having never even heard of the show before, and not even seen a trailer. But I greatly appreciated the dry wit, often bordering on sarcasm, not often seen to this extent in American films. Helbig and Hart are, apparently, YouTube stars, which may help explain the abundant references to social media and pop culture in the script. These may not date well, i.e. jokes about Uber discount coupons or filming with your phone vertical, and if you don’t know what a “Reddit AMA” is, much of the satire there may go over your head. For now, however, it hit the mark for me, and the entirely underwhelming nature of the heroines along with their (lack of) abilities and down-to-earth personalities made them far more relatable than the likes of Jessica Jones.

As you should probably expect, the action aspects are somewhat restrained. Yet these are more successful than you’d imagine and are meshed into the rest of the film nicely – the villains who are beaten up by our two leading ladies sell their punishment magnificently, which certainly helps! It’s also refreshing that there is basically not even the hint of any romantic elements here at all; EW & DG sleep in twin bunk-beds, above each other. This charming naiveté extends to other aspects, such as Dyna Girl’s adorably dorky hair-cut, which looks like the kind of thing you do to yourself in the mirror – if you had the attention span of Dory. The self-awareness here is almost off the charts, and this shows that is not necessarily a bad thing.

Dir: Chris Marrs Piliero
Star: Grace Helbig, Hannah Hart, Matreya Fedor

Julia X

  By

★★★
“Battle of the sexes.”

juliaxA date appears to go badly wrong for Julia (Azlynn), when her companion (Sorbo) turns out to be a serial-killer who has been using Internet dating sites to find the young women he targets. However, it turns out the tables are eventually turned, for Julia and her sister Jessica (Willis) are every bit as monstrous, who have been luring in and killing men, as a result of the abuse they both suffered at the hands of their father. But Jessica is a bit fed up of taking a back seat to her big sis, and wanders across the street to kidnap a victim of her own (Moore). But Julia’s captive is not exactly prepared to give up his liberty without a fight.

Nice bit of casting against type for Sorbo, whom we’re used to seeing in more heroic roles. He’s quite effective in a Patrick Bateman-esque way (American Psycho, if you’d forgotten), and this is certainly an equal opportunity film, in terms of the copious violence inflicted both on and by women. The last third is not much more than the two leads battering each other forcefully through the entire house, with extreme and escalating aggression. It’s the kind of thing which I should love. So why does it all feel relatively unaffecting and forced?

It may be because the scenario unfolding requires almost industrial strength idiocy from the main characters. Sorbo’s killer, for example, is so sloppily incompetent, it’s a wonder he managed to pull off his first murder without accidentally killing himself. The sisters aren’t much better, and we’re not given much of a reason to root for Julia and Jessica either. I get the feeling the reveal of them being psychos as well is supposed to “matter”, but it has next to no impact at all. The backstory offered for the sisters is pretty trite and cliched too; maybe it would have been better off if they’d begun with that, and we’d been brought along with the siblings on their journey, to the point where murder apparently started to make sense.

What does work, fortunately, is the action, which is well-staged and crunchy. The film doesn’t linger on the pain with sadistic glee, as it could; this is wise, since if the makers did, some scenes would likely be hard to watch. Instead, there’s an almost Looney Tunes element to the mayhem, particularly in the way the protagonists are able to take a pounding, and bounce back with an even more enhanced vengeance, like a human version of an Itchy & Scratchy cartoon. On the whole, I’d not have minded at all to see this deliberately outrageous aspect played up, highlighted particularly by a beautifully ironic use of The Carpenters’ soft-pop anthem, Close To You. For the film arguably doesn’t do enough with its script or characters to make the viewer interested in taking them seriously.

Dir: P.J. Pettiette
Star: Valerie Azlynn, Kevin Sorbo, Alicia Leigh Willis, Joel David Moore

Morgan

  By

★★★½
“Hannah goes Haywire.”

I watched this twice: once on an airplane flight from London, and once after I returned, and I think I preferred the second viewing. For the ending here, if not perhaps what you’d call a “twist”, does provide a piece of information about the lead character, that will change the way you watch her performance in subsequent viewings. It’s something I appreciate, and also goes a long way to explain what would otherwise potentially be flaws in the plot. Said character is Lee Weathers (Mara), a “risk-management consultant” for a tech company, who is sent to a remote outpost, literally buried in the heart of the countryside.

Its inhabitants have spent more than five years working on developing an artificial life-form; after multiple failed attempts, their current creation, Morgan (Taylor-Joy) had appeared to be doing better. Initially, crafted with talents such as accelerated growth, she (or, as Lee stresses, “it”) is now developing unexpected talents such as precognition. However, a violent streak is also making itself known, culminating in Morgan stabbing one of the researchers in the eye. This is where Weathers comes in, seeking to assess the viability of the project, as well as whether it should continue or not. And if not? Well, as the one-eyed researcher, played by Jennifer Jason Leigh, bluntly tells her, “You’re a goddamn assassin.” But Morgan’s creators won’t take that lying down; nor will Morgan her/itself.

Mara captures just the right degree of cold, passionless disinterest, and is helped out by a very solid supporting cast. This includes Leigh as well as Brian Cox, Paul Giamatti and even action heroine icon, Michelle Yeoh, albeit in a non-action role, playing the head of the project. After the opening scene, depicting the eye-stabbing from the POV of the complex’s security cameras, we already know everything is going to kick off, it’s just a matter of when. Given this, the first half could be considered too slow; we really don’t need to be introduced to everyone, because what matters is the Weathers-Morgan dynamic, perhaps with a side of the latter’s closest “relative”, Dr. Menser (Leslie, not without her own action cred, having played Ygritte in Game of Thrones – like GoT, this movie was filmed in Northern Ireland).

The arrival of Dr. Shapiro (Giamatti), the man in charge of carrying out Morgan’s psych evaluation, signals the start of this inevitable escalation of hostilities, and the pace certainly kicks up from that point forward. It’s this aspect which separates it in tone from the similarly-themed Splice, a more horror-oriented story, also about an artificial life-form gone awry. I note the stunt personnel here included Zara Phythian, a British action actress, whose star appears to be on the rise. Despite the loaded cast – it helps having Ridley Scott as a producer! – this was relatively cheap to make, at $8 million, and was somewhat unjustly overlooked on its cinema release. Even if it probably does take two viewings to appreciate it.

Dir: Luke Scott
Star: Kate Mara, Anya Taylor-Joy, Toby Jones, Rose Leslie

Angel of Reckoning

  By

★★
“Near-dead reckoning”

angel-of-reckoningReturning from a stint in the military, Rachel Baldwin (Kabasinski) is looking forward to reuniting and reconnecting with her family. But any hope of happiness is rudely disrupted when her niece slits her wrists in the bathtub. After the funeral, Rachel finds her late relative’s phone and realizes the reason for the suicide was a sex tape she’d made with her boyfriend (Wieczorek), which he had traded to a drug dealer for cocaine, and then ended up on the Internet, to her fatal shame. A thoroughly unimpressed Rachel decides to take her army skills and apply them to the sleazy individuals responsible, working her way up the ladder to Beverly (Hamblin), the woman at the top of the scumball chain of command.

This kind of thing certainly can work well: Sweet Karma is probably the best example of the genre immediately to come to mind. However, this is just too cheap a production for it to be any more than occasionally successful. The poster (right) promises a level of quality that the actual movie rarely if ever matches, in a way that significantly distracts from proceedings. For example, check out the supposed “cinema,” occupied entirely (and inexplicably!) by goths. The performances, in particular, are all over the place in terms of quality, often a real issue with low-budget film-making. The decent ones, such as that of Detective Trufont (Frederick Williams),  the cop chasing down the source of the ever-increasing body count, make the bad ones – by which I mean the rest of the heroine’s family – all the more noticeable.

The other main area of deficiency is the plot. It lurches from incident to incident rather than flowing, and there’s no sense of escalation as Rachel moves through the criminal underworld. I did enjoy the supporting role of former adult actress Jasmin St. Claire as an arms dealer – the makers certainly have to be given credit for casting against type there! But the only memorable action sequence was the one which took place in a shoot at a porn studio, to which our heroine had obtained an invitation to perform. The use of a strobe and UV lighting there was undeniably effective, if arguably somewhat contrived and gimmicky, and also put over her ruthless streak well.

Unfortunately, this is the exception, rather than the rule, and the other sequences are forgettable. It’s perhaps somewhat unfair to judge what’s clearly a small budget film, by comparing it against movies with far greater resources. However, when you’re lined up on the shelf in Wal-mart or wherever, there’s no discount given for limited resources. Although the film’s heart is in the right place, it simply falls short of delivering on its aims and goals. That said, it looks like the director’s studio, Killer Wolf Films, has produced some other GWG flicks; this showed enough promise, I wouldn’t be averse to checking out their current production, Hellcat’s Revenge, when it appears.

Dir: Len Kabasinski
Star: Jessica Kabasinski, Donna Hamblin, Lisa Neeld, Hunter Wieczorek

Unsullied

  By

★★
“Tumblr in action-movies”

unsulliedIf you’re looking for unsubtle social commentary, you’re in the right place, because this take on The Most Dangerous Game ticks off the trifecta of -isms:

  • Sexism: men abusing women
  • Classism: the 1% versus the 99%
  • Racism: the main protagonist is black, all the antagonists are white.

Heroine Reagan (Gray) is a track star on her way to a college meet, when her car breaks down in a remote area of Louisiana. Unfortunately for her, this leads her into the grasp of Noah Evans (Joiner, looking very much like Brad Pitt’s stunt double) and Mason Hicks (Gaudison), two stockbrokers with a fondness for kidnapping and hunting down young women. They have the deep pockets to ensure that just about everyone in the local area looks the other way, so Reagan is on her own. However, might her athletic ability make her survival changes rather better than the previous victims?

I was kinda hoping this might be some kind of Game of Thrones spin-off – if you don’t watch the show, the title is shared with one of the fiercest warrior armies there. Unfortunately, Reagan’s main skill is, as you might surmise from the synopsis, running away rather than combat, so there’s a lot of jogging here. And swimming, too, for some reason. You also get copious flashbacks of back-story, since Reagan’s sister mysteriously vanished some time previously. You don’t exactly need to be a psychic to figure out where that plot-thread is going to lead, in a remarkable piece of happenstance which will likely stretch disbelief for even the most credulous of viewers.

Director Rice is actually a former NFL defensive end, which I think is a first. I’ve seen a few go on to be actors, such as Fred Williamson and O.J. Simpson, but not direct. Save for a couple of flashy “Go Pro”-esque shots, he takes a workmanlike approach in his debut feature, which is likely wise. Gray is proficient enough too, putting over strength and resolve which is appealing. The problems here are largely in a script which concentrates on the duller aspects, to the exclusion of potentially more interesting ones, such as the apparent way the hunters have bought the connivance of the entire town. Yet even this doesn’t make sense, with them randomly killing someone who appears to be entirely on their side. Because they’re bad people, that’s why. Hey, they’re bored and rich, young white men. What else would you expect?

That may be the core here: an almost total lack of motivation for everyone in the cast, from the moment Reagan blithely decides to get in her abductors’ truck – minutes after cautiously spurning a single man who tries to help. Thereafter, the film relies too much on mutual idiocy. For every moment where Reagan, say, decides to start a fire for no particular reason, there’s one where a captor doesn’t bother to tie her up. The number of times I rolled my eyes was likely exceeeded only by the number of derisive snorts.

Dir: Simeon Rice
Star: Murray Gray, Rusty Joiner, James Gaudioso, Erin Boyes

Vampire Chicks With Chainsaws

  By

★★
“Had me at ‘chainsaws’, to be honest.”

This probably seemed better than it is, simply because it had the benefit of being watched immediately after Iconoclast. Two hours of static would have been an improvement on that. All told, this doesn’t suck. While clearly extremely low-budget (it reportedly cost a thousand bucks), and I’m not sure the plot would stand daylight any better than a vampire, it does at least deliver on what the title and sleeve promise. Indeed, within the first five minutes, we have fanged women wielding mechanical wood-cutting equipment. Check, check and check, even if the specific woman on the poster is not actually in the movie.

It plays somewhat like a backwoods version of Underworld – there’s certainly a lot more running through forests. By this, I mean the vampires are engaged in a centuries-long war against their enemy, into which an innocent human man is drawn, only for the lead vampire ass-kicker to fall in love with him. The vampires here also seems to share the same couture choice, albeit (obviously) at a much lower level of budget. The main difference is the opposition is provided, not by werewolves, but extra-terrestrials called “outlanders”. They came to earth and mated with our species, the resulting offspring being vampires. However, again for reasons of cost, the aliens are indistinguishable from humans, except for coughing up green blood when shot, stabbed or cut up (out of shot) with chainsaws.

The hero is Quinn Ash, whose life has sucked since his wife left him, and he’s living in crappy trailer, thoroughly disgruntled. Even though he’s a redneck in a vest. he speaks in voice-over, like a private eye in a hard-boiled film noir. Things change, albeit not necessarily for the better, when he literally runs into a young woman on a country road. Remarkably unhurt, she injects him with a syringe and runs off, before being captured by a group of men. Quinn is then captured too, by Karel (Lisonbee) and her vampire posse. They eventually – and by this, I mean after about 40 minutes where neither hero nor audience have any clue what’s going on – explain the scenario. Turns out Quinn had been injected with an experimental drug, developed by the outlanders to kill the otherwise immortal female vampires. So, the makers have seen Ultraviolet as well.

With a bit more money, this could have been worthwhile, even if the scenario (as noted) largely consists of aspects cobbled together from elsewhere. Instead, there’s too much running around in woods, and even the chainsaws are almost entirely sound effect. The script also needs to establish what the hell is going on a lot quicker: by the time there’s any meaningful exposition, you’re halfway through and have largely given up hope. All this said, it was never specifically dull, and I’d not mind seeing what Diego could do with a bit more resources. But this was simply a significant improvement on Iconoclast, and I’m very grateful for that alone.

Dir: Carlos Don Diego
Star: Adam Abram, Jenna Lisonbee, Jamie Rosquist, RaeAnn Christensen

Iconoclast

  By

½
“Does ANYONE know what’s going on?”

iconoclastLadies and gentlemen, we have finally found it: the Plan 9 From Outer Space of action heroine films, which manages to combine shoddy production values and pretentious nonsense to devastating effect, with the result being a completely incoherent mess. I knew I’d made a terrible, terrible mistake inside the first five minutes, which consisted of utterly overlong shots of a beach, into which a woman strolls, apparently coming directly from a clearance sale at Hot Topic, and performs an interpretive dance routine. She then wanders aimlessly round the woods, and menaces another woman, who is tied to a tree, while endlessly repeating, “Blood for blood. A life for a life. The wheel upon which we must all be broken.” It didn’t get any better, or any more comprehensible, thereafter.

For the closest thing you’re going to get to an explanation, I turn to the official synopsis, as written by the director: “Iconoclast is the story of a lone warrior who is resurrected by a dark goddess and sent into the wilderness to slay all of the old gods and take their power, so that she can craft him into a powerful weapon to wield against the crusading knights that sweep across the land.” Ooh. Sounds quite good. I wouldn’t actually mind watching that film. However, it bears absolutely no resemblance to what was delivered, and even less to the sleeve. I should have realized that any production with an obviously “artistic” cover is not going to live up to it. I remember first learning that particular lesson at the video store in the late 80’s, with any number of sub-Frazetta covers that concealed badly dubbed Italian B-movies.

It pains me to skewer this as utterly irredeemable, since it was obviously an effort of love for Argo. Based on the Kickstarter page, he appears to have gone out to New Zealand and begged WETA for some leftover bits and pieces of armour and weapons from Lord of the Rings, and shot their footage there. I’ve no idea why they bothered, because unlike LotR, this is not in the slightest bit epic. Indeed, there is nothing to indicate this wasn’t shot in the forest behind Argo’s house, never mind New Zealand. What narrative there is (as opposed to droning pseudo-philosophical nonsense, vaguely derived from Celtic mythology 1.0.1) , gets delivered entirely in voice-over, by completely different people to those performing on screen. The fight scenes are staggeringly inept, and the storyline is flat out baffling, with no clear expression of even the most basic of ideas.

About the only positive thing I can say is that Ms. Hot Topic, a.k.a. “The Black Goddess of the South Gates” (Kristel) is kinda hot, if you like chicks who have angel wing tattoos on their back. Otherwise, how bad was this? By the end of it, I was devoting more attention to arguing with 9/11 Truthers on Reddit. That’s pretty frickin’ terrible.

Dir: Sean-Michael Argo
Star: Stellar Kristel, Sean-Michael Argo, Petra Grace, Penny Walker

Black Rock

  By

★★
“Naked and afraid”

black rockMaybe I’m getting old and deaf. Or maybe it’s just not a good idea to have dialogue that appears to consist largely of characters yelling (or whispering) over the top of each other. Either way, probably a negative the muddy audio is the main thing I remember about this survival horror film. Childhood friends Sarah (Bosworth), Abby (Aselton) and Lou (Bell) re-unite for a weekend on an island near where they grew up. There’s some reluctance here, Abby and Lou not having been on speaking terms for some years, due to the latter having slept with the former’s boyfriend years previously. The island is supposedly deserted, so they’re surprised to encounter three men hunting there, one of whom is known to Lou. A drink leads to another, and before you know it, Abby has fended off advances, in lethal fashion. The two survivors don’t take kindly to this, and begin hunting the trio to take revenge for their friend.

A credible alternative title for this one would be Stupid Decisions, Volume I. For if you’re not yelling more sensible choices at the screen, almost as soon as the action here kicks off, you are simply not paying attention. Indeed, even earlier, such as when one of the women here lies about having cancer – always a great way to build sympathy. Perhaps the nadir is the shouting match while they are supposedly trying to sneak across the beach: another wise idea. Fortunately for them, this is strictly equal-opportunity in terms of idiocy, since the men are no better equipped in the smarts department. Supposedly ex-soldiers recently returned from deployment in the Middle East after being “dishonourably discharged” [hello, giant red flag!], one suspects they wouldn’t have made it through basic training, based on the competence level they display here. The wisest approach to surviving would be to hole up and wait for the guys’ to shoot themselves in the head. It could only be a matter of time.

The film presents an awkward mix of empowering feminism and shallow exploitation. One moment, “No” means “I’m going to bash your head in with a large rock.” The next, the women are stripping out of their wet clothes for an extended sequence of running around the woods naked, after one of their many ill-advised choices, in this case a midnight swim out to a boat moored offshore. It seems equally unsure about whether it wants to destroy the tropes of the horror genre, or simply imitate them. Either way, it doesn’t do an effective job. There are only a couple of moments that pack any wallop, and you have a trio of lead characters that rarely manage to rise above irritating. Lou manages to come out the best, at least relatively: 90 minutes of her battling for survival on her own, without all the girlie chit-chat, would likely have improved this considerably.

Dir: Katie Aselton
Star: Lake Bell, Katie Aselton, Kate Bosworth, Jay Paulson

Sorrow

  By

★½
“Coherence. It’s vastly over-rated.”

sorrowEven given my tolerance for small budget and independent films, this was a chore both times I watched it. The first time, I got half-way through and gave up. Returning the next day, I decided to give it another chance, and started from the beginning again. While I did make it all the way to the end on the second occasion, this is one of those cases where I reached the end, and was actively irritated by the fact I could have spent the time doing any number of more interesting, productive or fun things.

It starts with the aftermath of a shoot-out at a house, which leaves the cops picking over multiple dead bodies – including one of their own, killed by a booby-trap – and the sole living witness, Mila Sweeney (Vasquez) in hospital with a shoulder wound. She absconds from there, because in one of the inexplicable pieces of plotting, the cops don’t bother to keep an eye on her there, and it’s up to Detective Ana Salinas (Mars) to try and reel Mila back in. Alongside this, we get a series of flashbacks (except, you have to figure out what’s a flashback and what’s current, entirely on your own), depicting events leading up to the shoot-out, which saw Mila have the misfortune to knock on the door of a house occupied by a nomadic trio of psychopaths, Dale (Martinez), Hersey (Etuk) and Gambit, who welcome the delivery of fresh meat.

The rest of the film judders back and forth between the heroine’s efforts to escape her captivity, and her post-shootout quest for vengeance, yet also wobbles between portraying this from Mila’s perspective and those of the perpetrators. It’s as if the script – also written by director Loredo – couldn’t figure out what angle or approach to take, and ended up going for a half-assed attempt to cover them all. This is one of the reasons why hard experience has shown me that it’s a warning sign when any low-budget film is written by the same person directing it. This approach largely removes the opportunity for an outsider  to look at the script with a critical eye and go, “Hang on. That won’t work.”

You can see what Loredo is going for, and I can’t deny the obvious passion here. It’s just a shame that there is virtually nothing else good enough to retain your attention. In particular, occasionally good performances are wasted because the script is horrible at its most important and basic job: telling a coherent story. The viewer is left thrashing around trying to put together the pieces, and while not impossible, this is a task where the director needs to be someone more like David Lynch, rather than a rookie trying her hand at directing a feature for the first time, especially one who appears to this she is Quentin Tarantino.

Dir: Millie Loredo
Star: Vannessa Vasquez, Melissa Mars, Eric Martinez, Mary Etuk