Cast: Kurt Russell, Mariel Hemingway, Joe Pantoliano, Andy Garcia, Richard Masur, Richard Jordan, Richard Bradford, William Smith
When a teenager is shot at the beach, a journalist from The Miami Journal is sent to cover the story. He’s called by the murderer and told there’ll be four more.
This movie took me by surprise mainly because it was a Kurt Russell-starring thriller made in the 1980s that I had never heard of before. So it was fascinating to watch.
For its time this film seems to pass the mister and it’s not bad, but it doesn’t feel like anything that special either. Especially watching it in modern times. We have seen many movies and even television episodes of shows that tackle the same subject matter of journalistic ethics.
The film is filled with character actors some early in their careers others late. So it keeps it exciting watching them at work.
The film offers a few red herrings before generally just giving us the identity of the serial killer in the third act.
Whereas it becomes a cat-and-mouse game after the killer kidnaps the reporter’s girlfriend after he feels betrayed by the reporter.
The film chooses to examine the serial killer and his killings over the morality of what the reporter is doing and more becoming part of the story than reporting on it. Which would have been a stronger film. Exploring the newspaper industry and its culture at the time.
The film even includes the old cinematic trick of having the newspaper swirl and spin before revealing the headline superimposed over characters. It also has the going to retire after one last job cliche.
Screenwriter Christopher Crowe sued an alias for his credit on this film. Where you wonder if it’s because it differed from his original screenplay or was more of a side project job he did and didn’t want this to injure his career.
I wish I could say this was one tries to make a dent in the weekly box office and was soon forgotten. if this film was made quickly and shoddily. There was real care and work put in throughout.
The film is a good potboiler and time waster but never quite strong enough to be that memorable. Never quite making its mark. Despite its cast.
Based on characters created By: Bryan Woods & Scott Beck
Cinematography: Pat Scola
Editor: Andrew Mondshein and Gregory Plotkin
Cast: Lupita Nyong’o, Joseph Quinn, Alex Wolff, Djimon Hounsou, Elaine Umuhire
After the events and revelations of ‘A Quiet Place’ and ‘A Quiet Place: Part 2,’ it is time to go back to ‘Day One’. Following Sam, as she’s on a group trip in New York City, everything is going fine, until the invasion that sends the world into silence begins. Can the city stay quiet and can Sam and Eric. a new unlikely friend, make it somewhere safe? But no matter what happens, don’t make a sound and you might just find out what happens.
This film does what it’s supposed to do. So there isn’t much wrong with it, except. At this point why is this franchise still going? As you got enough of a story from the first two films. So what is the point of this one? To see the invasion from the beginning in a new land that is more of a city landscape that is vast yet familiar? From a different character point of view other than the same family? I thought part 2 offered some of that.
I understand Hollywood is a business and while there are no problems with the filmmaking in hiring director Michael Sarnoski to helm this film, which has him going from more independent productions to this big-budgeted film. Offers the film to have. A more intimate feel between the characters and also the Audience. Not feeling so big and impersonal. The director here has a vision.
Though just as it tries to offer a different story in the same world. It’s a sequel not many were asking for or offering anything new. Ultimately it feels hollow. Though offers some good filmmaking that one wishes could have been used on a better and more original project.
Not every story needs a sequel. Most are fine as stand-alone. Even if there is a sequel there should be a reason other than financial to ultimately tell a story. The same thing with reboots maybe audience attendance is down isn’t just the sequels, reboots. It’s the material and not feeling like something we have already seen many times over and over. It insults the audience with bad to stupid films that have bad scripts and the only reason they are made is because they can get two stars or a few to co-star in it. While being paid ridiculous amounts of money.
The film is visually beautiful and quite the production, but it’s also familiar and not scary. Even the jump scares are put In falsely as a kind of cop out and it feels that way.
As this is more of a modern-day disaster film with a minor science fiction twist. Fans do these films won’t be disappointed. Though not as much of a family story as the previous films.
One can also admit while this film was going and having seen all of them so far. There were still some questions overall. Not enough that there needs to be another film to answer them. Just trivial ones.
The film is solid in the franchise it’s just not needed and by adding a score. It makes it feel more like a byproduct of a studio. Rather than a truly original piece of filmmaking. Part of the magic of the first film was that it lacked a score or soundtrack. That forced the rhetorical audience into silence similar to the characters in the film. Here that has been taken away.
One loves that Lupita Nyong’o gets to be the lead of another horror film. That is a major Hollywood production. One only wishes it let her use her talents better. No matter the quality of the movie. I am rarely disappointed by her performances.
Though she is arguably the lead and the hero. While Joseph Quinn is more the damsel in distress though does get to have a harrowing scene or two of his own. Which is the only truly original element this film has to offer.
One can at least say that the films never cheapen the experience and each new film feels like much care and design went into it and makes them each noteworthy in their own way.
Based on Log Of The Demeter “DRACULA” By Bram Stoker
Cinematography: Tom Stern
Editor: Julian Clarke, Patrick Larsgaard and Christian Wagner
Cast: Corey Hawkins, Liam Cunningham, David Dastmalchain, Aisling Franciosi, Chris Walley, Jon jon Briones, Stefan Kepicic, Martin Furland
A crew sailing from Varna (Bulgaria) by the Black Sea to England finds that they are carrying very dangerous cargo.
This is not a bad film, but it does feel like a lost opportunity where the audience keeps thinking how much better it could be if it used practical effects so there wasn’t so much CGI. Also if the movie was filmed on actual film and not digital, it wouldn’t look so dark and feel more of the period. And if it had been made in the 1980s, it would feel more like either an adaptation or a surprise filled with more imagination, and a studio would maybe Mohr put its full weight behind it either in theaters or even if it was a movie that was faded to end up straight to home video.
As it stands now, it feels too slick and not quite sincere enough to be a success which it should be.
This is another film, directed by Andre Ovredal. Who adds a black lead to a supernatural historical tale. Which does add excitement and some color to the proceedings. Though here The film remains predictable.
I have seen some audience members attack the film because of the beginning And readers of Bram Stoker’s Dracula, the novel, which lets us know what happens or the fate of the crew and characters, but truthfully, that is what most slasher and horror films are guilty of we watch for the how wise and who’s we most likely what will happen? We just come to see how it happens, though. The same can be true of action films and sequels. Especially with stars and specialized starring in those types of films and playing virtually the same character or the same type. So picking on this film for the same reason feels like low-hanging fruit that you know coming in what it would be like and most likely that would be predictable.
At least the screenwriters and filmmakers offer to flash out that chapter of the book and use their own imagination to ramp up, not only the characters and suspense but, ultimately their fates also try to create a claustrophobic atmosphere on the ship.
Stay entertaining, filled with characters that could have easily failed as this film obviously has passion and quality behind it.
Unfortunately, it comes off as a well-intentioned B-movie. With competing and battling accents among the actors to see who can be the most authentic to a certain rogue or region.
The film has a cast, and Cory Hawkins deserves more leading roles. As well as Aisling Franciosi who always seems to play characters who are surviving in pain.
Though the film seems to be trying to offer an origin to a franchise. we know unfortunately isn’t coming or the beginning of a fruitless search for justice. It’s a shame as the film has all the right ingredients. It’s just that the meal or main course isn’t as tasty as it should be.
Directed By: Eugenie Joseph, Brendan Faulkner and Thomas Duran
Written By: Brendan Faulkner, Frank M. Farel, Thomas Duran and Ann Burgund
Cinematography: Robert Chappell & Ken Kelsch
Edited By: Eugenie Joseph
Cast: Felix Ward, Maria Pechukas, Dan Scott, Alec Nesmer, A.J. Lowenthal, Pat Wesley Bryan, Peter Dain, Nick Gionta, Lisa Friede, Joan Ellen Delaney
A wicked sorcerer tries to sacrifice a group of people inside his house to use their vitality to keep his wife alive.
This film is nothing that makes any sense story and watching it. It has a basic plot line of unlikeable characters coming together in a haunted house and being picked apart one by one by various monsters.
This emphasizes the practical special effects of the movie and shows that there was a passion behind the film before the behind-the-scenes battle for control of the film between the producer and the filmmakers. Which resulted in neither getting exactly what they wanted nor a film that was damaged at best.
So you can look at the film as typical of the era with practical effects, or you can look at it as a disjointed mess.
Watching the film half the time It’s hard to follow and can be random. Where you barely know what’s going on, but it keeps you interested and never boring in trying to find out how it will end, or what it all means.
It’s Not some damaged masterpiece but feels like Something that could have been somewhat noteworthy if everything came together the way it was supposed to. Instead of us having farting monsters in the basement
whereas the, Behind the scenes story is far more entertaining than anything on the screen. So much so that there was a documentary named TWISTER TALE: THE UNMAKING OF SPOOKIES that tells you all about it.
Directed By: Jay Cheel (ABDUCTION/ADDUCTION) Jordan Downey (STORK) Justin Martinez (LIVE AND LET DIVE) Christian Long and Justin Long (FUR BABIES) Virat Pol (DREAM GIRL) Katie Siegel (STOWAWAY)
Written By: Jordan Downey and Kevin Stewart (STORK) (Based on the artwork by Oleg Vdovenko)
Mike Flanigan (STOWAWAY)
Virat Pol and Evan Dickinson (DREAM GIRL)
Justin Martinez and Benjamin A. Turner (LIVE AND LET DIVE)
Christian Long and Justin Long (FUR BABIES)
Cinematography: Taban Basu (DREAM GIRL)
Mike McLaughlin (ABDUCTION/ADDUCTION)
Kevin Stewart
Alexander Chinnici
Editor: Jay Cheel, Tanya Chhabvia, Jordan Downey, Thom Newell, Benjamin A. Turner
Six bloodcurdling tapes unleash horror in a sci-fi-inspired hellscape, pushing the boundaries of fear and suspense.
At this point these movies are a tradition, That some can look forward to and some might dread. While the films aren’t as dynamic as when they premiered with this premise. They also seemed to have lost their way. As at first it seemed like a new way to present horror and had some excitement behind it. As well as giving emerging directors a chance to tell their stories in inventive short-form ways.
After the second film, it felt like it was losing steam and even now this film while passable. it feels a bit stale or not as dynamic. It almost feels at times like a dumping ground. These films feel like a television show that has some standout episodes but disappointing seasons. Resembling the show AMERICAN HORROR STORIES. This version’s theme as there tends to be one with each new film is Aliens.
The first segment is STORK which is one of the most violent out of the tales the first three of the tales truly are the goriest out of them all. This story is about a group of renegade cops hunting who they believe are serial kidnappers. Though once they enter the house they see what they are truly up against. While visually gifted, it plays more like a first-person shooter video game. This seems like the most mainstream and the one that could easily be seen as a spinoff of its own
The next segment DREAM GIRL is set in India and follows a group of paparazzi photographers trying to get photos of a new female star whose films are constantly hits. Early in the film, there is a bit introduced which makes the story seem like it is going one way, and then by the end, it goes another way, As they find out to a degree what is behind the superstar’s success. This is one of the tales that seems like it might veer away from the main theme of Aliens
LIVE AND LET DIVE seems like it is going in so many directions. By the time it literally lands the visual effects are impressive. it offers nothing really new or different. Except to provide a slasher-type tale with excessive violence. That is ok but frustrating in the many ways it could have gone.
FUR BABIES is next and noteworthy as it is written and directed by Christian Long and his brother Justin Long (Yes, the one and only) Now this short film has a premise that is ghastly and a bit original. This segment doesn’t belong in this edition; its theme feels like a holdover from the last one. It also seems like it’s only here because of who made it and is a case of celebrity. As he is one of the biggest names attached to this film even as director
STOWAWAY is the true final full tale about a young woman. who is trying to do a documentary on a location that is a hotbed of alien sightings and activity. She follows the trail of the sightings. She gets all she wants and more once she makes her way onto an alien craft and it takes off and we see her having to deal with the consequences. Which mixes with a home video of her as a little girl. that portrays her innocence and wonder about what is happening to her and the changes.
then there is the wraparound story ABDUCTION/ADDUCTION which is really a documentary presentation of an alien invader video and its veracity that only lasts a few minutes. That seems used to tie everything together.
Now while one will stay critical of this anthology. one can also appreciate them for what they present and giving independent directors a showcase. it’s also nice to have a yearly franchise for Halloween.
Written & Directed By: Chris Nash Cinematography: Pierce Derks Editor: Alex Jacobs
Cast: Ry Barrett, Andrea Paviovic, Cameron Love, Reece Presley, Liam Leone, Charlotte Creaghan, Lee Rose Sebastianis, Sam Roulston
When a locket is removed from a collapsed fire tower in the woods that entombs the rotting corpse of Johnny, a vengeful spirit spurred on by a horrific 70-year-old crime, his body is resurrected, and becomes hellbent on retrieving it.
This film tries to be something different that comes across as more experimental, and while one can applaud what they try to do artistically it doesn’t quite rise to the occasion.
It’s never quite as thrilling or inventive as it should be. This results in any movie that feels quite familiar and also a little bit slow. as it tries at times to be a little more artistic, which there is nothing wrong with that is all there is.
The story is familiar or could be any other slasher. The FRIDAY THE13th movies will be the main one that comes to mind.
At the beginning of the film, it seems like the film will take place more from a certain perspective throughout but while the film starts that way, and sometimes returns to that at other times, it plays more typically for thrills and set up the characters and to offer a bit of mystery even though there aren’t any jump scares.
What there is are notable violent gory death scenes where practical effects are used and it seems a lot of the time the movie is just setting up for the audience to Marvel at those which are over the top violent at times for no real reason other than to show off or offer something after all that time waiting.
Even at first the story which seems simple and seems to be a kind of revenge story ends up just becoming a slasher as the victims might be connected very thinly or really, not at all to the slasher’s reason for killing but usually it’s just that they either associate or are there And that’s really the reason. What’s even worse is that the violence that is truly cruel and over the top seems saved more for the more innocent victims rather than the guilty
There’s nothing wrong with a film, taking its time and the reason is there as it is more setting up things, but could’ve easily also been cut like the kill in the shed with the log splitter. There was no reason for it to be that truthfully, or at least try to spice it up with some thrills
This film could’ve been more effective if they had kind of momentum to keep it going something that keeps the audience on the edge of their seats, but a lot of the time is just waiting when you finally see another person at least you know something going to happen and even then, the film still takes its time
It’s not a bad film, but this comes across as the type of film that is overhyped because of differences before major audiences can see it and then once audiences do see it realize it’s not all cracked up will have fans as it deserves it, but it doesn’t seem to do as much as it could with its ideas. It was never quite as thought out past that or they couldn’t make the story necessarily work as much with it.
They realized that this was the only way to make a slasher that was a bit different than usual.
It’s a film worth checking out, but be worn beforehand that it’s not as exciting as one might hope or think.
Cast: Cassiel Eatock-Winnick, Savana Tardieu, N’Kone Mametta, Khoshi Ngama, Bjorn Steinbach, Jessie Diepeveem, Ethan Saunders, Jason K. Ralph
Mistaken for a sex addict by her devout father, Cami is sent to an isolated rehab center. But when a killer begins to hunt the teens, Cami realizes that her survival and her independence are intertwined in ways she could never imagine.
Considering the subject matter this film could have been a lot worse, bordering on pornographic or even exploitive.
The cast is mainly made up of new faces for the most part and they do what is required, but don’t necessarily make too much of an impact. Except for Alex McGregor, who seems to be one of the more acting veterans of the cast who plays one of the brothers and sisters who run this camp.
A Horror film that revels in its exploitation that could’ve had a real message about conversion therapy and religious hypocrisy not to mention, power dynamics, and even the way sex is handled or dealt with between the sexes
Instead, it goes with the easy route of being an 80 slasher film being awkward and hokey humor makes it perfectly disposable and entertaining while you watch, but won’t gather too many thoughts or memories after
It’s possible and a little more lighthearted, despite its violence like the director’s previous film banana splits the movie only here it doesn’t seem to celebrate or find fun in it in this film is more about presenting and hoping it’s shocking
As each death scene seems to go a little further and its violence is almost like the film itself following the baseball euphemism when it comes to the sex of first base second base, and third base each goes a little further
The film comes across as a nice attempt, but it’s never quite engaging nor do any of the characters stay particularly memorable. What would you expect when we’re not really ever given anything to really remember them by other than names and looks there’s nothing particularly memorable about them as even their personalities almost seem similar
so that you care truly about them except for maybe the lead and that is because we’re supposed to as she is our introduction into the story, even as the action takes place a little bit before we meet her
There is a budding lesbian relationship, which might be why the lead character can’t seem to get an orgasm, which seems to be a major plot point of the film female characters consistently the lead characters are a little different than any other lady with those same byproducts.
Though truthfully you know what you are getting into and what type of film this is, as it goes for the easiest way out and tries to be more humorous at times.
The third act tries to surprise itself by piling on the surprises. as even the audience will be left, guessing and having their own theories until all is revealed. That eventually might make some in the audience’s eye roll. Though at least is trying for maximum entertainment.
Cast: Chuck Connors, Tanya Roberts, Jocelyn Jones, Jon Van Ness, Robin Sherwood, Keith McDermott, Dawn Jeffory
Four people go in search of their missing friend. What they find is Slausen’s Lost Oasis, and mannequin-dressed museum, and a seemingly abandoned mansion owned by gentle old Mr. Slausen. He agrees to help with their car trouble, but some of the girls decide to look for a working phone inside the house even though Mr. Slausen warned them not to. Hidden within the home is Mr. Slausen’s misunderstood mask-hidden younger brother. What they learn is that the mannequins seem very much alive, or is there something much more terrifying behind the mask?
A great old-school horror of the 1980s. That was a video store heyday that haunted the shelves. It took me this long to finally watch and it’s a shame as this is definitely a film that stays on your mind.
This is one of those films you think you have seen a long time ago then when watching realize you never did. Even as you have seen the poster title for the longest time.
This film at first seems like it will be run off like the poster that could be for any 1980s generic horror film, but this one set itself apart with a kind of creepy puppet tree. That leads to a disturbing atmosphere throughout.
The characters/victims are the usual suspects. You never get to really know them and barely care about them. You were just appalled that they have to go through this torturous violence for nothing.
The mask of a character from an episode of the Nickelodeon show SALUTE YOUR SHORTS. The episode was creepy out of nowhere and didn’t seem to be as intentional as it is in this film.
Were it not for the originality and creepy atmosphere the characters and kills are pretty basic and almost not eventful. Except for most of the cast, conveniently short summer outfits.
Especially Tonya Roberts cleavage heavy, and tube top that only adds to its exploitation factor.
This is a shame, considering its originality and other aspects as it becomes more and more unsettling
There are some action sequences, though they are slow and it seems like the characters wound, very easily.
The film is not too far off. it’s believable at least in the first half of the film.
The film seems to be designed to be more atmospheric with a smaller number of characters which leads to the film feeling more intimate. When there is a Chase the film has more time like the killer to stalk.
As a fan of Chuck Connors, this film is quite enjoyable as he is clearly having fun in his role and he is truly the big-name star of the film, especially at the time of its release.
The film is inventive when it does things that are there to surprise you like switching around the final girl you might expect. The survivor truly ends up, becoming someone you would least expect. By the end, the film still offers something that makes it feel even creepier.
That makes you wonder in the end if there is still a certain psychosis meaning that the killer has succeeded. it certainly leaves the audience with something unexpected and unsettling.
Cast: Jacques Perrin, Julien Guiomar, Eva Simonet, Paul Barge, Jaqueline Danno, Katia Cavaignac, Jean-Pierre Miguel, Helene Surgere, Sonia Saviange, Nicole Courcel
Unhappy women are being murdered by Emile, a psychotic young man suffering from the delusion that his acts are mercy killings.
The title seems simple, but there is a deeper meaning, and this film proves to be so much more.
This might’ve been regular fashion back when it was made but everything feels so stylistic Maybe because, to a modern audience, it is so far and was made to feel that way. As it is a French Giallo that provides less mystery and violence and seems to be more about the setup
The first kill in this film seems like the victim, experienced it, and welcomed it. It comes off as stylish and fetishistic in a romantic or erotic way
And choosing his victims, the title character it seems like they welcome him and aren’t surprised last encounter liaison or fling before the end so that it’s almost romantic and putting them out of their misery or granting a last request.
Which ends up setting the tone for the film as a romance yet not a love story
Almost like his actions are doing the victims of favor, as they are suicidal and feel they have no reason to live anymore. He offers assistance So they don’t do it themselves. Or go through the experience alone, nor have to worry about depending on their morals or beliefs going to hell, necessarily if religious
The victims, female, fashionable, and gorgeous, and presentation before their last breaths
The choreography of the floor show of one victim’s death scene is memorable and a delight, its style or international attitude and ideas.
The film can be drilled yet makes much out of a little and remains truly unforgettable, as well as an underrated gem that can easily throw an audience a bit of valance as the film goes on. We get to know the victims a bit more as we see the melodrama with each new one giving them, brava last scenes of their character’s last moments
We never see the actual kills only the before, and a bit of the aftermath to know that the deed was done
Wow, also witnessing the investigation of the case buying adults, Nancy, Drew, the character, and the police captain who start a kind of romance or at least a relationship hence toward romance
We watch as the killer gets upset as someone perverts his act of mercy per se by following him to the crime scenes and then stealing from the victims, making it seem like the killer’s motives are more about material gains making his gift seem more common and presents a rivalry
Victims come off as if they feel forgotten or betrayed by the world, or maybe just betrayed by a man or lover, and they will finally be immortalized and die and finally get attention special before the end. This desperation makes them feel sparkling before putting them out of their misery.
Presented as glamorous the Weathered it feels like a Hitchcock film as it has it set pieces that are usually the murders that come off as artistic and depth at times. As the film plays, Layfair and laid-back, not too concerned or drastic despite the actions and the film’s move.
When it comes to Giallo there is a certain beauty it provides it showcases. One of the reasons I like them is that they know how to present the female characters stylishly, sensual, gorgeous and fabulous. Like screen sirens. Sexy for sure but not cheaply classy and less exploitive all about beauty. They feel like women Of class and culture. It’s presented more as normal not necessarily down to earth. Special in fact but somehow normal and approachable
Amongst the crowd with Imperfections seemingly edited out.
The Death scenes feel like little short stories that offer glimpses of life lives and characters are given more dignity and death than might’ve had in life
They are double-crosses as the thieves seem to turn to murder groupies with funny emotional moments of turmoil as the third act is dragged out, but has plenty of beautiful moments
The film is more than just its simple title. This Gallo is a weird romance of the killer, granting his victims, and lovers wishes and making them feel special. Laissez-faire laid-back look at the serial killer and the investigation around his killings. That seems to be in no rush and strives to be more artistic than surprised filled or a procedure, except for a random dream sequence. The film is never exploited but creative and its simplicity is not so much a psychological study nor a thriller
The synopsis seems conventional, but that’s the film’s artistic aim. It has mainstream scares with deeper meanings and emotions in between that get confusing at the end and make it more cultivated.. there is also a boom mic visible in the final scene
The murder towards the end seems to be out of a discussion with the society around him, which is depressing as even the film feels like it betrays itself towards the end. There is even a boom visible in the final scene
Cast: Nicole Brydon Bloom, Giles Matthey, Taylor Nichols, Alan Blumenfeld, Naomi Grossman, Celeste Sully, Clayton Hoff, Susan Davis
When Sarah lucks into a sweet one-bedroom at Asilo Del Mar Apartments in Los Angeles, she thinks she’s hit the jackpot. It’s got plenty of space, friendly tenants, group BBQs, and even a cute neighbor next door. All is not what it seems: loud noises start keeping her awake at night; her cat is missing; everyone seems to be a little too helpful and friendly, except for the weirdo, Lester. Soon, Sarah learns she didn’t choose this apartment – It chose her.
This film is short. It might’ve been more effective as a short, but I don’t know if it could’ve made it or been felt as deeply if it was a short short.
As you get a little more backstory and understand how everything works more.
The film is interesting though it’s never quite strong enough. The premise is strong, but it feels here. They try to do more hands-off presentations and try to be more psychological and subtle, which does work as more of the scares psychologically physically.
There are scenes of violence. It seems the territory they’re trying to mental rather than going for shocks or anything that could be seen as exploited.
One of the hurdles, the film never quite gets over is how bland and basic the film feels no matter what happens as one can understand that it wants to be more subtle. No, the film feels like it needs to have more life in it.
Even as you were talking about a certain subject that is played a little bit more clinical it doesn’t feel like it has that much of a spirit.
Though it keeps your interest up until the end and makes the mistake of trying to be shocking or at least add a new shock in each act, which then pushes it into overkill, also helps the film to keep the viewer interested as if it didn’t it would pretty much almost be a drama with some extremes.
Again, this feels more like the type of film that feels part of a yearly Halloween anthology or could easily be an episode of an American horror story except without as much sensationalism. It could’ve said the same thing in a shorter time.
By the end, you can’t say that the film is bad as it has plenty of promise that it just falls short of truly fulfilling, but there are great ideas and decent acting throughout. Once the filmmakers get a little more season could really give the audience more of a run for their money.
Cut To The Chase 