Tag: DRAMA

FULL TIME (2021)

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Written & Directed By: Eric Gravel

Cinematography: Victor Seguin

Editor: Mathilde Van De Moortel

Cast: Laura Calamy, Anne Suarez, Genevive Mnich, Nolan Arizmendi, Sasha Lamaitre Cremaschi, Cyril Guei, Lucie Gallo, Agathe Dronne, Mathilde Weil, Dana Fiaque 

Just when Julie finally gets an interview for a job that will let her raise her children better, she runs into a national transportation strike.

This film seems to have the mentality that when it rains it pours.

It seems the first to be such a simple film. You know a single mother trying to do better for her kids and her life by trying to get a better job you know pays more maybe a little closer to home better hours. 

Then it turns it into a thrill a minute story of tension as she has to deal with bringing the kids to this babysitter, then trying to get to work on time where you know either trains are off schedule or late or you know the workers are having a strike, and She has to take a different route or find a totally different way to go to work 

Even you know, kind of flirting with someone who she’s not necessarily really attracted to, but she knows it suite on her just so she can get a ride and then shockingly him rebuffing her. so that even her sideline romance seems to fail in the middle of all her other hardships you rule for her throughout, but feel the loss.

And then not only that struggling to get to work late with her supervisor notices and penalizing her for but then also trying to get back home on time to pick up her kids on time you know it’s not quite run Lola run or that was it character dealing with all these different fates and felt kind of mystical this is just hard-core reality.

Justice things seem to go positive for this character they always seem to be a curveball throw as we watch in the way that she has to maneuver for survival as she faces one challenge or dilemma at a time, and usually after another close together.

It’s a portrait of one single mother that speaks for a number of them out there as they try to do their best for themselves, and most importantly, their families, and the seemingly increasing levels of difficulty and challenges they must face it seems even just to break even.

Her ex seems to disappear, avoid, and take no responsibility or offer solutions. You admire her to a degree, and the film teaches. You have to take it day by day moment by moment, each one seems to be worse and truly a horror film of its own.

Thank you to John Waters, whose list of 2023‘s best movies listed this film as one of them, or else I probably never would’ve heard of it, or probably not for some as the film is exhilarating and exemplary 

Grade: A

WORKING GIRLS (1986)

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Directed & Edited By: Lizzie Borden

Written By: Lizzie Borden and Sandra Kay 

Cinematography: Judy Irola

Cast: Lousie Smith, Deborah Banks, Liz Caldwell, Marusia Zach, Amanda Goodwin, Boomer Tibs, Richard Davidson, Ronald Willoughby 

A lesbian college graduate, trying to bankroll her own photography business, works as a high-priced New York City escort.

This film presents a day in the life of hookers at an uptown, brothel escort service, where we see the ins and outs of the service the various customers who come by as well as the different types of girls working there.  

We mainly follow the character of Molly, who is more or less the lead here played by Louise Smith,  as we see her waking up, traveling to the job, getting ready, and thrust into working as well as the responsibilities during the downtime.

We see some of the sessions, the sweetness of some customers, the nastiness of others, and even the strange requests

The relationship between the coworkers and different personalities and types provide an overall character study that can be fun at times as well as sad and shocking. It never feels off for any kind of dramatic reasons or tension so it stays truthful in its depiction and never quite sensationalizes.

The film is in an epic and never feels exploitative It stays quite dramatic and humanistic. Never offer an opinion on any of the characters or the profession.

It’s more of a female look at the profession full of truth and camaraderie, in this high-class brothel.

The film takes place mostly in a single location for most of the film, though it does explore a little not much. It feels like a play for the revolving door of characters and the conversations.

Each session can be a turning point in the film or add some new dramatic intrigue, maybe even a comic premise, but it stays on the level.

There are many stories that could have happened here, but only a few are truly explored as that is the life or the job plenty of fantasies, but in the end, staying themselves and not allowing themselves to get lost. As in their rules as prostitutes, there’s plenty of acting, but never any true lying.

There are no defining traumatic moments until the end. When that happens, it’s not as strong as one would expect. It stays a workplace drama.

We see how the mail customers say the same thing thinking they are different or special, which is why they care for fantasy and to either have control or lose their own to a degree.

The film is based on actual clients witnessed and told about to the filmmaker and the cast. it’s an early eight 1980s independent film with a low budget that was filmed in the director’s apartment in a week, through plenty of rehearsal, which also leans more towards its theatrical feeling and pacing. the film manages to say so much it ends up being more of an observant look for the audience to witness and make their own assumptions

The film ends with an ironic statement

GRADE: B+ 

HOW TO BLOW UP A PIPELINE (2023)

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Directed By: Daniel Goldhaber 

Written By: Daniel Goldhaber, Ariela Barer and Jordan Sjol

Based On The Book By: Andreas Malm

Cinematography: Tehillah De Castro

Editor: Daniel Garber 

Cast Sasha Lane, Ariela Barer, Forrest Goodluck, Jayme Lawson, Marcus Scribner, Kristine Froseth, Lukas Gage, Jake Weary, Irene Bedard 

A crew of environmental activists plot a daring plan to disrupt an oil pipeline.

This is an interesting little thriller. As it starts off so anonymously. Then turns into an ecological heist movie. It lives up to its title but the strength is in the storytelling 

We see how the plan is all coming together and what everyone’s duties and responsibilities are.

Meanwhile, we get glimpses into the characters’ reasons origins, and what brought them here.

Only in pivotal moments of the storyline. This also shows how the group all came together in the first place. As characters sometimes overlap in these moments.

The film provides plenty of drama, but also plenty of twists, turns, and double-crosses. Even when you think you know what’s going to happen, the film throws either a monkey wrench or what you think will happen but in a different way that you weren’t expecting.

The film is loosely based on the book of the same name which talks about the dilemma and the history of the problem. it is more dramatized and focused on this group of characters and their individual reasons as to why they came together to do this.

The ensemble works as each one is definitely passionate and works well with one another and you are on the edge of your seat plenty of times as this plan goes into effect. Even the aftermath is fascinating. As there is more to tell even during the credits as to the character’s fates. There is still the question was it all worth it?

This film is definitely worth watching even if you’re not necessarily into the politics of the character it works as a heist, film, and as a thriller and a film that examines the issues they are protesting against. Wow, the film provides plenty of suspense.

The film does feel like you are a fly on the wall, including your access to the information as a lot of times the film feels shot on the fly and feels as organic do it yourself and homemade the characters in their plan are. 

Oh, the MVP of the film  is Ariela Barer as she is the producer, writer, and one of the stars of the film. The film is an ensemble actor and character gets their moments to shine.

Grace: B

KIND OF KINDNESS (2024)

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Directed By: Yorgos Lanthimos 

Written By: Yorgos Lanthinos and Effhimis Filippou 

Cinematography: Robbie Ryan 

Editor: Yorgos Mavropsaridis 

Cast: Jesse Plenmons, Emma Stone, Hong Chau, Willem Dafoe, Margaret Qualley, Hunter Schaffer, Mamoudou Athie, Joe Alwyn, Yorgos Stefanakos 

a triptych fable, following a man without choice who tries to take control of his own life; a policeman who is alarmed that his wife who was missing at sea has returned and seems a different person; and a woman determined to find a specific someone with a special ability, who is destined to become a prodigious spiritual leader.

Fresh off the heels of his critically acclaimed Hollywood films director Yorgos Lanthimos seems to be Going back to his more experimental type of films bringing with him acclaimed actors.

On the one hand, I applaud him as he exposes more general audiences to experimental films and brings them a little more into the norm. As much as he can. Where he not only actually challenges audiences and their expectations. As well as providing material that is deeper and more thought-provoking than most. Letting them make their own minds on the stories and not hand-holding them throughout.

One only wishes that one could say it feels worth it. While one can enjoy the dynamic aspects and camerawork of his filmmaking. Though have never been the biggest fan of his early experimental work. There always seems to be a challenging renegade spirit to his work. 

Here he presents three different tales that have not only the same cast but the character of RMF to connect them. Essentially a minor character but revolving around various characters. Each tale has a theme, but all seem to include toxicity and love of some kind 

The first story revolves around a character 

Reliant on a boss so much in aspects of their life. What happens when true freedom is offered to them and not know how to survive because we have become so dependent on them. Some might say this story is an analogy of capitalism.

The second story involves a cop whose wife has gone missing at sea and he is not taking it well. Once his wife is back he is overjoyed but becomes convinced something is off and that she is an imposter. We see him seemingly break down as he tries to convince others she is not who she says she is. This story like the one before it revolves around control how comfortable one might be with it and what happens when they are not in control. It also shows how relationships can work and break once your partner makes their own decisions and doesn’t fit the ideal anymore of their partner and how people will stay in an Avis or relationship in hopes of things going back to the way they used to be and are willing to practically sacrifice themselves to make the other happy. 

The third take involves a cult. The members believe in two leaders. Who they can only have sex with. Who are in search of a young woman who can bring the dead back to life. While one of the members keeps running into their ex-husband and daughter. Eventually kicked out one member believes they have found the miracle and then plays like a tragic comedy.

This one shows our reliance on others to make us feel whole and keep us safe give us some kind of meaning and how those who love us can easily break us or betray us for their own comfort and happiness. 

Throughout all do these tales the ensemble cast plays different characters. Some of the biggest names in the cast might be the star of one tale and then a minor character in another.

The title gives away the themes, of how there are different kinds of kindness and how they can be used for good and how some use them to hurt others or have power.

As a whole, these short films coming together make an alright feature. Though separately they might not be as strong or powerful and might either come off as pretentious or offer ideas the audience already knows.

The cast is clearly having fun and in their element throughout. One only wishes it was mutual for the audience. As the film goes along the shocking moments become defining and also expected. It finds the director and cast more at play than offering anything truly strong or solid. It doesn’t seem wasteful, though it doesn’t come off as anything more than a healthy budgeted experiment.

I seemed to have not enjoyed it as much as others, especially critics.

Grade: B- 

HOUSE OF SPOILS (2024)

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Written & Directed: Bridget Savage Cole and Danielle Krudy

Cinematography: Eric Lin

Editor: Marcus Vives 

Cast: Ariana DeBose, Barbie Ferreira, Arian Moayed, Martin Csokas, Mikel Brett Silset, Amara Karen

It tells the story of a chef who opens her first restaurant where she battles kitchen chaos, a dubious investor, and self-doubt, but the pressure heats up thanks to the spirit of the estate’s previous owner who threatens to sabotage her.

This is a film that never seems to get started. As it builds up to a certain degree of what’s the worst that could happen. Which adds a certain comedic paranoia. Though it feels like it drops the ball.

As it seems to take It’s Time to get the audience excited and ready, by the end it gets to its conclusion it feels like much ado about nothing. Making. It feels like most of the movie was a tease with an unsatisfying ending.

It might have been better as a short or an episode of an anthology. So it could get to the point. At least have a stronger ending.

As for the need, it feels more like a film that tries to tie in feminism and witchcraft. Where recipes seem to be the spells and an offering. 

It never feels like a thriller or horror. Though it has elements of each. In the end, it feels more like a drama. That tries to have some mood of THE BEAR mixed in with what might be some supernatural elements. 

The one strong thing about this film is the lead role played by Oscar Winner Ariana DeBose. One only wishes the film and script could be as strong as she is throughout. 

Grade: D 

THE PASSENGER (2023)

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Directed By: Carter Smith 

Written By: Jack Stanley 

Cinematography: Lyn Moncrief 

Editor: Eric Nagy

Cast: Kyle Gallner, Johnny Berchtold, Liza Weil, Kanesha Washington, Sue Rock, Lupe Len, Mariah Benoit, Brooks Anne Hayes 

A man is forced to face his fears and confront his troubled past. He must find a way to survive when his co-worker snaps and goes on a violent killing spree.

This film passed any expectations that I had going in as it seemed like it was going to be pretty much a crime spree movie that might have gotten off on its violence.

Instead, we get a film that is not a deep character study, but a character study nonetheless where the two leads and part of the cast of characters are all dealing with past trauma that they seem to have dealt with, but didn’t necessarily get past and the different ways in which they’re dealing with it.

While the whole cast rises to the occasion, as usual, I have the shout-out actor, Kyle Gallner who is the character actor who I have seen in many different films, and recently has been playing more leads, and he seems to always rise above or Fitz right in and more makes the movie his.

The film starts off with what looks to be mundane before a shocking act of violence gets you out of that mindset And keeps you on edge throughout. You truly never quite know what’s going to happen next, as we are taken along with the psychopath and the boy he takes hostage and a sort of accomplice, determined to understand and cure him.

Along the way we did into both of their pasts one is clear, the other not quite, but leaves us to figure it out and doesn’t spell it out yet we believe we know.

Separates this from other criminals on the run films in that the lead character the psychopath isn’t stupid but while at first he seems like he has a plan and knows what he’s doing along the way the film does it make him necessarily a hero, or a stand-in for any certain subject or new story he’s a human being, a person dealing with rage And just as most of us acting like he has an altogether but underneath he’s just going through the motions and trying to do what seems right to survive.

The film actually, while being violent isn’t as violent as it would make you believe it’s more psychological than physical, and is quite chatty rather than action-oriented.

There are ways in which the material could’ve been different or dealt with but the way it is is fine and it still manages to be a genre film yet makes it and definitely deserves to be seen and talked about.

It wouldn’t have taken away from the film if maybe it had more of a homoerotic theme throughout which it seems to flirt with, but never goes that far as it has bigger fish to fry and other issues and it wants to convey.

Grade: B- 

THE MEAN SEASON (1985)

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Directed By: Philip Boros

Written By: Leon Piedmont 

Cinematography: Frank Tidy 

Editor: Duwayne Dunham

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. 

Grade: C+

THE SUBSTANCE (2024)

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Written & Directed by: Coralie Fargeat 

Cinematography: Benjamin Kracun  

Editor: Coralie Fargeat, Jerome Eltabet and Valentin Feron 

Cast: Demi Moore, Margaret Qualley, Dennis Quaid

A fading celebrity decides to use a black-market drug, a cell-replicating substance that temporarily creates a younger, better version of herself.

Whatever you might have heard about this film you are not entirely ready for where it takes you. 

Again this is one of those films that is best to go. Into blind. Which allows for surprises and plenty of discovery. 

It has equal parts David Lynch, David Cronenberg, and even a bit of Stanley Kubrick in style, but director Coralie Fargeat manages to make it her own.

As there are symmetrical shots and angles. Colorful production design, and plenty of gore that at first seems artistic until it truly gore for the gusto in the third act. At certain points it feels like science fiction, but more a cruel satire that truly becomes a horror movie. It also feels French and European while taking place on American soil. 

it’s amazing, disturbing, uncomfortable, and beautiful. That truly seeks to disturb, disrupt, and challenge. Which for some will make it all the more stronger. 

The film offers a full-blown assault on sensibilities and your senses. It manages to build a world while revealing so little and having limited spaces and locations. 

It haunts you afterward. Each time you think about the film, you want to go back to see if there is anything you missed. as you want to study the film. It’s that intricate, and pristine 

It’s not only the effects that are scary or disgusting but the characters. Dennis Quaid as The lead character’s manager is always his over-the-top stylish suits and seems like he cares. He twists lives in his client’s backs and eats sloppily and disgustingly. 

The film is a tale of feminism and the perils of aging for women and how they are treated in the world but especially in Hollywood and the spotlight. This film explores what some are willing to do or forced to do who choose to want to stay in the spotlight. How cruel they are treated for even trying.

It’s also a tale of greed, how there is never enough time, and how quickly it can be stolen or used. When you are younger you always think you have enough time and still want more and are more prone to be jealous that you will even betray your own best interests. How at times a person can lavishly sacrifice just to have the spotlight to themselves even as it does damage to themselves. Not playing by the rules and regretting. Losing sense of oneself.

Self-hatred giving up on yourself for others to prosper. As you feel your life isn’t worth living anymore. Too much work not enough benefits. Needing the adoration to feel worthy. 

Demi Moore gives one of them. the best performances of her career. While getting one of the best roles of her recent career. This is the perfect movie for her to make a comeback. Even as critically as most of the characters treat her. She still looks extraordinarily beautiful. The horror is that for so many years Ms. Moore has been the model for what was seen as perfect and beautiful that many women aspired to be like or look like and now here she is not considered good enough. 

It also offered her the most range in a role. Yet it also, feels familiar or like a reality she might be facing only magnified. As the film shows how aging especially for women is seen as a horror in society and how many of them have resorted to some kind of substance be it surgery, fillers, creams or ointments to try to keep their youth or look youthful. Even as it becomes a violence against themselves. Taking themselves down the. Face the reality they find themselves in. Trying to reach or keep an idealized version of themselves and literally buying into it 

At certain points, it feels like a TALES FROM THE CRYPT movie. Which only reminds the audience of Demi Moore’s appearance on that show in an episode. By the end, it also reminds the audience of another production that she was part of the animated Disney film THE HUNCHBACK OF NOTRE DAME. 

You could also throw in some RE-ANIMATOR. As well as the story THE PICTURE OF DORIAN GRAY. As well as THE GAME, DEATH BECOMES HER, THE TOXIC AVENGER, FIGHT CLUB, and SECONDS. With those ingredients, she used them to make something piercingly original 

It even tackles eating disorders. As when she can’t really punish or fight her double. She strikes back the only way she knows how overeating bad food. as she robs her of her youth. 

Vanity destroying yourself to give yourself more time. Almost like an addiction the same as a vampire uses blood to survive and stay young or at least keep up appearances. Usually preying on the young here it is reversed. 

As the younger self has all the promises or is given promises of course she becomes more selfish hoping to live just a bit longer. 

This film by the end becomes a fable of addiction to the limelight of fame and attention and how lonely it can become once it begins to fade. Even though you have a following how quickly they can abandon you and if you are never prepared for your eventual downfall. You have truly nothing left. How these rules seem to apply mostly unfortunately to women. Hollywood is a fickle mistress. 

Grade: A 

CRAZY/BEAUTIFUL (2001)

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Directed By: John Stockwell 

Written By: Phil Hay & Matt Manfredi 

Cinematography: Shane Hurlbut 

Editor: Melissa Kant 

Cast: Kirsten Dunst, Jay Hernandez, Taryn Manning, Bruce Davison, Herman Osorio, Lucinda Jenney, Miguel Castro, Richard Steinmetz, Tommy De La Cruz, Cory Hardict, Keram Malicki-Sanchez

Carlos Nunez, is a poor but athletically gifted Latino teenager who endures a two-hour bus ride every day from East L.A. to attend the posh, wealthy Pacific Palisades High School in Los Angeles on a football scholarship. A straight-A student, Carlos is focused and driven, but his future is cast in doubt when he becomes the flirtation target of a spoiled, self-destructive bad girl Nicole Oakley, who’s the daughter of a prominent congressman. When his friends, family, and even Nicole’s own father oppose the romance for Carlos’ sake, he chooses to ignore their advice and stubbornly pursues his relationship with Nicole, whose feelings grow from simple physical attraction to something much deeper.

This is the movie in my teen years I was hoping the Drew Barrymore film MAD LOVE was going to be.

At the time this film was a rare interracial romance, where it seems to be downplayed, but then becomes a kind of class difference with a switch whereas the Hispanic character is the more responsible and stable with a rich family life, and is well respected 

Whereas Kirsten Dunst’s character is a mess who might be good-hearted and is an addict with mental problems and a family that isn’t close but has money 

With this film, Kirsten Dunst is trying to be more professional and take on a dangerous and challenging role. The kind that she was usually offered at the time was more cookie-cutter. This role is the one that Disney stars try to do to be seen as more adult and be seen in a different way allowing them to show range. 

The film isn’t original but keeps your interest as not only a teen romance but a romantic story that has dramatic deaths and comes across better than you probably would expect.

It helps that you like, and admire both lead actors and their characters, and they do have solid chemistry, and they get you to care about both of them.

Happily found trays the minority character as more of a positive and Caucasian character trouble, and the one might end the future of the other. Everyone agrees that he is too good for her.

One appreciates the film, even though Kirsten as a star who was the bigger star. The film and script explore Jay  Hernandez’s character and family ties. just as much as it does hers. Showing atmosphere family, culture, and surroundings can affect a person. 

One admires that he tries to be deeper than just a stereotypical teen romance.  it offers some depth. As it shows a shocking amount of heart throughout. 

The film takes you back to when these movies would actually make it to theaters and not be some offshoot of a streaming channel. 

Grade: B- 

THE SWEET EAST (2023)

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Cinematography & Directed By: Sean Price Williams

Written By: Nick Pinkerton 

Editor: Stephen Gurewitz 

Cast: Talia Ryder, Simon Rex, Jacob Elordi, Ayo Edibiri, Jeremy O. Harris, Andy Milonakis, Keith Poulson, Rish Shah, Mazin Akar, Gibby Haynes, Mimi Ryder, Jack Irv, Ella Rubin, Betsey Brown, Earl Cave

A picaresque journey through the cities and woods of the Eastern seaboard of the U.S. undertaken by Lillian, a high school senior from South Carolina. She gets her first glimpse of the wider world on a class trip to Washington, D.C.

The film has an Alice in Wonderland quality. they coming of age tale. where we follow this girl who right after losing her virginity goes on a school field trip to Washington DC gets mad wanders off and kind of gets involved in all these kinds of extreme groups and gets involved with these characters who have such great passion for their beliefs that she seems to put up with as long as she can, and they take care of her, but then soon grows of them and moves on, especially leaving them and ruin when she does

as it seems like all of those, she gets involved with seem to put their ideals dreams, and wishes upon her as some kind of fantasy is going to help them or save them or make them successful and she’s quite the opposite as she is just a schoolgirl trying to survive and trying to have fun

I think this film might’ve been a little stronger been directed and written by a female because as it plays, which might actually work and its favor seems more to go throughout this film as a kind of young female seen through the male gaze so she’s constantly made into a fantasy. it is directed by noted cinematographer Sean Price Williams.

The film doesn’t make her a victim, though it shows that she’s not that innocent and that she kind of enjoys the power that she gets from all these experiences as these types of scenarios and with the female being victimized, it’s kind of refreshing to see a film, where the female is the one who realized that she has the power and takes control, even though she doesn’t know how deep or dangerous the waters she’s stepping into truly 

The film is very experimental as it even has a musical sequence early in the film and seems to be mostly handheld gorilla style though has some beautiful shots the film does keep a sense of humor, but also has a kind of shock value that it produces every now and then just to make sure you’re paying attention 

as in one section of the film, she ends up staying with a white supremacist who is more of an intellectual than an actual member of the KKK who he spoils like she’s a pet, but never touches, though she keeps offering peaks and glances. He never makes a move, though he wants to and generally respects her, which makes her quite fast

she goes from there to African-American filmmakers who keep talking about being revolutionaries and even dress the part in 1970s wardrobe, but then when we actually see that the film they are making it some kind of merchant ivory-type production that is more about Caucasian characters in the pet in the past which proves to be one of the most, but also shocking sequences in the film

those throughout there are no real consequences for her character and the film tries to throw the audience off just as when she ends up secretly staying with what seems to be a Muslim paramilitary group. They are more of a music group dance and very secretive. so this film keeps to survive.

no, by the end, it doesn’t really seem to have all that much to say and still feels like the musings of a middle-aged Caucasian man declaring his thoughts on modern-day subcultures but putting it through a young female point of view, making it seem more open and not so fitting closed off.

In the end, it’s not quite an adventure. I’m sure most audiences will want to make but if they do, they might find something that captures their interest throughout. As the character travels through the eastern seaboard.

That is a great showcase for young actress Talia Ryder. as she constantly plays the main character, but also that character has to play the role that she is given by all these different people she comes across and even using other stories as her own to get more sympathy

in the end, it kind of amounts to a movie that seems like it was a hip hang-out for most of the cast that was made up as it went along to touch on certain subjects and meanings

Grade: C