2016 movies

Film Review: THE EDGE OF SEVENTEEN (USA 2016)

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the_edge_of_seventeen_movie_poster.jpgDirector: Kelly Fremon Craig
Writer: Kelly Fremon Craig
Stars: Hailee Steinfeld, Haley Lu Richardson, Blake Jenner, Kyra Sedgwick, Woody Harrelson

THE EDGE OF SEVENTEEN is writer/director Kelly Fremon Craig’s debut feature. It is a coming-of-age story of a very awkward high-school junior, Nadine (played by Oscar Nominee Hailee Steinfeld from TRUE GRIT) who cannot get along with anyone including her own family – except for her father who dies early in the film and one best friend that she loses. Nadine mopes about the entire film till she finally grows up. For a film about such a loser, Craig’s film is surprisingly edge, funny and feel-good, though her script can be quite manipulative at times. But manipulative in a good way, one could also argue.

The film begins with Nadine assailing her history teacher, a laid back Mr. Bruner (Woody Harrelson), with her umpteenth breathless — and phoney crises. Tired of Nadine’s high drama, Mr. Bruner refuses to offer token consolation, though he does offer her half his cookie. The film goes back in time with humorous voice-over from Nadine providing her awkward point of view on her life. As a child, she never gets along with her mother ( Kyra Sedgwick) or her brother. But she bears a bond with her loving father. But the disaster strikes twice when father dies from a car accident and her only best friend, Krista (Haley Lu Richardson), has starts dating Nadine’s annoyingly earnest fitness-nut older brother Darian (Blake Jenner). In the meantime she accidentally sends a lewd text message to the cute, aloof boy who works at the pet store in the mall. The result is disastrous. One might think that all Nadine’s high jinx activities are trivial, but director Craig accomplishes the task of having the audience care, even when Nadine is a character with more faults than plusses.

One thing noticeable about Craig’s writing is that all her characters are inherently good in nature no matter how bad their actions might be. The overbearing brother ends up being there for his sister at the end. Mr. Bruner turns out to be an exceptionally kind family man and human being despite deceiving outward appearances.

The entire cast of the film is picture perfect, especially the boys. It seems that a requirement of being in the cast is to be of GQ quality. Take for example, Nadine’s Korean boyfriend, (Hayden Szeto) who is I bet, the cutest Asian on the planet.

But director Craig has also created a movie (short feature) within a movie. The utterly charming animated feature entered by the Korean in a film competition demonstrates Craig to be a mature filmmaker who can also create fake but excellent student films.

THE EDGE OF SEVENTEEN succeeds as one of those very few films about a walking disaster case which can still turn out to be a feel-good film. And this is achieved not by silly sugar coated set-pieces but by edgy comedy, as demonstrated by the animated short which forms the climax to this thoroughly entertaining coming-of-age film.

The film closed this years’s Toronto International Film Festival with positive reviews.

Trailer: https://www.youtube.com/watch?v=EB6Gecy6IP8

 

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Film Review: ALMOST CHRISTMAS (USA 2016)

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almost_christmas_movie_poster.jpgDirector: David E. Talbert
Writer: David E. Talbert
Stars: Kimberly Elise, Omar Epps, Danny Glover, JB Smoove, Mo’Nique, Gabrielle Union.

This is the time of the year that Hollywood dishes out their first Christmas films. The subject is often a family set around the big family Christmas dinner. It is as if Thanksgiving does not provide audiences with a similar film already. So as early as the first week of November ALMOST CHRISTMAS (not to be confused with Paul Morrison’s film ALL IS BRIGHT that was originally titled ALMOST CHRISTMAS) debuts with all its sweet sugar coating and dabbed with cliches and predictability.

This time around, it is an African American family Christmas. The family patriarch Walter (Danny Glover) is now a widower 10 months after the passing on of his perfect wife. His five children, three daughters and two sons with an assortment of tag-alongs that include wives and husbands, in-laws and grandchildren arrive for the big dinner. There is no turkey in this dinner.

The premise is the patriarch praying for his family to get along. If they can honour that wish and spend five days under the same roof without killing one another, it will be a Christmas miracle. And somewhat of a miracle that a film with this well-worn plot would turn out any good.

As expected in Christmas movies of this sort, the comedic set-ups will include: setting up of the outdoor Christmas decorations, often on a roof with lots of electric lights that will blow up; quarrelling siblings with nasty exchanges but all will be forgotten and forgiven as the season of good cheer arrives; cute kids whose cuteness will overstay their welcome some silly surprise that will be sprung on the unsuspecting family members (selling of the family house in this case) silly games that the family members will play (football in this one) ALMOST CHRISTMAS begins with the film settling on the protagonist, Walter, before any guests arrive. Auntie May (Mo‘Nique) is the first one to arrive followed by the children, one by one. There are quite many and it takes the audience a while to figure out who is who. Director Talbert does a good job here and everyone becomes a familiar face half way through the film.

The film is titled from ‘6 days till Christmas’, ‘5 days till Christmas’ till ‘Christmas Day’. This is unfortunate as the film really drags on. When the title ‘3 Days till Christmas appear’, the audience can only shrug that there are still 3 days and 3 film segments to go.

Talbert’s film begins on quite a serious note with Walter’s pouting, trying to bake a sweet potato pie his wife made. The serious note is maintained towards this basic comedy which is not all too funny. The comedic set-ups are already tired formulas tried out once and again in other similar films.

There are two lively musical numbers – the better one being in church, where the entire congregation breaks out into a song and chant. If only churches were this lively! The other is when Aunt May leads the family in an impromptu dance, when all the family members do their thing.

ALMOST CHRISTMAS appears to have satisfied the audience at the promo screening. The film generated a few laughs and also a few tears, but this reviewer did not feel much festive spirit in this movie.

Trailer: https://www.youtube.com/watch?v=aY8pZ68nbrc

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Film Review: ARRIVAL (USA 2016) ****

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arrival_poster.jpgARRIVAL (USA 2016) ****
Directed by Denis Villeneuve

Starring: Amy Adams, Jeremy Renner, Forest Whitaker

Review by Gilbert Seah

The Quebecois director Denis Villeneuve has never failed to impress. From his early French Canadian films UN 32 AOUT SUR TERRE and MAELSTROM to his English Hollywood films SICARIO, PRISONERS and ENEMY, Villenueve has transcended different genres though his films share one common trait. There is the human angst mixed into a thriller/mystery story. The same can be said in his latest, most ambitious and biggest production to date – ARRIVAL. The ARRIVAL here could refer ever to the first contact of the aliens or the birth of the baby girl to the film’s protagonist, Dr. Louise Banks (Amy Adams).

As in any good mystery thriller, Villenueve whets the audience’s appetite at the film’s start by teasing them with the voiceover by Dr. Banks. “I used to think this was the beginning of your story that we are bound by time and by its order.” And then as she holds up her baby daughter, saying: “Come back to me.” Why is she saying this to her baby and why is the order of time being questioned. The question is answered as the film unfolds. The pleasure of this film lies not in an action packed climax but the revelation of the mystery of the reason the aliens arrive, in 12 simultaneous locations around the world. ARRIVAL is a thinking man’s sci-fi and also a very satisfying one.

When the film opens, 12 alien spacecraft land around the world. Linguistics expert Dr. Louise Banks and theoretical physicist Ian Donnelly (Jeremy Renner) are recruited by the US military to obtain the answer to one question: “What do they want?” Arriving in Montana, working under the leadership of Colonel Weber (Forest Whitaker), Louise and Ian are only remotely aware that their lives and the future of humanity are about to become inextricably linked. As the unlikely pair collaborate to solve this extraterrestrial translation puzzle, 11 other teams around the world are attempting to do the same.

Unlike other films like GRAVITY, ARRIVAL begins with the intimate personal story of Dr. Banks and ties the worldly events to her. In contrast to GRAVITY, for example, where the personal life of Sandra Bullock’s character is only tied in (her miscarriage) half way through the film or in THE MARTIAN where Matt Damon’s personal life is next to non-existent, the only mention being his tenure at a university. ARRIVAL has the audience connected with the protagonist well way before the alien arrival and the arrival totally affects her life.

The film also cleverly teases with questions like: Why do the doors of the spaceship open every 18 hours? Or “Why are there spaceships in 12 simultaneous locations?

The film also celebrates the human being’s ability to communicate by focusing on the fundamentals. The spill by Dr. Banks on how for example, a language like chess could affect mis-communication is excellent thinking fodder.

Bradford Young’s arresting cinematography, Johanna Jóhannsson’s haunting score (especially during the beginning and ending credits), and long-time collaborator Patrice Vermette’s minimalist production design (the monolithic look of the spaceship) all aid in creating the mystery atmosphere surrounding the alien arrival.

ARRIVAL also challenges the audience’s logic in appreciating the science of time. Though the notion is rather incredible, the film succeeds in making the audience think that all is possible. A true test of a good film is whether the film survives a repeat screening. After first seeing ARRIVAL first at TIFF and now again, ARRIVAL still amazes.

Trailer: https://www.youtube.com/watch?v=tFMo3UJ4B4g

 

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Film Review: DOCTOR STRANGE (USA 2016) ***

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doctor_strange_poster.jpgDOCTOR STRANGE (USA 2016) ***
Directed by Scott Derrickson

Starring: Benedict Cumberbatch, Chiwetel Ejiofor, Rachel McAdams, Tilda Swinton, Mads Mikkelsen

Review by Gilbert Seah

The Marvel superhero DOCTOR STRANGE gets his first debut on the big screen complete with 3D. Though the character has appeared in a TV movie and animated film before, he is given a fresh treatment which is a good thing considering that there are already too many super hero action movies each year.

It also helps that the film is directed by a horror film director Scott Derrickson rather than an action director. Derrickson directed the two SINISTER films, THE EXORCISM OF EMILY ROSE including the Hollywood version of DELIVER US FROM EVIL, the latter of which contained a lot of dead-pan humour, repeated in DOCTOR STRANGE. Those who have watched Benedict Cumberbatch in real-life know that this actor is prefect for deadpan straight face comedy.

Stephen Strange (Cumberbatch), the world’s top neurosurgeon, is as rich as rich comes. He stays in a luxurious London apartment. But he has an ego as enormous as his wealthy possessions. His life is changed when he is injured in a violent car accident (well shot) that ruins his career. Strange sets out on a journey of healing, where he encounters the Ancient One, who later becomes Strange’s mentor in the mystic arts.

More satisfying than the action set-pieces are the special-effect set pieces. The first of these is the most impressive with a fight taking place on the side of British-type architecture where the windows turn into revolving folding panels. The look reminds one immediately of Christopher Nolan’s INCEPTION, the film which likely gave Derrickson some inspiration. Like that film, characters also travel through portals in between different dimensions.

As expected in all Marvel film adaptations, Stan Lee provides his surprise cameo. Where he appears will not be revealed here, as it is always fun to spot him.

DOCTOR STRANGE contains less at action than the expected super hero action film. A bit too much time is devoted to Strange’s moping about everything. For all the film’s different twists on the action hero film genre, the results are conventional. There is the good guy (in this case a lady in the film personified by Tilda Swinton) that turns out questionable and the possible good trainee (Dane Mads Mikkelsen, MEN & CHICKEN, QUANTUM SOLACE) who turns out finally to be villainous.

But despite all these praises, the film begins to lag towards the middle. The film also descends into a conventional action film by the climax – the fight between Strange and the villain, which is a real shame given the initial promise at the film’s start.

The film contains too many puns that go with the hero’s name ‘Strange’ – a temptation that scriptwriter clearly yields to.

The Audience should stay for the end of the closing credits. As in the other films set in the Marvel Universe, there is a short clip teaser of what is to arrive in the next instalment.

It is also odd that DOCTOR STRANGE gets a post summer release unlike the other action hero blockbusters. This should work in favour for the film after a quiet weekend at the box-office where the previous week only saw one major Hollywood release (INFERNO).

Trailer: https://www.youtube.com/watch?v=HSzx-zryEgM

 

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HACKSAW RIDGE (USA/Australia 2016) ***** Top 10

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hacksaw_ridge_poster.jpgDirector: Mel Gibson

Writers: Andrew Knight (screenplay), Robert Schenkkan (screenplay)

Stars: Andrew Garfield, Sam Worthington, Luke Bracey, Teresa Palmer, Vince Vaughn, Hugo Weaving.

Review by Gilbert Seah

After about a decade absence from the director’s chair (his last film was the misunderstood APOCALYPTO in 2006), the director of BRAVEHEART and THE PASSION OF THE CHRIST returns in top form as if redeem in himself of all the bad press he had garnered since he said and did some foolish things. It’s another situation in this 21st century social media era where the outside events of the director “tarnish” the actual film itself. Think “Birth of the Nation”. Two films that should potentially receive multiple Oscar nominations. But will they? And should they?

The film is a true story, bravely told, inspiring as well, set in World War II featuring the most unlikely of heroes – a pacifist who refuses to carry a rifle. Not only does the film boast inspired direction by Gibson, but it also contains perhaps the best performance of the year by a young actor, the most recent SPIDER-MAN, Andrew Garfield – if not the best performance of his career. It should be a crime against someone like Garfield for being so good-looking and talented at the same time.
The true story of medic, Private Desmond T. Doss (Andrew Garfield), who won the Congressional Medal of Honor despite refusing to bear arms during WWII on religious grounds. Doss was drafted and ostracized by fellow soldiers for his pacifist stance but went on to earn respect and adoration for his bravery, selflessness and compassion after he risked his life — without firing a shot — to save 75 men in the Battle of Okinawa.

The script by Andrew Knight and Robert Schenkkan can hardly go wrong. What the story needs, the script does. Firstly, it strongly establishes the reason for Desmond’s behaviour and beliefs. The contradiction of the father’s character is also smoothly tied in with conviction. The film is basically divided into two parts. The first is Desmond’s basic training (boot camp) where he is mocked by both his superiors and his fellow soldiers. He is also given the dreaded blanket party at night. The second part of the film and the most brutal is his service in the battlefield. At times, the film feels like Stanley Kubrick’s FULL MEATL JACKET which contains two similar segment but Gibson’s second section, unlike Kubrick’s is the more exciting one.

Besides Garfield’s outstanding performance, Vince Vaughan delivers an equally impressive one, the role of a stern sergeant, much uncharacteristic of what audiences expect from him. Aussie Hugo Weaving (THE MATRIX movies; PRISCILLA, QUEEN OF THE DESERT) is also perfect as the hard drinking father who when finally does good and justice for his son, whose performance will break the hardest of hearts.

Those who are able to remember THE PASSION OF THE CHRIST will see more tortured scenes in the film. The battle scenes – with heads exploding; guts pouring out; dismembered bodies and wounds infested with maggots and rats are not easy ones to watch. The scenes rival Spielberg’s unforgettable beginning sequence in SAVING PRIVATE RYAN and one can only guess what is yet to come with Christophe Nolan’s upcoming DUNKIRK.

The closing credits serve to prove to the audience that as wild as this story might be, the truth exists. Archive footage of the real heroes as depicted in the film speak out, often saying the identical words in the film’s script.

America needs her heroes in these difficult times of terrorism and racism. AMERICAN SNIPER and SCULLY are heroes depicted in films that have done extremely well at the box-office. Opening close to Remembrance Day, this film deserves to do well and might be the hit the flailing studio Lionsgate needs. Forget DOCTOR STRANGE! This film hits the mark!

Trailer: https://www.youtube.com/watch?v=s2-1hz1juBI

 

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Film Review: THE DAVID DANCE

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the_david_dance.jpgTHE DAVID DANCE

Director: Aprill Winney
Writer: Don Scime
Stars: Don Scime, Guy Adkins, Antoinette LaVecchia

Review by Gilbert Seah

THE DAVID DANCE follows the adventures of a local gay radio DJ, David (Don Scime) in Buffalo, New York.

The film tackles quite a few issues. At the film start, David listens and calls a rival radio show in which an Anita Byrant type woman, June Hendley (Jordan Baker) makes her stance against homosexuals. She is against gay marriage, gay sex and almost everything gay just like the original Byrant. An easy target no doubt, David through his show gets the better of her. David then meets his new technician Chris (Guy Adkins) who pines for him. The two have met before at one of the weddings of David’s sister, Kate (Antoinette LaVecchia). The film goes into a subplot of a sibling relationship before revealing that dear old sis has plans of adopting a Brazilian girl. She needs support that he reluctantly gives. David visits a nursery, sees a baby that smiles at him and gets all baby happy. He discusses children with Chris. David and Chris fall in love.

The film flows smoothly from one topic to another. Gay films these days have the problem of originality. In the 70’s when gay films were the rage in the business, topics like coming-out, children adoption, same-sex romance, gay marriage, rent boys were all hot topics never covered before. Now 40 years later, every gay issue has been covered and films are in need for a fresh look at used topics. Unfortunately, THE DAVID DANCE touches on too many of these topics without any fresh take. The romance between two older middle-age guys is something seldom covered, but the romance is mired in melodrama and sentimentality.

One must admire director Winney for trying hard in a small budget movie. But trying is not good enough. The film plods along just like the the film’s protagonist – without much aim and just letting things come and go. And like the protagonist, the film needs more firm direction.
The film becomes extremely self-defeating towards the half way mark. Just when things begin going great for David, such as his positivity towards his sister’s adoption, his new love and his newly found boldness, he sinks back into self pity. He tells Chris that he is not ready when asked to move in with him, starts retreating from he adoption idea and turns negative on TV. During one TV spot, he goes on and on , saying: “Why don’t people just ask gays to shut up?” Maybe the filmmakers should heed the advice, shut up about the complaining.

The film has been described by a few critics as a charming little film. But the film is riddled with cliches with the tough spots that David keep running into tiresomely put in by the manipulative script. It would have worked if they made the David character a more charismatic gay man. But the actor who plays David also wrote the script, which means he likely convinced the filmmakers to cast him in the lead role.

Director Winney takes her film outdoors as much as she can, whether in a car or on the road with some well shot scenes like the hillside cemetery that David visits.

At another point in the radio show, he condemns gays as lonely people, being out of place even among themselves. He complains that he is too unattractive to dress up or go dance and have a good time. This statement makes one wonder who the film’s target audience would be. If the filmmakers are aiming at the quiet, shy and less outlandish gays to see their film, They should realize that these are the very same people that would not dish out money to go out see a movie.

The film is lovingly dedicated to the late Guy Adkins who has passed away in 2010 from cancer.

Trailer: https://www.youtube.com/watch?v=R5SZz20YoSk

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Film Review: THE VIOLIN TEACHER (Brazil 2016) ***

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the_violin_teacher_poster.jpgTHE VIOLIN TEACHER (Brazil 2016) ***
Directed by Sergio Machado

Starring: Lázaro Ramos, Kaique de Jesus, Elzio Vieira

Review by Gilbert Seah

A Brazilian version of Meryl Streep’s MUSIC OF THE HEART?

THE VIOLIN TEACHER, which opens at the TIFF Bell Lightbox, serves both as an art house film and a crowd pleaser. From the film’s very first frame, the audience sees the protagonist, a talented but tortured soul named Laerte (Lazaro Ramos) unable to fulfil his promise during an important violin audition for the famous São Paulo Symphonic Orchestra. When he returns home disgruntled, he has a long distance telephone call with his dad where the audience sees his parents’ full support and him not reaching his full potential. The next scene ups the angst when he quarrels at his orchestra practice and his group is disbanded. To make matters worse, he has no money to pay rent and is served with an eviction notice. But lo and behold! There is hope. He has a chance to make some money by teaching a group of underprivileged violin students in the slums of Helipolis. His path is, as expected, full of difficulties but the film attempts to show that the transforming power of music and the friendship arising between the professor and his students open the doors into a new world. This is where the story is stretched a bit too far in crowd-pleasing territory. This comes despite the fact that the film is based on a true story.

The film contains two scenes that are quite difficult to believe. One is the night scene when thugs threaten Laerte. Laerte takes out the violin and plays a classical piece, apparently so well that the uneducated thugs are mesmerized and leave him alone. The audience also learns during the film that the kids have no knowledge of music theory. They do not know what a treble cleft is nor can they read notes. The scene that follows has the kids at practice playing a classical piece conducted by Laaerte quite effectively.

But the film works when the director stops trying too hard and lets his film flow. The scene that contains no dialogue where Laerte walks with his students demonstrates the new camaraderie created very effectively. The film also bursts into energy in the club scene where dancers rap to the Brazilian beats – a scene that is only loosely tied to the plot.
The segment where Laerte agrees to have his kids play for a drug dealer’s party might sound far-fetched, but one can tell that the incident actually happened.

Flaws aside, THE VIOLIN TEACHERS captures both the atmosphere of liveliness and difficulty of survival in the slums. (The part where a father strikes his son with the hope that the son will not hang around the wrong crowd hits the story home.) That together with Ramos’ performance lifts THE VIOLIN TEACHER over the drabness of a formulaic film too eager to please. Also, needless to say, the film contains a beautiful score of violin classical pieces.

Trailer: https://www.youtube.com/watch?v=TjaDenw6v-U

 

 

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Movie Review: TENGU: BIRDMAN OF THE MOUNTAINS (2016)

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MOVIE POSTERTENGU: BIRDMAN OF THE MOUNTAINS, 8min., UK, Action/Fantasy
Directed by Samuel Smith

A father struggles to protect his family against the terror of the Tengu, bird-men of the mountains.

Played at the October 2016 ACTION/CRIME Short Film Festival

Review by Kierston Drier

This poetic fantasy action film, hailing from the United Kingdom and coming to us from director Samuel Smith, is a study in genre splicing. Tengu: Birdman of the Mountains has the poetic elements of a romance, the luxurious visuals of a fantasy, the tension and suspense of a thriller, and the fight scenes of a high-concept action film. Told through the eyes of a child, our hero watches as his highly skilled father, endowed with supernatural natural strength from his Chi, fights off terrifying bird-like villains from this family’s mountain home. Packed with stunning fight sequences that highlight the filmmakers’ excellent technical skills, this piece is a must-see for anyone who enjoys action.

There is some disconnect in the story, although it is justifiable. Despite the glamourous make up and extravagant clothing the Hero’s family wears, the shelter they dwell in appears to be little more than sticks tied to together into a ramshackle hovel. However, when it is considered that this film is taken through the eyes of a child, and also straddles of the line of fantasy and action- this distension of disbelief is well worth it the pay off. And pay off? A glowing story of intrigue, passion, and danger with a dark and sinister twist.

Tengu: Birdman of the Mountains,  is a film that will delight you with its symbology, its imagery and it’s excellent fight sequences, but it goes far beyond that. This film represents of genre-hybrid that should be welcomed into cinema with open arms. It is highly commendable thing to be able to successfully blend genres together, and this film is able to do that. With effortless ease a viewer can watch this film and find something in it to enjoy even if they are not conventionally a viewer of action.

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Movie Review: BARROW (2016)

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MOVIE POSTERBARROW, 15min., Australia, Crime/Mystery
Directed by Wade K Savage

A young woman training to be a forensic entomologist is forced to confront her family’s dark past.

Played at the October 2016 ACTION/CRIME Short Film Festival

Review by Kierston Drier

The crime mystery science-fiction short Barrow, coming to us from Australia courtesy director Wade Savage, is a powerful, efficient, masterful piece of cinema. It makes nods to a wide variety of genre motifs including mystery, crime, science fiction and horror, among others, and integrates them seamlessly. The story is rich and engaging, following the story of a young forensic scientist on her quest to understand the mystery forces that saved her life during a brutal and horrifying attack on her family years before.

This film is wonderfully balanced cinematographically, beautifully rendering scenes of dazzling brilliance without having the darker scenes feel out of place. The story is clean, precise and engaging, with thoughtful attention to detail. The character development is logical, well designed and tempered with flawed heroes, tragic backstories and strong performances.

What sets this piece apart however- what makes it a razor sharp cut above the rest, is its efficiency. Every scene is necessary, every detail crucial to the whole. There is no slack moment, no superfluous action. Every line and every visual leads to the betterment of the films’ conclusion. Barrow is a strong cinematic film, short, simple, stunning, and boasting a killer super natural twist.

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Movie Review: BLACKWELL SUMMERS MYSTERY (2016)

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MOVIE POSTERBLACKWELL SUMMERS MYSTERY, 12min., USA, Action/Crime
Directed by Emily Dell

Revolves around the detective agency of Grace Blackwell and Raven Summers. A feisty duo fighting injustice and giving a voice to the defenseless using brute force, killer brains and unconventional beauty.

Played at the October 2016 ACTION/CRIME Short Film Festival

Review by Kierston Drier

Blackwell Summers Mystery, a 12 minute American short from director Emily Dell, focuses on Grace Blackwell and Raven Summers, two sexy detectives with their own private investigation company in the heart of the 1970s. Smart, cunning and sexy, both ladies use their strengths and skills to take down the villain while leaving space for the audience to laugh the whole time.

This film has a satirical quality, not unlike the well-known Austin Powers franchise. The humor in the film comes from the slightly unbelievable elements, (Such as the petite Raven Summers headlocking a thug twice her size) and the campy sound effects that follow the fight scenes. The tone and color of the piece gives it an over-the-top 1970’s vibe. The plot and the characters don’t take themselves too seriously, and thus invite us as the viewers to laugh along with them. Within the fantastical world the film creates the characters are women of power and savvy, and leave the audience rooting for them in every scene.

Comic, bright and full of flare, this groovy film will leave you craving more. Well done to these maidens of mystery.

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