Tag: USA

The Vault

  By

★★★
“It’s always somebody else’s vault…”

In an effort to pay off gambling debts their brother Michael (Haze) has run up, sisters Leah (Eastwood) and Vee (Manning) plan and execute a bank robbery. While smart in intent – they set up a diversion, and have a cunning escape route prepared – it’s not long before the operation goes wrong. The bank’s safe does not hold anywhere near the expected haul: fortunately, the assistant manager (Franco) helpfully informs them of an undisclosed vault in the basement holding six million dollars in cash. Sending some of their gang down to the vault, The sisters can only watch on CCTV aghast, as the men are picked off by mysterious figures. For, it turns out, the bank was the site of a robbery in 1982, leading to a hostage situation that ended in multiple deaths. The ghosts of those involved are still in the basement, and opening the vault has apparently released them to take revenge.

I don’t think I’ve seen a film which combined a heist flick with a ghost story before, and it works fairly well. I say “fairly”, since it feels uneven. The bank robbery side is meticulously assembled, to the point that it could have been better if that been the movie’s sole focus. Eastwood, who made a strong impression in M.F.A., is equally as good here, playing Leah as a cunning strategist who has put a lot of thought into her meticulous plan, only for it to be derailed by factors outside her control. Vee, on the other hand, is a loose cannon, driven by her emotions, and reacting to events rather than managing them. You understand perfectly why the two sisters have led separate lives prior to reuniting to help Michael, though the specific details of the estrangement are never revealed.

It was almost an annoyance when the supernatural elements began to kick in, for those were not handled as effectively. Perhaps it’s a case of over-familiarity, with the horror genre being one with which I am particularly well-acquainted; the barely-glimpsed dark figures just didn’t do it for me. Some elements reminded me of the dumber excesses of the genre too. For instance, the willingness of the robbers to stumble around an extremely dimly-lit basement, without going, “Hang on… This makes no sense”. Or given the spectacular and murderous nature of the original robbery, it stretches belief that these local robbers had apparently never even heard of it. That’s a bit like someone from Hollywood not having heard of Charlie Manson.

While never derailing entirely the solid foundation of character and story-line set up in the first half, I couldn’t help but feel slightly disappointed by the relative weakness of the second portion. Matters are likely not helped by an unsubtle coda which appears to have strayed in from a far worse film. This adds little if anything to the movie, and isn’t the sort of final impression you’d want to leave on an audience. The performances definitely deserved better.

Dir: Dan Bush
Star: Francesca Eastwood, Taryn Manning, Scott Haze, James Franco

The Bad Batch

  By

★★
“After the apocalypse, there will still be photocopiers. And raves.”

In the film’s defense, it’s not clear quite how post-apocalyptic this is meant to be, since we don’t see anything of the world at large. Everything takes place inside a stretch of desert which has been used, apparently for some time, as a dumping ground for the dregs of society. Into this environment is dropped Arlen (Waterhouse), who soon gets first-hand experience of the situation, when a cannibal mother and daughter capture her, and cut off an arm and a leg. She escapes, and is found and rescued by the Hermit (Carrey), who brings her to Comfort, the nearest the zone offers to civilization. When she’s well again, Arlen returns to take revenge on the mother, but believing the daughter to be innocent, takes her back to Comfort. Which provokes the ire of Miami Man (Monoa), a tattooed behemoth who turns out to be the girl’s father, and wants her back.

There’s also Keanu Reeves, running around as “the Dream,” a rave promoter, drug pusher and overall lord of Comfort, who has a harem of pregnant, gun-toting women, all sporting “The Dream is inside me” T-shirts: probably the film’s most memorable image, despite its undoubted ludicrousness. But it all fails to gel into anything coherent or interesting, except in very sporadic moments. It’s a long slog through the first 30 minutes, which are almost entirely dialogue-free, to get to what passes for the meat of the story – though it’s more like undercooked tofu, to be honest.

For the movie never achieves anything like a consistent direction or even tone. Even its Wikipedia page calls the film a “romantic drama horror-thriller”. Good luck juggling all those genres. Is it aspiring to be Mad Max? A spaghetti Western? My best guess could well be, merely a six million dollar budgeted excuse for the director’s favourite Spotify playlist, the soundtrack roaming with jarring inconsistency from Culture Club to Die Antwoord, while we endure lengthy shots of Arlen wandering the desert, high on the Dream’s product. And don’t even get me started on the Hawaiian Momoa playing a supposed Cuban, with a cod-Mexican accent. I’m just glad Chris (whose family is genuinely Cuban) wasn’t around, or all Momoa’s scenes would have been overdubbed with a stream of her derisive snorts, emanating from next to me on the couch.

I did appreciate the look of the film, with some striking imagery: the towering wall of shipping containers, parked in the middle of the desert, for example. That just isn’t enough to sustain a 115-minute running-time, especially when the film seems to get bored of its own ideas, and forget about them. Miami Man, for example, despite proclaiming that his daughter is the only thing he cares about, apparently abandons this search and drifts away from the picture, apparently preferring to do something else for much of the second half. This viewer’s interest was right there beside him.

Dir: Ana Lily Amirpour
Star: Suki Waterhouse, Jason Momoa, Keanu Reeves, Jim Carrey

Cocaine Godmother

  By

★★½
“A slice of Welsh rarebit”

As we mentioned in the 2018 preview, this has had a rather tortuous journey to the screen, with Zeta-Jones inked to the part of Griselda Blanco as long ago as October 2014. That theatrical film appears to have died on the vine, but the actress’s interest clearly did not. Last May, Lifetime gave the go-ahead to a TV movie version instead, telling the life story of a character who has already crossed this site before. Needless to say, there were howls of indignation from the usual quarters that the Welsh Zeta-Jones had been cast to play Blanco, though as she herself pointed out, she’d played Hispanic women before, such as in Zorro. It’s something which never bothers me: whether the performance works is always more important to me than the location of the performer’s birth.

In this case (and going by the Twitter reactions, many tend to agree), I’d say that Zeta-Jones certainly wasn’t the problem with the finished product. If considerably more attractive than the real Griselda, she is mostly very convincing, giving her portrayal the combination of driven intensity and potential for furious rage that Blanco possessed. The problem is more a script which simply fails to flow. Sure, the story touches most of the obvious moments in Griselda’s life, yet these appear completely unconnected to each other. The end result feels almost as if someone took a 70-episode telenovela and edited it down into a 90-minute TV movie. It’s more like Griselda Blanco’s Greatest Hits – and she was allegedly responsible for over 200 of those, hohoho.

It is a disturbing start, with the very young Blanco being pimped out by her mother in Medellin, only to pull a gun and shoot one of her customers dead after he refuses to pay. Damn. Thereafter, however, it bounces around rapidly, with little or no real time-frame. You get her killing husbands, inventing the motorcycle drive-by, the Dadeland Mall shootout, using attractive women to smuggle drugs in their lingerie and high-heels, etc. But all these fragments combine to provide little or no insight into her character, motives or personality (though I was somewhat impressed this did not soft-pedal Blanco’s bisexuality, unlike La Viuda Negra); I wanted to know what made her tick, and was sorely disappointed. You’d likely come away better informed simply by reading the Wikipedia article on her.

Perhaps it’s the kind of life which simply cannot be told adequately in such a brief time-span. I saw a number of comparisons to the Netflix series, Narcos, and do have to wonder if a 13-episode series might have been better suited to the material, rather than this breathless, and ultimately empty, gallop through Blanco’s life. There is still reported to be another take on the topic coming down the pipeline with Jennifer Lopez playing Blanco in an HBO movie. Like Zeta-Jones, Lopez had been linked to the role for a long time (since at least the death of the real Griselda in 2012), but little has been heard about that version since 2016. For now, this version will have to do.

Dir: Guillermo Navarro
Star: Catherine Zeta-Jones, Raúl Méndez, Juan Pablo Espinosa, Matteo Stefan

Suspension

  By

★★½
“The night HE came home…”

Bullied by her peers at high school, Emily (MacNevin) takes refuge in drawing. Although, rather than high art, her preferred method of expression is horror comics: working on these in class is what gets her the titular punishment, imposed by a disapproving teacher. Emily’s strip depicts the havoc wreaked by a serial killer – who might (or might not) be inspired by her absent father. However, the line between imagination and reality becomes blurred, and on the night of a student party to which Emily has not been invited, someone starts stalking and murdering those who have tormented her. Looks like Daddy is out, and protecting his little girl – or, is he?

Oh, what the hell: when the sleeve (right) can’t even be bothered to avoid a major spoiler, why should I? Turns out Emily’s mind has snapped entirely, and she’s actually responsible for all the deaths. Otherwise, as my tag-line suggests, there’s more than a little of Halloween here, not least in the look of the killer, whose bland, white mask is more than an echo of the one famously worn by Michael Myers. Indeed, this feels as much of a homage to the slasher films of that era as anything; that’s likely the charitable way to view it, at least, since the supporting characters, situations and even specific kills contain little in the way of originality.

The most interesting thing is likely the effort put into fully developing Emily’s graphic art, beginning with the highly-stylized opening credit sequence. From here, it moves into a female masked killer – I’m guessing, intended to represent Emily’s idealized version of herself – who captures, tortures and dispatches other killers, recording it all on film. It’s a shame this angle isn’t sustained for, to be honest, it’s a good deal more imaginative and possesses a lot more potential, than the rehashed tribute to 80’s horror into which this quickly devolves.

It’s both too much, and not enough – the comic story occupies excessive screen-time in the first half, which could have gone to better development of the “real life” characters or setting. On the other hand, it could also have danced for longer along the line between Emily’s fantasies and reality. Instead, it occupies a mediocre middle, with only one plot element which surprised me – and it was almost a sidelight, not anything to do with Emily’s desire for ultra-violent revenge on her peers. MacNevin isn’t bad in the role; she has a nice, “everygirl” quality about her that generates empathy, along with the devotion she shows to her apparently mute kid brother.

The gore is plentiful enough, and Lando (veteran of many a shaky SyFy Original Movie) has a decent enough eye. The problem is mostly the script, hampered by its apparent unwillingness to commit to being one thing or the other. The result is not a slasher, nor a psychological exploration of homicidal imagination, and instead is a half-baked combo, which satisfies as neither. 

Dir: Jeffery Scott Lando
Star: Ellen MacNevin, Taylor Russell, Courtney Paige, Steve Richmond

Viral

  By

★★½
“Facebook status: feeling infected.”

Firstly: it’s not a frickin’ virus at all! The threat here is a blood-borne parasite, which is completely different, so I have no idea where the title came from. Glad I got that off my chest. Where were we? Oh, yes… The Drakeford family have just moved in to a suburban community in California. Daughter Emma (Black-D’Elia) is trying to settle in at their new school. something at which her more extrovert older sister Stacey (Tipton) is better. This distraction is why they don’t notice the growing concern about a disease that’s spreading across the globe – until a classmate succumbs to this nasty ailment, which makes the infected highly aggressive.

From there, the siblings’ safe, stable world disintegrates rapidly. Mom is stuck at the airport, and when Dad goes to try and find her, he doesn’t come back. Matters escalate after Stacey drags the reluctant Emma to a particularly ill-advised house party [Maybe it’s just me, but in the event of any communicable epidemic breaking out, I would not exactly be attending social gatherings], where they get to see the effects of the illness first hand. Scurrying back to the sanctuary of their home, and hot local kid Evan (Tope), the sisters are thrust back on their own resources, as martial law is declared and the area comes under strict quarantine. This means fending off not only the infected; the military, too, pose a threat to what remains of the family.

Despite its title, the film makes a credible effort to ground its epidemic at least somewhat in real science. Specifically, it references the toxoplasma gondii parasite, which does affect the behaviour of its rat hosts. Of course, this is taken to extremes here, and you end up with something closer to what was seen in 28 Days Later: fast, neo-zombies, driven by hunger. Disappointingly, this is spun into a teen-centric story, which feels as if it might not be out of place on MTV. And, like most MTV shows, anyone older than the target audience will have to suppress a frequent urge to yell at characters for their poor life skills, e.g. the frequent removal of their face-masks (see Evan, above). Stacey fares especially poorly here, to the extent I suspect her brain being controlled by a parasitic worm might increase her IQ significantly.

The effects work is light, yet solid enough, and there is a shudder or two to be had, not least from the creepy parasites. If you can watch Emma hone her amateur surgeon skills – remembering a lesson given by her teacher father – without flinching, you’re tougher than I. Yet such moments are the exception, rather than the rule they need to be, and the lack of any real escalation is surpassed only by the underwhelming ending. Despite the unexpected death of one major character, as apocalypses go, this one feels more a moderate nuisance than life-threatening peril. “OMG, I can’t update my Instagram. This totally sux.” The movie certainly won’t be getting a “like” from me.

Dir: Henry Joost and Ariel Schulman
Star: Sofia Black-D’Elia, Analeigh Tipton, Travis Tope, Colson Baker

Valley of Ditches

  By

★★
“Dull as ditches-water”

After a brief prelude, we first see the heroine Emilia (Todisco) tied in the back of a car belong to her abductor, Sean (Fenton), who is nearby digging what appears disturbingly like a grave. He is seriously unhinged and driven by his loony religious faith to punish those whom he perceives as deserving the wrath of God. Which in this case would be Emilia and her boyfriend, Michael (Sless). Emilia’s first escape attempt does not end well, and she finds herself in the hole in the ground, handcuffed to the corpse of her boyfriend. Now what?

The answer, unfortunately, is “not nearly enough.” I think it’s the lack of any real development of the characters up front which is the main problem. There’s something to be said for cutting straight to the meat of the matter. Except here, we don’t have any reason to care about Emilia, before we’re thrown in alongside her, and immediately expected to root for her escaping this predicament. There’s no particular motivation given for any this, beyond Sean’s burbling about Old Testament stories, including the one which gives the film its name. He’s the same, cookie-cutter slice of fundamentalist fruitcake we’ve seen a million times before: I’m not in the slightest religious, and even I found this more annoying than convincing.

There are various flashbacks to Emilia’s earlier life with an abusive father (Novell), and I read that abuse is supposed to be one of the film’s main themes. It says a lot that I had to read this, because the film certainly does not do enough to put its point across, whatever this may have been intended to be. There’s an awful lot of sitting around in the desert, and the heroine takes about ten times as long to reach the necessary decisions as I would, given the same circumstances. [I’d start with the principle: “Look, he’s already dead…” and quickly figure things out from there]

I will admit, there’s something to be said for the sparse approach here. There are really only three characters, and the location is mostly the desert, both aspects which cut back on the potential costs. It’s a setting which could be leveraged into a taut, effective thriller, pitting Emilia against Sean in a lethal struggle. Yet instead, there’s precious little tension generated after the first few minutes, particularly after Sean appears to have wandered off entirely, for some ill-defined reason. There’s a final face-off, in which vengeance is sought; I’m not sure it makes much sense, based on what has happened to that point.

This is probably all a little too “indie” for its own good, not least in the soundtrack, which seems to have strayed in from a hip, locally-owned coffee bar. The points it’s trying to make might have been better served by another genre, rather than dressing it up in the guise of a thriller, that doesn’t appear particularly interested in providing any thrills.

Dir: Christopher James Lang
Star: Amanda Todisco, Russell Bradley Fenton, Jeremy Sless, Andrew Novell

Strip Club Massacre

  By

★★
“Secondary staged carnage.”

After Megan (Watson) loses her job, boyfriend and the roof over her head in the same day, she decides to head off to Atlanta, where friend Amanda (Riggs) puts her up for a bit. Amanda’s boyfriend (Rollins) is manager at a strip club, and gives Megan a job as a cocktail waitress. But after realizing the gap in earnings between those employees who keep their clothes on, and those who don’t, Megan decides to make the jump into strip-tease. This rapidly brings her into conflict with Jazz (Brown), another stripper who rules the club through terror and intimidation, along with the help of her cronies. She takes it upon herself to make Megan’s life hell. However, she can only be pushed so far, before Megan and Amanda, push back.

A classic grindhouse title, which somewhat delivers on its premise: nearer to the “massacre” than the “stripclub” side, I’d say. Indeed, it’s rather more restrained in terms of nudity than I’d have expected. The gore, on the other hand, is plentiful in volume, if not necessarily quality: some of the special effects count as “special” in roughly the same way as “special education”. The story is basic to the point of simplistic: Megan is somewhat sympathetic, yet you’re never brought along on her descent into psychotic violence. It’s more like a switch is suddently flipped: I can imagine the film-makers thinking, “Right, 15 minutes to go, enough of this characterization nonsense, time for the rampage sequence.” It’s still about 20 minutes too much, and this perhaps needed a better outside hand, to cut down on what often feels self-indulgent fan fiction.

The most interesting character in all this is probably Jazz. If Brown looks familiar, you should probably be somewhat ashamed of yourself. That’s because she was previously known as Misty Mundae, and starred in a large number of films with titles like Gladiator Eroticus, Lord of the G-Strings and Spiderbabe. About which, I know absolutely nothing. :) She has now moved on from such things, and clearly knows her way around a script in a way that Watson (understandably, this being her feature debut) doesn’t. Jazz thus becomes hateable, in the same way Megan should have been likeable. She’s a vicious, coke-snorting bitch, who treats the club as if it were high school, and Jazz head cheerleader. A great villain, they should have made the film around her.

As a result, Jazz’s death is about the only one which packs any kind of emotional impact – it’s not too dissimilar to one I saw in La Esquina del Diablo, actually. The rest are mostly exercises in sloppy gore – as noted, some of which work, others which don’t. For instance, the (male) death by crowbar rape is perhaps more likely to put you off tacos than anything. [They could at least have used a fireplace implement, and had Megan cheerily quip, “How’s that for strip poker?”] And why does Amanda enthusiastically join in the mayhem? No credible explanation is ever offered. It’s all very clearly a small-budget effort, made with more passion than anything else. Unfortunately, outside of Brown, it does little to escape the obvious limitations imposed by its resources.

Dir: Bob Clark
Star: Alicia Watson, Erin Brown. Courtney Riggs, Stefan Rollins
a.k.a. Night Club Massacre

626 Evolution

  By

★★
“The voice-overs in my head are urging me to kill this.”

Rarely, if ever, have I seen a film so thoroughly derailed by one bad decision. There’s potential here, and those involved have some decent track records as well. Director Lyde did the last two installments of the Mythica saga, including the best one, Mythica: The Iron Crown, which was far more fun than it should have been. Chuchran, similarly, proved eminently worth watching in Survivor, also directed by Lyde, so I was hopeful the combination of the two would strike further pay-dirt with this collaboration.

There are two heroines here, both of whom are young women, and who possess psychic abilities including telekinesis. The younger one, known as 449 (Jones), due to the tattoo on the back of her neck, is a foster kid in an abusive home, who doesn’t have much better luck with life at school. After thinking she has killed her foster father, she runs off, but is fortunate enough to bump into 626 (Chuchran), who is similarly blessed/cursed with mental talents. Recognizing a psychic sister, she takes 449 under her wing. But it soon transpires, that both women are being tracked by the shadowy scientific research company behind them both, and who are far from willing to let their assets escape. Rather than running, 626 opts to head into the lion’s den, and find out the truth about their murky past.

The approach taken is heavy on the found footage, with a lot of material which is supposed to be taken from security cameras, drones, etc. as well as the cameras with which both subjects have unknowingly been implanted. If you’ve got a high tolerance for first-person POV, this aspect doesn’t work badly, and is an interesting commentary on our modern “surveillance society,” where just about everyone is being watched, all the time. Chuchran also carries her scenes more than adequately, right from the first time we see her, engaging in a brawl in a car-park. She knows her way around a fight scene, and I’m going to keep following her progress. The visual effects depicting the powers are lightly used but effective enough – as much to enhance scenes, as carry them entirely.

Then we get to the mistake. For some, inexplicable reason, the film adds a narration – I’m presuming by Jones – which is just horrendous. It’s entirely superfluous, never adding anything of note: it’s less an internal monologue, than a sub-MST3K wannabe. Imagine being trapped in a cinema, next to a precocious 12-year-old hyped out of her little mind on sugary treats, who insists on providing a running commentary to the film. That’s about what you get here, though it’s likely even worse in the execution than your imagination. I have no clue why anyone ever thought this might enhance proceedings, because they were wildly incorrect. It takes what could have been a decent slice of small-scale paranoia, and turns it into something which occasionally becomes nigh-on unwatchable. Pity, really.

Dir: John Lyde
Star: Danielle Chuchran, Ruby Jones, Michaela McAllister, Brandon Ray Olive

The Mae Young Classic

  By

★★★★
“Girlfights.”

The WWE and women’s wrestling have had a fractious relationship over the years. For every two steps forward, there has been one – or, more often, two – backward. But under Executive Vice President of Talent Paul M. Levesque, better known by his ring-name of Triple H, there have been hopeful signs of progress. Perhaps the biggest of late was WWE staging an all-woman tournament this year, featuring 32 wrestlers from 13 different countries. This was named the Mae Young Classic, in honour of one of the field’s pioneers and longest-serving members; she wrestled from 1939 through 2008, and passed away in 2014.

It was a little surprising that both Japan and Mexico, likely the biggest pro wrestling markets outside the US, only had one competitor each (fewer than, say, Scotland or Australia). This could be a result of most existing talent already being under contract to federations in those countries. Otherwise the 32 wrestlers included a surprisingly broad range. There were both veterans and newcomers: Mercedes Martinez has been wrestling since 2000, while Indian Kavita Dalal only started training last year. Similarly, styles represented a broad range: some had MMA backgrounds, others were pure pro wrestlers.

In terms of looks, there was generally a certain “body type”, lean and muscular – though that didn’t quite apply to Scotland’s Piper Niven, billed at five foot five inches, and 207 pounds, though remarkably agile for it. But there was a significant variety in size, ranging from the 5’1″ Kairi Sane, up to those a foot taller (the pic, top, significantly evens this out!). However, as they say, it’s not the size of the dog in the fight, and that was proved frequently true over the 31 matches in the tournament. You could never be sure who would prevail. [Just to be clear: I am entirely aware that all the results were pre-determined. But “good” pro wrestling, like good cinema, is at its most enthralling when it avoids predictability]

One thing I noticed was the particularly direct nature of the episodes. If you watch a typical episode of, say, Monday Night RAW, considerably less than half of each show will be actual, new wrestling. Between the various story-lines, chit-chat in and out of the ring, recaps and so forth, our son may not be far wrong when he calls it “soap-opera on steroids. The Classic was much more streamlined: with typically four bouts per episode, it had to be. Before each, you’d get a minute or so about each competitor, and then it was straight to the in-ring introductions. I was fearing this would end up being some kind of Total Divas-like, bitchpocalypse atrocity: those concerns proved completely unfounded.

It’s a little difficult to review without spoilers, which we were largely able to avoid – like any “real” sport, it’s a lot more fun to watch wrestling when you don’t know the outcome. So I’ll just go with some notes on the five competitors who stood out the most for us, in alphabetical order. Wild horses could not make us reveal whether or not they won any of their matches. :) I will say, it was a heck of a lot of fun, and I’d love for it to become an annual fixture on WWE’s calendar.

  • Shayna Bayzler (USA). Chris described Bayzler as “a female Brock Lesnar,” and that’s likely an accurate comparison. She became the wrestler we loved to hate, mostly for her thoroughly intimidating, take no prisoners attitude. While she’ll need to work on her wrestling technique, which is a little rough, there’s a lot of promise here, particularly as a heel.
  • Jazzy Gabert (Germany). At 6’1″, the tallest competitor, and with her short, platinum blonde hair (seen above), reminded us strongly of Brigitte Nielsen. Another veteran, wrestling since 2001, if you were going purely on who looked the part most impressively, she’d be the winner of the tournament. Only disappointment? She didn’t say, “I must break you…” to her opponents pre-fight.
  • Dakota Kai (New Zealand). Was already signed to a contract to WWE’s developmental show, NXT. Kai’s match was far and away the most-watched first-round contest on YouTube. Her kicks are lethal, many and varied. She looks like she has been teleported straight to the ring from a video-game like Dead or Alive.
  • Mercedes Martinez (USA). You could really tell the depth of her experience, both in terms of ring technique and psychology, and that helped elevate her less well-practiced opponents. Seemed to be playing the “gangster” heel for the purposes of this show, and did so effectively enough to irritate the hell out of Chris during her run. Which was likely the point!
  • Kairi Sane (Japan). Won us over completely with her heart and attitude, as she looked genuinely pleased to be there, and her elbow drop from the top-rope is a thing of wonder. [Typically, wrestlers break their fall somewhat with their legs, but Kairi leads with her elbow. This GIF likely explains it better!] Her first-round contest against Tessa Blanchard might have been the match of the tournament. Here are some highlights.

 

Monolith

  By

★★
“Here in my car, I feel safest of all…”

As a joke I saw on Facebook went, “With all these self-driving cars, it won’t be long before there’s a country song about your truck leaving you.” The rise of smart vehicles is inevitable, and likely, so are other films like this, which falls somewhere between Christine and 2001. In this case, mother Sandra (Bowden) is driving to see her husband, whom she suspects of cheating on her, with their young child David (played by the two Hodges brothers, whom I’m assuming are twins!) in the back seat. Her car is the state-of-the-art Monolith, equipped with every safety feature imaginable, and then some. But a series of events – a diversion, an encounter with roadkill on the hoof, and Sandra giving David her smartphone as a distraction – lead to a tricky situation. She is stuck on a remote desert road, outside of a car that has now entered its impenetrable “vault mode”, with David trapped in its interior.

It’s not necessarily a bad idea, with the Monolith (voiced by Lang) having a personality that’s somewhere between Siri and GLaDOS from the Portal games. But there are quite a few problems with the execution. Once Sandra is locked out, it’s less “Man vs. Wild” and more “Woman vs. Brick,” as the car is simply sitting there. It isn’t particularly exciting, which is why the script tries to inject various exterior threats, most obviously a feral canine attracted by the roadkill. Though it’s kinda hard to care much, given the heroine’s situation is largely the result of her own poor decisions. I mean, for heavens’ sake, what kind of mother chooses to light up a cigarette, while in the car with her asthmatic child? At that point, being raised by the feral canine and its pack, is probably the kid’s best hope. And don’t even get me started on the finale, which takes ludicrous to a whole new level. [It turns out this car truly is completely indestructible]

There are a few subplots which don’t particularly go anywhere: the whole “husband affair” thing, for example. Or the fact that Sandra used to be the lead singer for a pop group, which seems to be there purely for vaguely regretful thoughts about having settled down to start a family. Neither it, nor the fans she runs into at a gas-station, serve any purpose once we get to the meat of the story. On the plus side, the film looks great, with Utah’s wilderness providing a wonderfully scenic backdrop, and Bowden isn’t bad, as a woman clearly out of her depth and forced to desperate lengths to try and rescue her child. However, the script is at least two rewrites from reaching a point, where the makers should have looked at it and decided to abandon the resulting project altogether as poorly conceived. For in its current in-car-nation (hohoho), there isn’t enough meat on its bones to make it through the road-trip.

Dir: Ivan Silvestrini
Star: Katrina Bowden, Krew + Nixon Hodges, Katherine Kelly Lang