Author: jbg

WHISTLE (2026)

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Directed By: Corin Hardy

Written By: Owen Egerton 

Cinematography: Bjorn Charpentier

Editor: Nick Emerson

Cast: Dafne Keen, Sophie Nelisse, Sky Yang, Jhaleil Swaby, Ali Skovbye, Percy Hynes White, Nick Frost, Mika Amonsen, Michelle Fairley 

A misfit group of unwitting high school students stumble upon a cursed object, an ancient Aztec Death Whistle. They discover that blowing the whistle and the terrifying sound it emits will summon their future deaths to hunt them down.

unfortunately, this film is pretty basic. There’s nothing revolutionary, except for some pretty good special effects and the first lead starring role for Dafne Keen. As it helps to feed off her Internet buzz and and X-MEN, LOGAN and DEADPOOL following.

The film does offer some LGBTQ representation, especially in the leading roles. Though the film feels very 1990s teen horror movie craze. Only more supernatural instead of having a slasher.

It’s strange that the film is lacking, a memorable soundtrack, even though the lead character is obsessed with music.

The film feels like it tries too hard to create or be something original, but then in doing so it makes it all the more laughable as it tries too hard. 

The drug dealing faster is stupid, but wish the film leaned more into him and his character as he seemed the only thing that was fresh in this phone and while he gets more screen time in the third act, it feels way too planned and expected, especially as third act freak out

At least with the film, the events and actions start very fast so there’s no moping around in lore and mystery. Which then leads to the problem that we barely know the characters before they start getting eliminated and because of that we generally don’t feel sorry for them as we have no personal connection or sorry to see them go as we would seeing any random person get killed. Especially as the film tends to feel cruel when it doesn’t have to be.

At least the black guy doesn’t die first, but he is the only non-believer and gets paid back by having the most violent death in the film. It’ made worse as it happens in frintnof his parents, but makes for a standout scene. 

The film comes across as a desperate FINAL DESTINATION rip off with mystical sacrifices thrown in. Even the one character played by Sky Yang, who is obsessed with a superhero. The superhero is a knock off

The film also never presents any real joy. It’s pretty bleak throughout. so much so that only two scenes in the whole film feel genuine. 

One of which is the typical teenage crush admission and the crushes answer that is the closest the film ever comes to being heartfelt. The Lesbian romance reveals are sweet also. When she is creaking out about what to text and show interest but not too much interest 

The film at certain points gets silly and so bad that it becomes entertaining to a point, which is what keeps the audience watching other than the gory deaths not so much inventive. But miraculous special effects.

There’s also barely rarely any adults shown in major roles, other than an initial kill, and the one to inform them about the whistle and the curse.

If I have paid to see this, I would not be so nice when it comes to this film. I’d actually would’ve been best but watching it for free it’s OK. It’s a popcorn movie a time waster but one I don’t ever really need to watch ever again.

if anything come for the films gory special effects you might find some other things you might like about it, but I’m betting not too much. Though I really wanted to like it. It just didn’t have enough to truly admire.

Grade: C 

I DON’T UNDERSTAND YOU (2025)

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Written & Directed By: David Joseph Craig & Brian Crano

Cinematography: Lowell A. Meyer 

Editor: Nancy Richardson 

Cast: Nick Kroll, Andrew Rannells, Amanda Seyfried, Morgan Spector, Eleonora Romandia, Nunzia Schiano, Vincenzo Gallo, Arcangelo Iannace 

An American couple, on the verge of adopting a baby, goes on an Italian vacation – an opportunity to reconnect before the new addition arrives. Everything is picture-perfect; the epitome of a European baby moon, when things begin to spiral out of control. On the way to a fabulous dinner, they get their rental car stuck in a ditch and are stranded in rural nowhere in a downpour. These two Americans, who are used to being catered to, are now in a foreign land without service, an Italian language comprehension of about zero, and clear relationship turmoil that could explode at any minute. Fear obviously takes over.

This is a film that at first seems like it will be your typical couple comedy. Which it stays throughout until it takes a dark turn and seems to stay on that road until the end.

Where usually I enjoy films like these. There is something a bit off. As it stays true to it’s title. As most of the trouble comes from miscommunication. That seems to escalate Into violence seemingly accidently.

It’ not the characters exactly as they seem to be normal and just reacting to their situations that seem to get out of hand. it’s the films attitude that tries to humanize the victims, but also makes them caricatures and easily either forgettable or challenges. There isn’t much to truly dwell on or feel sorry for.

While the characters aren’t hateful or malicious. They might be a bit extreme in some situations, but by the ending they cone off too easy. That leaves a bad taste in the audiences mouth. That just feels like a reminder of rich caucasian males getting away literally with murders. Not that they should be especially punished but it feels like there should be something they lose or some way in which they have to pay or lose something. As there is some evidence that they left behind that could come back to haunt them.

Though the film seems to want us to root for them Abd let them drive off and be happy. As the film gives them something that humanized them and makes us identify with them in the form of having them await the birth of a baby they are adopting. After bei g brined before they are hoping this time. They will finally get a chance to be parents. That is the only sympathetic part of the story. We truly have for them.

The movie constantoy up’a the stakes but nothing lingers. So that it feels like it’s making a cake and it comes out as a tart. As the film reminds the audience of so many sitcoms only with better production values. As at least Nick Kroll and Andrew Rennells work well off of one another that makes their pairing feel effortless and like they are inorigng in the situation that makes them and their relationship come across as natural and real. If only the rest if the film came off that way. 

In the end, It just never feels like it has any real stakes. It breezes through like a wind storm (not a hurricane as the material isn’t that strong or wacky) and throws plenty against the wall to see what sticks.

Grade: C

FIRE ISLAND (2022)

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Directed By: Andrew Ahn

Written By: Joel Kim Booster

Cinematography: Felipe Vera De Rey

Editor: Brian A. Mates

Cast: Joel Kim Booster, Bowen Yang, Margaret Cho, Tomas Matos, Torian Miller, Conrad Ricamora, James Scully, Matt Rogers, Nick Adams, Zane Phillips

A group of queer best friends gather in Fire Island Pines for their annual week of love and laughter, but a sudden change of events might make this their last summer in gay paradise.

FIRE ISLAND is the kind of romantic comedy that feels both delightfully old-fashioned and refreshingly modern equal parts screwball, heartfelt friendship story, and gloriously chaotic summer escape.

Andrew Ahn’s film wisely refuses to treat its queer characters as symbols or saints. Instead, it lets them be messy, funny, flawed, and fully human and that’s what makes it so refreshing. Beneath the flirtation, parties, and razor-sharp one-liners, there’s a thoughtful look at the social hierarchies that exist even within supposedly inclusive spaces: class, beauty, race, and status all quietly shape the world these characters move through. The film smartly acknowledges that prejudice doesn’t disappear just because a community has historically faced it themselves.

At the same time, FIRE ISLAND never forgets its first duty: to entertain. It’s hilarious, genuinely laugh-out-loud funny with the energy of a classic rom-com and just enough raunch to keep things spicy without losing its sweetness. Joel Kim Booster’s screenplay is clever and emotionally grounded, giving the film both bite and heart, while Bowen Yang emerges as its emotional anchor, delivering warmth and sincerity beneath the jokes.

What is refreshing about this film is that it doesn’t make it’s characters saints and gives them a chance to be three dimensional and make mistakes.

The film shows the class system both financially and physically that goes on in that culture showing there is prejudice all around no matter the strides.

Especially as the main characters themselves are Asian and tell stories of facing racism. It is an creative platform to show the racism they face and from an Asian American perspective from the lead actor who wrote the screenplay to the director. 

While It’ nice to be diverse it would be something to be more representative even if that is not the main point of the movie. 

Though written by star of the film Joel Kim booster and proved to be quite a launching oad for his career. Bowen Yang’s character seems to be thebehart of the film. 

If there’s one small disappointment, it’s that the side characters. who are often scene-stealers in their own right, deserve even more time in the spotlight. Their presence is so funny and vibrant that you can’t help wishing the film made a little more room for them.

Still, what Fire Island gets right, it gets very right: it’s funny, heartfelt, and far more honest than your average romantic comedy. A charming, sharply observed crowd-pleaser that feels like a summer vacation you wish lasted longer.

Grade: B 

BLACK EYED SUSAN (2024)

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Written & Directed By: Scooter McCrae

Cinematography: Anton Zion

Cast: Damian Maffei, Yvonne Emilie Thalker, Scott Fowler, Marc Romeo, Kate Kiddo, Vito Trigo

Desperate for work, Derek accepts a job replacing his recently-deceased friend at a tech startup. Continuing to develop the company’s innovative project means working intimately with Susan, a bleeding-edge BDSM sex doll meant to receive and appreciate punishment as an integral part of her evolving AI. Derek will soon test the limits of his own desires and explore the nature of man and woman, pleasure and pain, and life and death in a morally uncertain future world.

This is a tough film to talk about without spoilers

This is one of those films that almost dares you to describe it, because the moment you do, you risk ruining the very thing it’s built on: discomfort, surprise, and a slow, deliberate seduction of the viewer.

At first, it plays like something provocative for the sake of it teasing eroticism, brushing up against disgust, testing where your limits lie. But that tension feels intentional. The film isn’t just pushing buttons; it’s studying which ones you’re willing to let it press. Much like its title character, it lures you in with a kind of controlled intimacy, only to shift the ground beneath you when you think you understand the rules.

There’s a sneaky, almost anthology like quality to it, something that echoes the spirit of TALES FROM THE CRYPT mixed with THE TWILIGHT ZONE and throw in some BLACK MIRROR, but stripped of comfort and pushed further into psychological unease. It’s less interested in outright shock than in escalation. Every time it feels like the film might settle, it pivots. Every time you adjust, it sharpens.

Visually, it leans into its independent roots. There’s a rawness to the presentation that feels almost out of time reminiscent of early 2000s genre films, but the themes are distinctly modern, even uncomfortably so. The sci-fi elements are there, though used sparingly. When they do arrive, they land with purpose rather than spectacle.

What really anchors it, though, is the performance at its center. The actor behind Black Eyed Susan: Yvonne Emilie Thalker commits fully, there’s no visible safety net, no distance from the material. It’s the kind of performance that doesn’t just carry the film, it exposes it.

And make no mistake, this is not an easy watch. It’s meant to wear you down a little, to test your endurance as much as your curiosity. The film hits hard, pulls back just enough, then hits harder. Not always through violence, but through the creeping sense that it’s always one step ahead of your comfort.

The less you know going in, the better. Just understand that it’s a film built on provocation. One that invites conversation, maybe even confrontation, long after it ends.

Whether it’s worth the experience, that’s part of the question it leaves behind.

Grade: B 

SCARED SHITLESS (2024)

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Directed By: Viveno Caldinelli

Written By: Brandon Cohen 

Cinematography: Rudolf Blahacek

Editor: Christopher Minns 

Cast: Steven Ogg, Daniel Doheny, Chelsea Clark, Marcia Bennett, Mark McKinney, Brynn Godenir, Don Tripe, Lorna Wilson 

A plumber and his germophobic son are forced to get their hands dirty to save the residents of an apartment building, when a genetically engineered, blood-thirsty creature escapes into the plumbing system.

This film stayed constantly entertaining even if at times it is in bad taste, but that is half the fun of the film where sometimes, it just feels so wrong that it’s right.

The film isn’t exactly something you’ve never seen before. It’s your typical monster film. Only it happens to involve a creature that mainly stays in the sewage system in a building’s toilets.

This would’ve been the type of trauma would’ve definitely put out back in the day or the type of midnight movie you’d see on USA’s up all night. This is the tyoenyoynaccisentoy discover in a video store or on Late night cable. Under the influence and go with it’s Off kilter appeal 

Luckily, at only 75 minutes it never overstays its welcome and seems a perfect length for its story and premise. It has its fair share of laughs and scares with plenty of shock comedy as most of the victims tend to be elderly people.

It feels more classic old school with its practical special effects and creature design throughout, but doesn’t give much explanation of why but you enjoy nonetheless.

Not surprised that this film is Executive produced by Steven Kostanski (PSYCHO GOREMAN, THE VOID) especially considering the material. 

Luckily, not as gross as one might expect, although a little nasty and somewhat graphic when it comes to the violence. 

It never runs out of fuel though of course leave room for a sequel which one wouldn’t mind. 

Grade: C+ 

CRIME WAVE (1985)

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Written, cinematography & Directed By: John Paizs 

Editor: John Paizs, Gerry Klym and John Coutts 

Cast: John Paizs, Eva Kovacs, Darrell Baran, Jeffrey Owen Madden, Tea Andrea Tanner, Mark Hunter, Neal Lawrie, Bob Cloutier 

A young director intent on making “the greatest color crime movie ever” can’t seem to finish his script–he has a beginning and an end, but he can’t quite figure out the middle. The daughter of his landlord, excited to have a real “movie person” living nearby, tries to help by putting him in touch with a man who wants to collaborate on a script–the strange “Dr. Jolly”.

Not to be confused with CRIMEWAVE directed By Sam Raimi and written with The Coen Brothers,  it bit are throwbacks with a kinetic comedic energy throughout that Involve crime stories. 

This movie is fast and loose. It’s silly and feels like a live action cartoon most of the time.

Crimewave feels like flipping through channels in the early days of NICKELODEON (the channel) that strange, electric moment in the 1980s when everything felt handmade, a little off, wildly imaginative, that was strange but you go it and anything was possible. As you were in on it and often the entertainment was Canadian. That comparison oddly fits, because while this is a Canadian production, it’s also brimming with a manic creativity and cartoon energy that is very much not for kids. This is playful cinema with sharp edges.

At its core, the film is a love letter to storytelling itself. It follows a director figure who seems to have at least one true believer in his talent, and through him we experience the flights of fancy that leap from his imagination into reality. The stories he dreams up, the characters he invents, and the worlds he escapes into all blur together, creating a film that feels actively alive—like it’s being written, revised, and reimagined in real time.

There’s an infectious enthusiasm to the way the film moves. We watch this creator live out adventures just as absurd and chaotic as the stories he’s writing, and the movie invites us to get lost alongside him. It’s propelled by voice, motion, and momentum, even when logic takes a backseat. That’s part of the charm and occasionally, part of the problem.

Halfway through, Crimewave reveals itself as a glorious oddity. It doesn’t quite know where it wants to go, and when it finally does arrive somewhere, it feels less like a traditional ending and more like an extended epilogue. The narrative thins out, but it does so in a way that feels intentional. Like the story is less interested in resolution than in wrapping its arms around its own madness.

Adding to the strangeness is the silent protagonist, who never speaks until the very end. Instead, everyone around him fills in the gaps, talking for him, about him, around him. Then turning the film into a chorus of voices orbiting a quiet center. It’s a bold choice, and one that reinforces the idea that this is a world shaped by imagination more than realism.

The film is more mad than you might know as the writer Director cinematographer also plays lead as the filmmaker. I guess that’s one way where you don’t have to worry about missing your lines so this might have been an extent of his imagination, placing himself in other situations or maybe it’s a confessional tale that means something bigger and is all about his writing

The score plays a crucial role in keeping everything suspended in an alternate realm, giving the film its dreamlike quality. Meanwhile, the ensemble cast jumps from character to character in a way that feels chaotic but connected, each performance feeding into the next like a chain reaction of eccentric personalities.

Ultimately, Crimewave is a fun, rare find. A movie that values invention over polish and energy over neatness. Even when it slows down to humanize its characters and ground itself emotionally, it remains entertaining, curious, and oddly endearing. It may not fully behave like a “proper” film, but that refusal is exactly what makes it worth watching.

Grade: B 

REFLECTIONS IN A DEAD DIAMOND (2025)

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Written & Directed By: Helene Cattet & Bruno Forzani

Cinematography: Maunuel Dacosse

Editor: Bernard Beets

Cast: Fabio Testi, Yannick Reiner, Koen De Bouw, Maria De Mediros, Celine Camara, Thi-Mai Nguyen, Kezia Quental, Herve Sogne 

A retired spy suspects his former adversaries have resurfaced when his intriguing neighbor vanishes.

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A new film by the directing team of Helene Cattet & Bruno Forzani is always going to be a strange yet original affair. This might actually be the film. That is the best entry for newcomers to discover the filmmakers work. As strangely this is their closest to mainstream film, that is still odd & avant-garde, but beautifully and miraculously filmed.

When it comes to this directing and writing team, you always know you’re gonna be taken on a rollercoaster. Yet never quite sure which direction it will take, but there will be plenty of unforgettable sights and sounds. though you can never say it will be boring and it will always be quite memorable

 The  film is more about the visuals than anything else, story or plot wise. As this film feels more of a theme that has a weakness for distractions and fetishes

It is espionage themed and very violent, though has more humor than the filmmakers usual films. It plays almost like a parody of spy films specifically from the 1960s, but with a little modern day, technology and charm, but definitely a throwback vintage style. 

The film is visually delicious and beautiful throughout. Though it has feel a bit like artistic exploitation.

As the film has its fair share of strong, beautiful women only to be slaughtered. While all the male characters are seen as heroic, no matter their behavior. 

This film is strange that as it goes along, you start to get into its rhythms. Where you question what is going on half the time but except what you are given.

The film almost feels like music video directing, only better. As you were given more of a visual feast in a thorough story that is like patchwork. As it’s more set in the 1960s espionage style and design, but could be modern. Where the production and costume design are pristine. As this is very different from the previous films made by the directing duo as this is more lighthearted and fun, but ultimately by the end, still a bit sad

Grade: A 

RUNNING TIME (1997)

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Directed By: Josh Becker

Written By: Josh Becker and Peter Choi

Story By: Peter Choi

Cinematography: Kurt Rauf 

Editor: Raymond Berthheaud and Kaye Davis

Cast: Bruce Campbell, Jeremy Roberts, Anita Barone, Stan Davis, Art LaFluer, Dana Craig, Gordon Jennison, Curtis Taylor, Bridget Hoffman 

Carl is released from jail after serving a 5-year term and immediately sets about executing his next heist. The plan is relatively simple but time is critical. However, he doesn’t factor in bad luck or the incompetence of his accomplices.

It is taking me a while to finally watch this film in full, which is surprising considering it’s barely over an hour though over the years I’ve always seem to catch it in the middle or way late into. It’s running time.

So it’s refreshing to finally watch the film from beginning to end as it is an experiment where the film takes place in real time and made to look like it’s one endless continuous take, and shot.

While giving the film kind of a bee movie plot and in black and white that makes it feel time looks like it could take place at any time this film could’ve been a minor Marvel if not for a few things that take away from the film.

The early homophobic language which feels more character based and acceptable in the time period in which this film is made and set don’t know if it’s was any original script or if it was an ab Lib it’s understandable, but also unneeded and comes out of nowhere.

Early in the film, you pretty much know where it’s gonna go as Bruce Campbell playing the lead in the man who’s getting out of prison with no nonsense plan already with his screwup of a best friend who seemed to cut corners here and there if you can tell a success is not in their future.

Not to mention how many times they keep bringing up their past that even after a while it feels like overkill as we get it we get the depths of their friendship and their relationship

Then even with a kind of positive ending, it feels unbelievable you want it for the characters but again it just feels so out of left field where you wondered did they not have enough money for a grand finale or was it always meant to be that simple?

If not for these negatives, this film could’ve been seen as an underrated classic it certainly not worthy, especially for what it pulls off and on such a low budget by director writer Josh Becker, who was part of Sam Raimi’s production team, which is obviously how we got Bruce Campbell involved, most likely.

Josh Becker actually sold a script to a studio for around $67,000. That still has yet to be made but he used that money to make this film as Mr. Becker is quite a director whose films are more cult titles such as THOU SHALT NOT KILL… EXCEPT and LUNATICS: A LOVE STORY. That showcase quite an imagination and creativity. I am in particular a fan of his films, though they are a little harder to find over the years.

Even if at time it feels like watching an off broadway play in a black box theater by a new playwrite. It somehow works and is admirable. 

The film was shot in 10 days, in order. So not in one continuous take. Bruce Campbell has said that his performance in this film and BUBBA HO-TEP are the one’s he is most proud of 

Though I also have to give the film credit for giving Jeremy Roberts, a well-known character actor, a decent part where he gets to play full supporting instead of just a henchman or a villain or just a general bad guy who doesn’t have much lines even though he’s a screwup you kind of like his character in this film.

Anita Barone in a supporting role as a hooker, and maybe love interest who has a past with the main character is certainly vivacious and eye catching, but she does make her mark in her limited screen time to make her an interesting character that you wish had more screen time in a chance to see how she got to where she was, but she certainly engaging.

The cinematography here is top notch. You can tell the film is low budget so it’s not the prettiest, but it is well filmed and again at least while watching it you can see imagination and ideas at work as well as a bit of a throwback to maybe the films that might have inspired.

This is definitely a film. I think most film fans and independent filmmakers should see they don’t necessarily need to see but when they feel like they wanna watch something original and maybe a bit from the recent pass this is a foundation definitely check out. 

It’s a close, but no cigar, at least you’re gonna be smoking

Grade: B-

YOUR VICE IS A LOCKED ROOM AND ONLY I HAVE THE KEY (1972)

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Directed By: Sergio Martino

Written By: Sauro Scavolini, Ernesto Scavolini and Adriano Balzoni

Story By: Sauro Scavolini and Luciano Martino

Based On the story “THE BLACK CAT” By: Edgar Allan Poe 

Cinematography: Giancarlo Ferrando 

Editor: Attilio Vincioni

Cast: Edwige French, Anita Strinberg, Luigi Pistilli, Angela La Vorgna, Ivan Rassimov, Daniela Giordano, Ermelinda De Felice, Enrica Bonaccorti 

A string of murders are committed near the estate of a degenerate author, whose abusive relationship with his wife is further complicated by the arrival of his manipulative niece.

Always a fan of longer movie titles as they come across poetic and almost like the log line or heart of the film. Then again it could just be the translation of the title in English from Italy. When actually it’s based on a line from the film’s director Sergio Martino’s earlier and much better film THE STRANGE VICE OF MRS. VARDH 

This twisted erotic thriller that has giallo implications. Only other than the beautiful lead Anita Strinberg everything else comes across not glamorous and even ugly. Not as stylish as it seems to try to be. Though the film can be sexy at times and has at least one memorable seductive sex scene. The females amongst the cast are the only beauty this film ends up having other then maybe production design. 

One can see why the leading man played by Luigi Pistilli is mad throughout. He’s A suspect in a few murders of female companions and lusting after Edwige French’s character. Who is supposed to be his niece. She is not only ravishing but She seems to have sex with every other character except for him at least for most of the film

No, as the film and lead are so abusive and misogynistic it’s hard to see where exactly the movie is going or care about most of the characters.

Only one main character approaches any sympathy the only other decent characters are supporting or die way too soon

No, the film is abuse and violence as foreplay as the main couple have a dysfunctional, almost S&M relationship not that the fetish factor makes it dysfunctional as that can be normal. Their relationship has just too many problems throughout.

The lead characters, horrible teeth don’t exactly help sell them as likable or even handsome maybe in a rugged British or masculine manly way that was more in vogue at the time, but once the story does come back into focus and spells it out a little more and you feel the same

The film isn’t stylish enough to really impress or make an audience take notice. The soundtrack isn’t really that impressive either as it becomes more annoying at times as it goes along and even at a little over 90 minutes, this film could’ve been shorter, but that would take away from the films atmosphere that keeps trying to build

The inclusion of an African-American character only to be fetishized and brutalized quickly, but that is how the film treats most of the female characters, including random ones only one of them ever truly takes command to make sure she doesn’t stay that way well the other one tries

The ending makes up for it, but it takes so long to get to it to showcase and explain why certain actions needed to be taken and the relationships between certain characters

Ms. French is no slouch, but not as grand. Even as a moral conniver. If one has seen enough of these movies for all the twists and surprises the filmmakers try to give. You can figure out the ending pretty easily. As it reminds you of a TALES FROM THE CRYPT  episode that guy was on for too long and isn’t as fun though perfectly fits.

Though that is also where the film truly gets interesting while offering an Edgar Allan Poe type ending. Which upon research is what the film is based on. 

Grade: C 

IS GOD IS (2026)

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Written & Directed By: Aleshea Harris 

Cinematography: Alexander Dynan 

Editor: Jay Rabinowitz

Cast: Kara Young, Mallori Johnson, Vivica A. Fox, Erika Alexander, Sterling K. Brown, Mykelti Williamson, Janelle Monae, Josiah Cross 

Two sisters embark on an epic quest for revenge; confronting a charged family history that will push them to extraordinary lengths.

This is a revenge tale that we rarely ever see. Where it’s two African American women seeking revenge against all their oppressors all those who have wronged them on their path to their ultimate enemy.

This is truly an African American film as there are no Caucasian or other race characters. So the film stays within the community and culture.

The film exposes monsters even those who are victims can be. As they were made that way eventually.

The film has stylistic flourishes once in awhile that enchant and remind you of what the film could have been. As most of the time before the film gets lost or ahead of itself. It reminds you of the reality the characters are in.  One of them expert fighters or killers. Just determined to do whatever it takes. 

Which is why the actions scenes might not be awesome inspiring like one of it’s obvious influences KILL BILL, but it manages to work by it’s own rules in it’s own worlds 

As mixed in within is a kind of road trip film where in their journey they meet quite a few supporting characters to help them find their father. Each one is so full of life and played by a scene stealing actor. (Erika Alexander, Vivica A. Fox, Mykelti Williamson) That you wish there was more of them in the film. Though you realize they are just big pieces in this puzzle. 

Kara Young steals the film as one of the most strong willed characters of the film. She practically walks away with it as one of the leads. You want to see more of her or for there to be sequels just to see her character. She is the more vicious and angry compared to her sister played by Mallori Johnson who is more scarred, practical and forgiving. 

The film isn’t quite like the trailers made it look like an updated blaxplotiation film full of action with some spiritualism and southern charm. Though appreciate it for being it’s own creation that has more depth then expected. As the film isn’t paced like an action film or thriller and takes it’s time letting us get to know our protagonists. Not to surprised this started out as a play. Whose writer makes their directorial debut here Aleshea Harris 

It’s an original and securely worth seeing and being exposed to this cinematic worlds 

The final act of the film is the most cruel, yet also the most exciting. That feels a little biblical. Even once we meet the ultimate villain played by Sterling K. Brown. He nor the film disappoints.

Though it’s definitely worth seeing

Grade: B