Beanpole (Dylda)


The Russian Odd Couple.

(2019) Drama (Kino-Lorber) Viktoria Miroshnichenko, Vasilisa Perelygina, Andrey Bykov, Igor Shirokov, Konstantin Balakirev, Kseniya Kutepova, Alyona Kuchkova, Venjamin Kac, Olga Draugunova, Denis Kozinets, Alisa Oleynik, Dmitri Belkin, Lyudmila Motornaya, Anastasiya Khmelinina, Viktor Chuprov, Vladimir Verzhbitsky, Vladimir Morozov, Timofey Glazkov. Directed by Kantemir Balagov

 

Leningrad (now known as St. Petersburg, the name it was originally given that the Soviets changed following the Revolution) suffered more than most cities during the Second World War, enduring a protracted siege from the Nazis that left it a barely functioning pile of rubble.

In this city, Iya (Miroshnichenko), a tall gangly blonde woman who seems uncomfortable in her own skin, works as a nurse in a veteran’s hospital; she herself manned anti-aircraft guns until a medical issue forced her out of active duty. The issue? She is prone to seizures resembling fugue states, in which she is unable to move or speak, breathing in a torturous, terrifying death rattle until the seizure passes. Despite this, she is raising a son Pashka (Glazkov) until tragedy strikes.

Shortly thereafter, a comrade from the war, Masha (Perelygina) is released from a hospital stay of her own. Iya, who is known by the somewhat insulting term “Beanpole” for her height, helps her get a job at the hospital and Masha moves in with her. The two share a common bond although both are polar opposites; whereas Iya is gentle and awkward, Masha is forward and manipulative. She is unable to bear children due to her injuries and wants Iya to have one for her; Iya is reluctant to but eventually gives in. Masha chooses Nikolay (Bykov), a doctor at the hospital who lacks the courage of his own convictions, to be the father.

The dynamic between the two women is at the center of the film and their friendship which is at times toxic and at other times tender, is the film’s crux. Miroshnichenko, who oddly resembles a young Tilda Swinton, is an amateur actress appearing in her first feature film, as is Perelygina. Both women do solid work here and the friendship between the two characters is made believable despite the differences between them because the actresses give the roles depth and character.

The film is based on the oral histories of the period by Nobel Prize-winning author Svetlana Alexievich and her book The Unwomanly Face of War. I haven’t read it myself but both women certainly exhibit the signs of PTSD that modern combat veterans display which points out the disparity that most films on the subject tend to portray the problems that men face, even though women are now going to war in greater numbers and suffering from the condition to the same degree. I’m sure it is not an honor any woman particularly wants to have.

The real heroes here are cinematographer Kseniya Sereda and production designer Sergey Ivanov, who present vividly-colored apartments and bleak external vistas. Even though the movie drags sometimes and has a tendency to become a little melodramatic, you’ll never get tired of looking at it.

REASONS TO SEE: Brilliant use of color and expressive cinematography come to the forefront
REASONS TO AVOID: A little bit on the soapy side.
FAMILY VALUES: There is sexuality, graphic nudity and some violence.
TRIVIAL PURSUIT: It was Russia’s official submission for the Best International Film category at the most recent Oscars.
CRITICAL MASS: As of 3/9/20: Rotten Tomatoes:91% positive reviews: Metacritic: 85/100.
COMPARISON SHOPPING: Enemy at the Gates
FINAL RATING: 6.5/10
NEXT:
I Am Human

A Private War


War is actually hell.

(2018) Biographical Drama (Aviron) Rosamund Pike, Jamie Dornan, Stanley Tucci, Tom Hollander, Nikki Amuka-Bird, Jérémie Laheurte, Alexandra Moen, Amada Drew, Corey Johnson, Hilton McRae, Greg Wise, Mo’ath Sharif, Raad Rawi, Diana Mohammad, Pano Masti, Ahmad Yassin, Maha Al-Tamar, Rami Delshad, Bassam Hanna Touma, Fady Elsayed, Natasha Jayetileke.  Directed by Matthew Heineman

 

Marie Colvin was, in every sense of the word, a hero. She brought to light the atrocities of war, putting her life at risk by going to some of the most hellish places on Earth – Kosovo, Lebanon, Iraq, Syria – until it finally caught up with her.

Colvin (Pike) didn’t go unscathed by what she saw; she suffered from nightmares and PTSD and relied on binge drinking and chain-smoking to dull the pain. She lost an eye covering the Tamil Tigers but gained a trademark – the distinctive eye patch she wore for the rest of her life. The incident is shown early on in the film.

Pike delivers here; her intensity is palpable as is her despair. This is not an iron-jawed war correspondent who is after the scoop more than speaking for the voiceless; this is a fragile, sometimes caustic woman who paid the price for her daring, eventually paying the ultimate price in Homs, Syria in 2012.

Heineman, who previously directed the Florida Film Festival entry Cartel Land, delivers footage that looks authentic; many of the locations may as well have been on the moon, so desolate are they. These feel like war zones, or at least how you’d imagine a war zone to be like. On the flip side, he also shows Colvin as a woman coping as best she can with the things she’s seen and not always succeeding. At an awards banquet, Colvin is dressed to the nines in a cocktail dress and heels but still she stomps through the venue like she’s marching through Fallujah. It is a telling moment.

I’m not sure that this is the definitive biography of Colvin. There is a bit too much attention paid to her sexual liaisons for my taste, which I found to be unnecessary. Nevertheless, this is a powerful film that gives you at least the spirit of Colvin, although you might want to check out the documentaries on her to get to know her public persona better.

REASONS TO SEE: Pike gives an intense portrayal as Colvin. Gritty and realistic depictions of war.
REASONS TO AVOID: There’s a little bit too much prurient material for my liking.
FAMILY VALUES: There are violent images, some sexuality and brief nudity, as well as profanity throughout.
TRIVIAL PURSUIT: Taron Egerton was originally scheduled to play Paul Conroy, but dropped out of the production. Jamie Dornan was hired to replace him.
BEYOND THE THEATERS: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 2/25/20: Rotten Tomatoes: 88% positive reviews; Metacritic: 75/100.
COMPARISON SHOPPING: Under the Wire
FINAL RATING: 7.5/10
NEXT:
Standing Up, Falling Down

22-July


One of the most heinous crimes ever committed.

(2018) True Life Drama (NetflixAnders Danielsen Lie, Jonas Strand Gravli, Jon Ølgarden, Maria Bock, Thorbjørn Harr, Seda Witt, Isak Bakli Aglen, Ola G. Furuseth, Marit Adeleide Andreassen, Øystein Martinsen, Valborg Frøysnes, Harald Nordmann, Anders Kulsrud Storruste, Monica Borg Fure, Mathias Eckhoff, Selma Strøm Sönmez, Hilde Olausson. Directed by Paul Greengrass

 

As meaningful a date September 11, 2001 is in the United States, so July 22, 2011 is in Norway. On that date, a lone right-wing extremist detonated a bomb in downtown Oslo near the central government district which killed eight people, then continued on to Utøya island and a youth summer camp where many children of the liberal Labour party were staying. This massacre resulted in 69 more dead for a total of 77 dead, the worst massacre in Norway since the Second World War.

We meet Anders Behring Breivik (Lie) as he is preparing his explosives, mixing fertilizer and an accelerant and adding enough explosives to cause some real damage. In the meantime, children are arriving at their summer camp, playing soccer, renewing friendships and exchanging furtive looks across a campfire. Among them are Viljar Hanssen (Gravli) and Lara Rachid (Witt) who are certainly attracted to one another.

\When the attack comes to the island, everything falls into complete chaos. Viljar, Lara and his brother Torje (Aglen) take refuge on the cliff face near the beach. Breivik discovers them and Viljar is seriously injured protecting his brother. Eventually the police, who had been occupied with the bombing, make it up to the island and apprehend Breivik. As Viljar recovers and goes through often-frustrating physical therapy, his family adjust to the tragedy while Breivik requests that lawyer Geir Lippestad (Ølgarden) represents him during his trial. Although Lippestad leans to the left politically, he is required by law to provide representation to Breivik and despite a personal cost, he does his best.

Greengrass has done these sorts of true story films before as in Captain Phillips, Bloody Sunday and United 93. There was some concern that the movie came too soon after the massacre; many families are still grieving. However, he did turn in a nifty movie that not only showed the mechanics of the tragedy but also how the survivors were affected. The movie also follows the trial and how the lawyer for Breivik was also affected.

There is some (although in some cases, not enough) as to why this happened and certainly there are some clear parallels to what America is facing in violent extremist behavior and easy access to military grade weapons. Sensitive conservative-leaning viewers might be uncomfortable with the message being sent here but I can’t believe that anyone would argue that extremism is a bad thing other than an extremist.

Greengrass utilizes a mostly Norwegian cast (speaking in English) and a Norwegian crew; Cinematographer Pǻl Ulvik Rokseth does a magnificent job, showcasing the beauty of the island, and capturing the frantic chaos in the aftermath of the dual attacks. Greengrass wisely doesn’t linger on the attacks themselves although he doesn’t soft-pedal the horror of them either; in fact, I thought that the most superb scenes in the film were the courtroom scenes near the end.

I don’t know if this film is capitalizing on the trauma from the attacks or is merely documenting them. I tend to lean towards the latter, but I can understand people who are disturbed that this film was even made. It’s a very think line to walk, but I think Greengrass navigated it well particularly since he chose to focus on the victims rather than on the cowardly attacker. This is one of the most viscerally gripping films to come out of Netflix to date.

REASONS TO SEE: The courtroom scenes are riveting. Beautiful cinematography. Follows up with the victims and how the events of the day affected them.
REASONS TO AVOID: Could have trimmed a bit of excess
FAMILY VALUES: There are sequences of violence and some very disturbing images.
TRIVIAL PURSUIT: When the project was announced, there was great sentiment in Norway against it being made. Over 20,000 signatures were collected in a petition denouncing the film..
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 12/25/19: Rotten Tomatoes: 80% positive reviews: Metacritic: 69/100.
COMPARISON SHOPPING: Patriots Day
FINAL RATING: 8.5/10
NEXT:
The Equalizer 2

Mickey and the Bear


The obligatory uncomfortable car ride shot.

(2019) Drama (UtopiaCamila Morrone, James Badge Dale, Calvin Demba, Ben Rosenfield, Rebecca Henderson, Rob Grabow, Gabriel Vega, Katee Ferguson. Directed by Annabelle Attanasio

 

Recently, director Martin Scorsese stirred up an Internet hornet’s nest when he disparaged Marvel films (and their like). He spoke about the films he grew up watching and quite frankly, this one from first-time director Attanasio would be the sort of film that he would dig.

Mickey (Morrone) lives in the small Big Sky town of Anaconda, Montana. Her mother has recently passed away due to cancer; the toxic waste from mining operations there have decimated the population of the town. Mickey’s dad Hank (Dale) is an ex-Marine who came home with a drinking problem, a severe case of PTSD and wild mood swings that his medication isn’t really regulating anymore. Mickey is his sole caregiver and support; she works after school in a taxidermy shop and supplements his veterans benefits with the little income she can make. Hank is chronically unemployed, and an object of pity in the town; he is not only a vet but a widower. He is essentially given a pass for his bad behavior, which is growing steadily worse.

Mickey has a boyfriend, Aron (Rosenfield) who professes undying love for Mickey, but steals her father’s Oxycontin and seems most interested in her female parts than in any other part of her. Mickey is trapped in the small town, unable to leave because her father couldn’t survive without her, but sees any sort of hope for a life of her own slipping away from her.

But there are some bright spots. New kid at school, Wyatt (Demba) – a transfer from the UK – sees potential in her and encourages her to go out and seek it. VA psychiatrist Leslee Watkins (Henderson) takes an interest in her and sees that the situation she’s in is not likely to improve…ever. Mickey is beginning to take tentative steps out of her situation but then her father drags her right back into the nest.

Attanasio is one of the new breed of female directors who not only has something to say but knows how to say it in a compelling manner. It’s hard to believe this is her first feature; it’s even harder to believe that she was only 25 years old when she made this. It’s directed with such assurance that you would think that the person behind the camera had decades of experience in the director’s chair. I’m excited for the future of this young woman.

It doesn’t hurt that she has a pair of actors giving career-defining performances. Dale, a veteran character actor, has never been better. He walks a tightrope between portraying Hank as an utter bastard and an object of pity. Hank is neither; he is prideful and his mood swings can lead to violence. At the same time, there’s just enough charm to allow us to see what he must have been like before he went off to war. This isn’t a textbook PTSD performance; it’s more true to life.

The revelation, however, is Morrone. With a limited resume behind her, there was no reason to believe she had this kind of performance inside her but quite frankly, it’s Oscar-worthy. Mickey is strong and vulnerable; making a terrible decision one moment and standing up for herself the next. She is, in short, a young woman who has seen far too much of life for a girl her age; it has caused her to grow up way too fast, but she is still at the end of the day only 18 years old.

Most of the other performances are strong as well, although Demba looks way too old to be a high school student. The Montana landscape is shown off nicely while the town is basically the working-class kind of place that has been hit particularly hard by the economic hardships that have caused them to embrace outsiders in politics. There’s a quiet desperation in the town that is heartbreaking; elitist liberals would do well to take notice.

Attanasio keeps the mood tense; one never knows when Hank is going to erupt. It’s a slow burn rather than an explosive conclusion. At the end of the day, the only flaw here is that the ending feels a bit more cliché than the rest of the film. Even though the final image of Mickey is hopeful and inspiring, it doesn’t really jive with the tone of the film.

The movie is currently playing in New York and opening in Los Angeles later this week; at the end of the month, it will start playing nationwide. Keep an eye out for it; this is a very strong movie that cinephiles should want to experience for themselves.

REASONS TO SEE: While Badge does a good job, Morrone is incredible. Gritty Americana at its finest.
REASONS TO AVOID: The ending is a little too pat, too predictable.
FAMILY VALUES: There’s a good deal of profanity, scenes of drug abuse, some sexual situations and violence.
TRIVIAL PURSUIT: Attanasio is best known as an actress on the CBS drama Bull; she left the show following the third season in order to shoot this movie, her directorial debut.
CRITICAL MASS: As of 11/19/19: Rotten Tomatoes: 100% positive reviews: Metacritic: 76/100.
COMPARISON SHOPPING: Princess of the Row
FINAL RATING: 7.5/10
NEXT:
Jim and Andy: The Great Beyond

To Be of Service


Taking a walk with your best friend on a snowy day.

(2019) Documentary (First RunGreg Kolodziejczyk, Sylvia Bowersox, Tom Flood, Greg Wells, Terry Henry, Susan Kolodziejczyk, Brandon Lewis, Dr. Frank Ochberg, Caleb White, Jon Bowersox, Dr. Larry Decker, Amanda Flood, Walter Parker, Phil Bauer, Tom Tackett, Kellen Dewey, Dr. Edward Tick, Jamie Kolodziejczyk, Maggie O’Haire, Lu Picard, Trisha Knickerbocker. Directed by Josh Aronson

 

Something like half a million veterans currently suffer from some form of Post-Traumatic Stress Disorder. Most go through the VA system and are given a dizzying array of medications; one vet described receiving 31 different pills a day to combat his mood changes. Another discusses matter-of-factly his suicide attempt that left him in a coma for 19 days.

We’ve seen films that discuss alternative treatments for those suffering from PTSD but one alternative treatment is surprisingly simple; man’s best friend. Service dogs can be a tremendous gift for someone in the throes of the disorder. Not only do they provide constant companionship and unconditional love, they can actually smell mood changes in their handlers and help alert them (and those around them) that something’s wrong.

=Oscar-nominated documentary filmmaker looks at how veterans affected by PTSD can have their lives virtually turned around by the presence of a service dog. The film primarily follows three veterans suffering PTSD; Greg Kolodziejczyk, Sylvia Bowersox and Tom Flood, showing how their PSD affected their lives, their families and their ability to function before showing how service dogs helped them become functional again.

The movie appears to be somewhat haphazardly put together; one of the veterans isn’t identified until nearly halfway through the film after he’s appeared several times. We start to follow the story of one vet who lost a leg in Afghanistan and then his story just seems to stop. There are also way too many interviews with clinical psychologists telling us how dogs are beneficial to their human patients. It takes up way too much time and distracts from the stories of the vets who we really want to know more about.

The vets talk candidly about some of the things they witnessed, the feelings they had; a clearly distraught Bowersox says “That’s what happens in war; people cease to be…and there’s nothing left.” She also urges people who thank her for her service to engage her in conversation; “Ask me what I did for my service,” she says, starting to cry, “I really want to talk to you.” The anguish that these people are suffering is heartbreaking, the lives absolutely devastated by the war that they fought.

Each service dog costs around $30,000 which is much more than most vets can afford; the bulk of them have to go through charitable foundations like the Patriotic Service Dog Foundation or Paws for Vets (links to those organizations and others like them can be found at the movie’s website which you can access by clicking on the movie still above). We don’t see much about how the dogs are trained; we come into the process essentially at the point where the new handlers are trained to properly use the dogs.

There are some great stories here and Bowersox, Kolodziejczyk and Flood all make compelling subjects. I would have liked to have seen a steadier hand in the editing bay and a bit less background information. More vets, more pets, less heads; that’s my take on this.

REASONS TO SEE: Clearly shows the bond between service dogs and their handlers.
REASONS TO AVOID: Way too many talking heads.
FAMILY VALUES: There is quite a bit of profanity, as well as discussion of some horrific incidents during war.
TRIVIAL PURSUIT: Jon Bon Jovi recorded a song for the soundtrack and is also releasing it as a single; the proceeds will go to benefit the Patriotic Service Dog Foundation.
CRITICAL MASS: As of 11/6/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: From Shock to Awe
FINAL RATING: 6.5/10
NEXT:
Crown Vic

From Shock to Awe


In brotherhood there are battles.

(2018) Documentary (Self-Released) Mike Cooley, Matt Kahl, Chris Young, Ryan LeCompte, Brooke Cooley, Aimee Kahl.  Directed by Luc Côtė

 

Every day in America, 22 veterans take their own lives. That’s more than have been killed in the battlefields of Iraq and Afghanistan. I’m pretty sure that’s not a statistic that recruiting officers feel free to share with potential recruits.

Mike Cooley and Matt Kahl are both former soldiers living in the Colorado Springs area. Both are married with children (Cooley’s wife is also a combat veteran). Both are suffering from Post-Traumatic Stress Disorder. Both have been prescribed an enormous number of pharmaceuticals (over 90, according to Kahl who shows a medicine cabinet stuffed to the gills with pills) and both have found their treatments ineffective. Both describe an endless list of seemingly innocuous triggers, from people talking on cell phones, to being tailgated while driving to school (Cooley is attending the University of Colorado at Colorado Springs) to flashes of light in a dark room.

Both men have been severely crippled by their disease. Their family lives have suffered; their wives feel helpless to ease the suffering of their husbands, who often take their frustrations out on their families or worse yet, shut down completely around them. They’ve tried all sorts of different forms of psychotherapy; none of them have worked.

In desperation, they have flown to Orlando to meet Chris Young, founder of the Soul Quest organization. He proposes using an Amazonian concoction called ayahuasca which is a powerful psychotropic drug that is currently banned in the United States (Young gets around it by using the drug in religious ceremonies and is a shaman with the Ayahuasca Church of the Mother Earth. He prefaces the ceremony by telling the men (who are accompanied by their buddy Ryan LeCompte) that they will experience a deep connection with the natural world.

The change in the men, after several ceremonies both daylight and night time, is remarkable. They are smiling again, able to reconnect with their families. The change is so remarkable that Brooke Cooley, herself suffering from PTSD but unable to tend to her own needs because of the severity of her husband’s condition, undergoes therapy utilizing MDMA, the psychotropic found in Ecstasy. She also experiences remarkable change.

Most documentaries these days tend to favor an non-objective point of view and that is certainly the case here. Although there is a warning that ayahuasca can be dangerous and should only be administered by those experienced with the drug, for the most part we are told that it is a miracle cure based solely on anecdotal evidence. There have been very few serious scientific studies of the plant-based drug and while the website does have some experts discussing the drug, none of that appears in the final film and quite frankly it could have used some. Also, like any other drug, ayahuasca doesn’t work the same way for everybody and it isn’t always helpful.

In fact, there are almost no talking heads other then Cooley, Kahl and their wives. Military footage from the Middle East is often interspersed into the film, forming a cinematic equivalent to the flashbacks the vets often suffer through – thankfully, however, Côtė doesn’t use animation or CGI to mimic the psychedelic experience of the ayahuasca.

There certainly is enough anecdotal evidence to mount a serious medical study of the drug, but the United States is reluctant to look into any sort of psychoactive substance with any seriousness, perhaps due to the disastrous LSD studies of the 50s and 60s. Big Pharma is also unwilling to allow such studies to be taken; they earn far more in treating the symptoms than they would from finding a cure. This is why capitalism and medicine shouldn’t mix.

Still, the problem that vets face with PTSD, depression and suicide is very real and the current means of dealing with it are woefully inadequate. Our veterans do deserve better and this movie at least makes that salient point. I only wish they’d gone about it with a little more research and skepticism; our veterans also deserve to see every side to a potential life-changing cure. There is no vetting of a drug that can admittedly be dangerous, and that in and of itself is also dangerous.

REASONS TO SEE: A stark portrayal of how our system fails veterans. Shows the effects of PTSD not only on the returning soldiers but on their families as well.
REASONS TO AVOID: Shows little objectivity when it comes to alternative treatments.
FAMILY VALUES: There is a pretty fair amount of salty language, depictions of drug use and some war violence.
TRIVIAL PURSUIT: Nearly 20% of all combat veterans who have returned from service in Iraq and Afghanistan have been diagnosed with Post Traumatic Stress Disorder.
BEYOND THE THEATERS: Amazon, AppleTV, Google Play, Vimeo
CRITICAL MASS: As of 10/27/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Last Shaman
FINAL RATING: 7/10
NEXT:
Six Days of Darkness continues!

Rondo


See no evil.

(2018) Sex Thriller (Artsploitation) Brenna Otts, Luke Sorge, Jazz Copeland, Gena Shaw, Reggie De Morton, Michael Vasicek, G. C. Clark, Kevin Sean Ryan, Iva Nora, Meagan Kiefel, Steve Van Beckum (narrator), Joseph M. Veals, Ashley Gagnon. Directed by Drew Barnhardt

 

Not many who are reading this will remember the golden era of grindhouse films. Those were the days when movies that were full of graphic violence, plenty of (female) nudity and lots of sex. But the 70s came and went and gradually those types of films fell out of favor. However, they influenced dozens of modern directors, not the least of whom are Quentin Tarantino and Robert Rodriguez.

Rondo director Drew Barnhardt is evidently another one so influenced. His latest would feel right at home in Times Square circa 1977. It’s got elements of slasher films, black comedies, psychological thrillers, a revenge epic and even grindhouse porn.

Paul (Sorge) is recently returned from Afghanistan and like many veterans, has returned with a case of severe PTSD. To cope, he has turned to self-medicating with alcohol. He’s hit rock bottom, losing his job and his apartment. Reduced to sleeping on his sister Jill’s (Otts) couch, she finally confronts him after catching him drinking – and sends him to a therapist named Cassie Wright (Shaw) whom she recently met.

With nothing left to lose, he heads to Cassie’s office where she basically tells him that the key to beating his addictions is simply to get laid. She gives him an address to go to for a kinky party, and the password for entry: Rondo. After some soul searching, he decides to go. There he enters a miasma of sex and murder, one that will drag his sister and father (Vasicek) into the middle of.

Like many grindhouse films of that era, Rondo doesn’t have much of a budget. The effects are practical albeit some occasionally over the top – whoever planted the squibs for the final confrontation had a field day. Therefore, a film like this has to rely on a decent plot – which it has. It also has to rely on decent performances and there we get a little bit dicey as the acting tends to be stiff, perhaps by design. It also has to rely on graphic sex and violence – and the film gets full marks for that. Barnhardt is obviously not afraid to push the envelope on that score.

The dialogue is fairly noir and has a few gems in it, such as “If you’re gonna live in the swamp, you’d better make friends with the gators.” There is voiceover narration which is done in kind of a “tough guy” noir tone. Unfortunately, the tone is a bit off; the voiceover narration in the cult TV show Pushing Daisies utilizes a stuffy British tone and it works as comedy, but the narration here ends up being annoying and that wouldn’t necessarily be a bad thing but it’s inconsistent; at times during the movie every little event is commented on but then long stretches go by without any narration.

The soundtrack is pretty nifty, retaining elements of the ‘70s, ‘80s and ‘90s and working really well in enhancing the action. Speaking of action, the denouement featuring a beautiful woman in bra and panties wielding a machine gun which has to be the wet dream of an NRA card carrier, and works as black comedy here. In fact, there are sly comic overtones throughout although sometimes you kind of have to look for them.

Fans of exploitation films will get a kick out of this one. Fans of the directors who utilize those influences in their work may also find this entertaining. However, if you find those sorts of films distasteful, this really isn’t the movie for you.

REASONS TO SEE: Catchy dialogue and nifty score.
REASONS TO AVOID: Some of the performances were on the wooden side.
FAMILY VALUES: There is profanity, graphic violence, gore, graphic nudity, graphic sex – pretty much graphic everything.
TRIVIAL PURSUIT: Most of the film was shot in the Washington Park and LoDo districts in Denver.
BEYOND THE THEATER: Amazon, Google Play,  iTunes, Vudu
CRITICAL MASS: As of 7/21/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: Eyes Wide Shut
FINAL RATING: 6/10
NEXT:
Apostle