Tag: THRILLER

DUST BUNNY (2025)

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Written & Directed By: Bryan Fuller

Cinematography: Nicole Hirsch Whitaker 

Editor: Lisa Lassek

Cast: Mads Mikkelsen, Sophie Sloan, Sigourney Weaver, Sheila Atim, David Dastmalchan, Rebecca Henderson, Lina Kruse, Caspar Phillipson

A dark fairy tale that is quite enchanting, but feels like it has a missing Ingredient to truly sparkle. Though it certainly shines. 

Shot in the aspect ratio Of 3.00:1 which makes the film visually claustrophobic 

This is writer-director  Bryan fuller’s theatrical directorial debut film. One will admit to being a fan of his previous television work HANNIBAL, WONDERFALLS and PUSHING DAISIES 

Especially as one respects his work. Was really wanted to love this film, but can’t say that I did. There was plenty to like. Though can’t say the film is a slam dunk. Can see why some really like it. Though it’s Magic didn’t completely work for me. There might have been too much whimsy. 

This film is certainly imaginative seems more for adults but seems like it would greatly appeal to children just with it’s colors, beauty and creativity.

Told mostly from a child’s point of view. So while there is some adult material. It stays clean and never is vulgar. 

Every detail meticulous especially by design to fit an be awe inspiring truly building it’s own universe and deeply immersive 

Casting his MVP Mads Mikkelsen as his lead here. After having him previously play Dr. Hannibal Lector in HANNIBAL the television series 

Mr. Mikkelsen on this role is memorable and quite flexible, though never imposing Though it does remind one of his previous performance as an assassin in the 2019 action film POLAR. Only here to much better effect and material.

Even like the private joke of the chicken lamp that references one of Mikkelsen’s previous film MEN & CHICKEN 

It keeps Layering the story with reveals but it also seem to stop and start where it gets exciting and then drags and feels like it’s stretching out it’s

Time. So that the film stays fascinating but feels like it is working against itself as it wants to be episodic yet must be cohesive and take care of itself. 

Stylistically inventive with a hint of the past and classic with modern age edge. It has a throwback quality, though more flash then Cartoonish though in the best way. This film will certainly have items fans and is worth looking into.

Grade: C+

THIS IS NOT A TEST (2026)

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Written, Directed & Produced By: Adam MacDonald

Based on the book By: Courtney Summers

Cinematography: Christian Bielz

Editor: Pamela Bayne

Cast: Olivia Holt, Froy Gutierrez, Corteon Moore, Carson McCormac, Chloe Avakian, Luke Macfarlane, Joelle Farrow, Krista Bridges, Jeff Roop

Follows Sloane and four other students who take shelter in their high school during a zombie outbreak.

Based on the young adult novel, THIS IS NOT A TEST feels like the kind of adaptation that probably trims away much of what made the book worth reading. I haven’t read the novel, but I’d wager there’s more room there for the characters to breathe than this film ever gives them.

Instead, it settles into familiar zombie movie territory. Imagine THE WALKING DEAD aimed at a younger audience, only with the occasional surprising moment, yes, including one scene I genuinely didn’t expect. Unfortunately, surprises are in short supply everywhere else. You’ll likely figure out who’s making it to the end long before the characters do.

The frustrating part is that the movie constantly hints at becoming something better. It sets up interesting situations, builds a little tension, then repeatedly backs away just as things are about to get exciting. There are plenty of opportunities to push the horror, the suspense, or even the emotional drama further, but it almost always chooses the safest route.

To its credit, the film isn’t bad. It’s competently made, moves at a brisk pace, and wisely doesn’t overstay its welcome. The cast is believable, likable, and does the best they can with material that rarely challenges them. The movie’s heart is clearly in the relationships and emotional survival rather than nonstop zombie mayhem, and some viewers will appreciate that approach.

If you’re newer to zombie films or horror in general, there’s a good chance you’ll enjoy this more than I did. There’s enough action and tension to stay engaged, and it never completely loses its footing. For longtime fans of the genre, though, there’s very little here that feels fresh or memorable.

In the end, THIS IS NOT A TEST  isn’t a disaster. it just never becomes the movie it keeps teasing. It’s respectable, watchable, and occasionally effective, but it ultimately feels less like a finished statement and more like an early draft that needed one more rewrite.

Grade: C 

HOW TO MAKE A KILLING (2026)

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Written & Directed By: John Patton Ford 

Inspired By “KIND HEARTS AND CORONETS” Screenplay By: Robert Hammer and John Dighton 

Based On the Novel “ISRAEL RANK” By: Roy Horniman

Cinematography: Todd Ranhazl

Editor: Harrison Atkins 

Cast: Glen Powell, Jessica Henwick, Margaret Qualley, Bill Camp, Ed Harris, Topher Grace, Zach Woods, Phumi Tau, Stevel Marc

Disowned at birth by his obscenely wealthy family, a blue-collar stop at nothing to reclaim his inheritance, no matter how many relatives stand in his way.

This  is a loose remake or more a modern retelling of the Alec Guinness film KIND HEARTS & CORONETS only set more realistically and taking out the gimmick of that film years ago. Where Alec Guinness played all the members of the family that was getting killed off.

It might have been an added incentive if this film had big stars making cameos as members of the family getting killed off, but only Topher Grace is recognizable as one of the kin in standing to inherit a fortune above out protagonist. 

So the film really adds nothing except instead of being an outright comedy. It’s dark and slick. It attempts to be a social satire. Though never quite feels sharp enough. In fact at times it feels oddly rushed.

The film is darkly comedic and isn’t as bad as one would think. Considering how little fanfare or promotion the film got. Which the studio seemed to have cold feet after Glen Powell started in THE RUNNING MAN reboot that bombed. I don’t even remember seeing a trailer for this film. Until I had to go out and find it online myself.

The film plays pretty standard items entertaining as you watch but barely sticks with you once done. This fits in with the disposable films of yesteryear that were good enough for a watch and are rewatchable but therebisnMt much to them except for entertainment.

This film seems like it’s going to be a crowd pelaser until the end where it stays with it’s cynicism.

Strangely enough Glen Powell, plays a likable killer. That feels like he has shades of Patrick Bateman possibilities but is never that much of a sociopath or psychopath and had his reasons for his actions. 

Margaret Qualley is a good femme fatale only because we barely know anything about her and comes across as a mystery but also a type. Though she wears chanel as her wardrobe in all her scenes. That gives you a hint to the heart of her character. Where her legs are all over.

Which is one of the films problems it’s 

Likable enough bit has no real depth. The characters are more types. So that it never draws you in. So as it stays on the surface that is what you get and how you feel by the end. 

The films screenplay was surprisingly on the 2014 BLACK LIST of scripts that those in the industry rank as the best unproduced they have read that year. 

Which drags the film down and makes it feel more and more basic as it goes along. Especially in the end where the irony want to take over. As this is a film that shouldngave high stakes. Yet it all feels very telegraphed. 

This feels like a film you would sneak Into after paying and watching another film or that you go to on a weekend, just because you want something to watch.

Grade: B- 

DON’T TRIP (2026)

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Written & Directed By: Alex Kugelman

Cinematography: Kevyn Delgado

Editor: Justin Williams 

Cast: Matthew Sato, Will Sennett, Pell James, Olivia Rouyre, Fred Melamed, Chloe Cherry 

A struggling writer befriends a powerful producer’s eccentric son.

This film plays more like a thriller version of SWIMMING WITH SHARKS. As it is more a detail of Hollywood insiders and trying to get ahead and have your dreams come true. no, it doesn’t play out in the board rooms. It plays out more on the party circuit and networking.

The film mostly works as a comedy and thriller at times. That by the end luckily everything comes together that might be left hanging in the first half of the film. though truthfully, it’s more comedy than horror as when it does decide to change its mood. It is quite sharp, not subtle. As the film tries to work as a satire until becoming a full on horror film towards the end.

If the film has any weakness, it might be and some of its characters, especially the lead who just comes across as way to clean cut for somebody who might not have been born in Hollywood, but has been in it long enough to know the culture and there’s nothing wrong with him not really being into drugs or alcohol as the film desperately wants us to show him challenging his morals and will he go down this dark path just to get his film made. Though they could’ve worked harder to make him more than every man and still be innocent.

Just as his relationship with his girlfriend or fiancé at first, I thought they were siblings notnromntically involved as throughout the film she’s disappointed and seems to have problems with him and at no point do they actually seem romantic or really have any chemistry?

It’s one of those films  where you go with what is presented and you don’t really question too much as the film doesn’t really make you think either but you enjoy the ride you’re going on even if it’s familiar or you feel like you can predict what’s going to happen. It tries to offer a few surprises that aren’t really that big to a seasoned cinephile.

The works just enough to keep your interest so that you want to see the film through to the end even as it tries to be a little bit artistic and challenging towards the end it still comes off rather basic though one applaud the filmmaker for trying as the film still feels like a rough draft that needs a little bit more tightening. 

Will Bennett give the films most entertaining and captivating performance throughout this film should definitely be a calling card for him

One doesn’t really want to pick on this film as obviously it’s low budget and a filmmaker work well with what they have and you can tell they are trying. 

Grade: C 

YOU’RE KILLING ME (2023)

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Directed By: Beth Hanna and Jerren Lauder

Written By: Walter Hare and Brad Martocello

Cinematography: Jeff Tomcho

Editor: Rome Widenhouse 

Cast: McKaley Miller, Keyara Milliner, Brice Anthony Heller, Morgana Van Peebles, Jayson Warner Smith, Will Deusner, Dermot Mulroney, Anne Heche, Hannah Celeste, Kelli Therinae 

Eden, a bright student who is wait-listed at her dream college, attends a party hosted by a powerful Congressman’s son to get a letter of recommendation. However, she and her friend Zara discover that Schroder and his friends are involved in the disappearance of a missing girl. As tensions rise, Eden uses her wit and manipulation skills to navigate the dangerous social hierarchy of the wealthy elite and protect herself and those she cares about. As she delves deeper into the mystery, she uncovers shocking secrets and must fight to survive.

This film is a disappoint as the material is not bad. One only wishes they would’ve had more original ideas in which to not only present the film, but offer up style for the film..

As there are plenty of scenes in which the characters reactor act so dumb and not impulsively just either stupid or silly that it is beyond belief at times, so unfortunately it’s because of these things that keep the film going, where at certain points of the film it becomes so ridiculous that it’s funny while trying to keep this thriller tone

There is a final twist that you see coming, but there are plenty of places and ideas within the film where if they would’ve simply did a simple twist on the situation, the film could’ve been a little more entertaining and thought-provoking, but then it might’ve gone into being multidimensional in this film seems to wanna be one dimensional, cut and dry literally.

As for most of the film, there seems to be a lot of filler or stretching for time and a scene that should have been a lot more emotional and devastating here just seems to be played off to show a characters determination truly a taste of how evil they are, even though they’ve been presented that way throughout. Though at least it gives one of the characters who’s supposed to be a villain, somewhat of a soul or a chance to see the other side of them.

Though you know the main teen villian who seem cast here more for his look. Which telegraphs his evil side from the opening. 

It even kills off one of the villains of color first. Who ends up seeming like one of the most innocent.

The main character is mostly to blame for the other character fates throughout. So at times it is hard to feel sorry for her. Especially as she brings it on herself and could have easily gotten out of this situation. Though it shows she has a soul through her actions. Even if her best friend who has hated most of these characters. Has an odd mid-movie feeling and about face of trying to give the bad guys the benefit of the doubt. 

One can admit the film doesn’t truly get exciting until the major names in the cast actually appear which unfortunately isn’t until the last third of the film but they make their presence felt and make things or keep things a little more exciting especially the late Anne Heche’s performance, wishing she had been in more of the film as she makes a most scary and entertaining villain. 

No ultimately the film is a thriller, but throughout it is a revenge tale no matter how it is dressed up even though the box art makes it look like it. Will Moore be something to the movie? READY OR NOT 

Grade: D+ 

DO NOT REPLY (2019)

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Written & Directed By: Daniel Woltosz & Walt Woltosz

Cinematography: Jan-Michael Losada 

Editor: Colleen Halsey 

Cast: Amanda Arcuri, Jackson Rathbone, Kerri Medders, Elise Luthman, Ashlee Fuss, Ivon Millan, Courtney Henggeler, Nikki Leigh, Savannah Kennick 

Chelsea, a high school introvert, is abducted through a social media app and is forced to look like other girls Brad holds captive. Chelsea desperately attempts to persuade them to escape before they all become victims in his virtual reality filmed murders.

At first one would think this film looking at the poster would be one of those paranormal or slasher films that comes out in theaters for a week before it is properly put on streaming. Unfortunately, this film doesn’t even belong on streaming. This feels more like a bad cable original 

The film is a little confusing as to does. It wanna be in after school, special warning about the dangers of online predators in the dangers of online relationships without doing the proper background checks and research or doesn’t want to be a horror film about a deranged protagonist, and a final girl.

The film tries to mix, but by the end, it just feels like a rated lifetime movie that is a bit sensationalistic, and while it tries to be exploited, it never goes fall into any of what it hint at either sexual or violence wise, except for one gruesome death

Going into the film, you can pretty much guess what’s gonna happen in the type of film that it is going to be and while the lead is certainly twisted and most of the film plays more like a horror. The last five minutes then seems to want to be a kind of public service announcement.

The film does get into brainwashing Stockholm syndrome, and while it tries to be dirty and gruesome, it never quite thrills or make you really worry about the protagonists.

So that by the end feels like a nice try, but doesn’t truly satisfy anyone because you wonder who is supposedly the audience for this film and it just feels like a paint by numbers setup. From a father-son writing and directing duo.

One would guess this is supposed to be for teenagers, but none of it really comes across as believable, especially in dialogue when it comes to the teenage characters.

Though it is nice to see Amanda Arcuri from DEGRASSI: THE NEXT GENERATION have a lead role. One can only wish it was in a better film. Where half the time the audience is confused as to which kidnapped character is which. Since they are made to dress alike and respond to the same name. 

Grade: D

THE MOMENT (2026)

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Directed By: Aiden Zamiri 

Written By: Aiden Zamiri and Bertie Brandes

Based on an original idea By: Charli Xcx

Cinematography: Sean Price Williams 

Editor: Neal Farmer and Billy Sneddon

Cast: Charli Xcx, Alexander Skarsgard, Rosanna Arquette, Rachel Sennott, Kate Berlant, Hailey Benton Gates, Jamie Demetriou, Issac Powell, Rish Shah

A rising pop star navigates the complexities of fame and industry pressure while preparing for her arena tour debut.

This film is definitely more for Charli XCX fans then necessarily movie goers just discovering this meta mockumentary. As I believe the film will make more sense or be deeper to those in the know. 

As truthfully, in the past, this could’ve easily just been an extra on her latest album brat in the deluxe edition. Rather then a full theatrical roll-out, but while one would think this is going to be her version of a concert film. It is as it kind of dissects what goes into a tour and performance to a degree.

As interestingly enough, we’re watching this film as she gets ready for a tour and yet we barely and rarely hear any of her actual music or songs throughout the film. We more see what it takes to set up a show, as well as all the little decisions that have to be made and how confusing it can all be.

As one can admit at times I was a bit confused as to what exactly was happening at certain times also, if you are epileptic or have a light sensitivity, watch this film with caution as there are a lot of flashing lights a lot of quick cats a lot of handheld camera work that throws off your concentration at times. 

As the film, kind of show, Charli XCX trying to be herself, trying to put on a show and trying to be representative of her music while you have all the power players behind the scene, wanting to take more and more control and make more of the decisions that she doesn’t necessarily agree with or has to compromise for peace and for better.

So that we see her continuous confusion and dissatisfaction as people try to treat her as a star, but also more as a puppet to get what they want out there more than what she wants.

As the film tries to be dryly, funny throughout it is a documentary and kind of a comp Meta comedy at heart that sends up celebrity and shows some of their more privileged hardships

This isn’t gonna be the film you expected to be in some ways. It is truly eye-opening, but in other ways at times, it can be confusing in a little bit annoying. So through it all you have Goodwill for the singer, hoping it will all come together.

Even if it doesn’t give you quite the ending you’re hoping for that would tie it altogether like at least one live performance. Knowing its own way, it feels like this film is meant to be a finale or a goodbye to a certain era for her. This is the end of the brat era for her that she has lived with for quite a few years and might be ready to slow down as she’s in a different headspace or looking for something different looking to evolve and move on to a new time in her career and expression in her songs

As even this era of her career the BRAT album era and the album just seem to be a no holds a bar affair. It’s own kind of halftime report on the status of her career. where she just wanted to express everything she could and making a mainstream album that was more all about celebration and partying more than anything with still having that emotional pole to show that you’re still a person underneath it all a human being and approve that she could just do it. She could have hit album if she really tried, but now she wants to go back to making more music that she likes and she wants to not necessarily have to keep serving out hits. She can Slow down and not make so much of an impact so that maybe she can enjoy it more and not have so much writing on that and what is next.

I think this film is kind of a snapshot or placeholder for her and her career and a little message for her fans. At heart it’s a vanity project something made and allowed for her success. Also allowing itself to be a self important parody. 

I will say, even though I am a huge fan of hers. This one was a slight disappointment for me as it might be for some, but I imagine most of her fans will probably love it.

Grade: C+

HAG (2025)

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Written & Directed By: Sam Wineman 

Cinematography: Trevor A. Brown 

Editor: David Trevail 

Cast: Ryan De Villiers, Jane De Wet, Matthew Vey, Anja Taljaard, Adore Delano, Darron Meyer, Frances Sholto-Douglas, Magna Ngaiza 

After a decade apart, Rowan rents his spare room to Mag – a self-proclaimed “hag”- whose obsession with him grows into a life-or-death showdown.

Now with the title like this, it could’ve easily been a tale of a witch which in her own way, the main character is, but it’s also an out of date politically incorrect term for usually a friend, a female friend or a female, who is obsessed with gay men which this film ends up being about as a kind of updated version of SINGLE WHITE FEMALE, only with a cisgender Caucasian female obsessed with a gay white man and Moore trying to be their ultimate partner, not necessarily their identity

Which is strange as it seems like her character tends to take over identities and those are her victims but here it’s a bit different as she generally seems to want to be a part of this man’s life, but wants no one else in there. So you start to wonder what is the ultimate plan that she has at least in this instance especially as it’s modern and everyone seems to have a cell phone it would be so easy to expose her even if she chooses to keep changing her identity I know I know too much thinking going on watching this film, but that show shows you how less of a distraction this film was.

In the film definitely has its audience as it has a cis gendered straight white woman as a villain. 

Have to say that it leaves the audience  disappointed by this movie. as it’s not as Campy or much fun as expected. It’s a little out there, but it also feels like it plays it safe kind of like a risqué lifetime thriller that is desperately trying to be hip and isn’t working. There is nonteal exploitation to try and make it titilating.

As the directing lacks the flair of what could’ve been especially when you have a willing cast and a script that goes but so far but seems to stop short, quite a few times when it could keep going in an building

The film is ultimately OK as long as you don’t take it too seriously

This is also another to be original that is filmed in South Africa in Maine to look like Los Angeles. It does a possible enough job, except for when you see the actor’s real names it kind of gives it away as an overseas production.

This is the first disappointing, modern Tubi channel original thriller/horror film. can say it’s uninspired, but was looking for it to be a little more wild and exciting.

Grade: C-

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 

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-