The Family Stone

Movie Name: The Family Stone
Year of Release: 2005
Director: Thomas Bezucha
Starring: Diane Keaton, Dermot Mulroney, Sarah Jessica Parker, Craig T. Nelson, Luke Wilson, Claire Danes, Tyrone Giordano, Brian White, Elizabeth Reaser, Paul Schneider, Savannah Stehlin, Jamie Kaler
Genre: Drama, Comedy
Score out of ten (whole numbers only): 5
Watch it on Amazon

Synopsis and Review

Director Thomas Bezucha made a name for himself with his debut feature "Big Eden" which premiered in 2000 to overall good critical reception, which in turn opened the doors for this bigger budgeted endeavor. "The Family Stone" follows the narrative of a large family who meets on a recurring basis for Christmas. This year, the oldest sibling, Everett is bringing home with him his girlfriend Meredith. Meredith who is a bit high strung, believes his family won't particularly like her. Amy one of Everett's sisters, briefly describes to the rest of the family meeting her and how awkward Meredith is. The remaining siblings appear for the holidays, including Thad and his partner Patrick, Susannah who is pregnant and whose husband isn't able to join for now due to work, and Ben who is currently single. Meredith's attempts to ingratiate herself with the family, including Sybil and Kelly, respectively the matriarch and patriarch of the family don't go so well, and after a few incidents she decides to take shelter at a local inn. She also decides to call her sister Julie for support. Everett who is planning to propose to Meredith, and wants to pass on a family heirloom in the process, gets a disapproving message from Sybil. As Julie arrives in town, the interactions between the group start changing, as does Sybil's own revelations that all is not well with her.

"The Family Stone" is a film that tries to be a lot of things simultaneously, aiming to be a heartwarming Christmas film, one that has a message of tolerance and inclusivity, but also a romantic comedy where a career focused woman has an epiphany that work isn't everything (a la Charles Shyer's "Baby Boom"), and where misaligned couples eventually find their happy ending. It's quite a lot, with a lot of different characters all aiming to have space for their quirks and specificities, which allows them to differentiate themselves from each other. In the end all these competing agendas is one of the downfalls of the film. Meredith's storyline is treated rather shoddily, with Sarah Jessica Parker channeling a bit of Kathy Wood into the role, but not having the opportunity to give her a bit more dimension. She's portrayed for the most part as a rather shrill and grating character (a bit similarly to what Sandra Bullock started with in "The Proposal", but was able to deconstruct as the narrative continued), never giving the character an opportunity to demonstrate what makes her successful, appreciative of her path or even her brilliance. The family itself comes across as both loving and accepting, but oddly enough also judgmental and rather prickly. None of the siblings has much in terms of discernible character traits (what exactly is the difference between Luke Wilson's Ben and Dermot Mulroney's Everett, aside from the actors themselves is hard to understand), with some of them appearing more as backdrop, as opposed to fully functional characters (this isn't Wes Anderson's "The Royal Tenenbaums" for sure). Ultimately what makes this film watchable is the fantastic cast that is assembled. Diane Keaton and Craig T. Nelson have great chemistry and bring warmth and humor to the film, and get solid support from Rachel McAdams (who still gets a bit lost in all the noise) and Luke Wilson. The production team is solid, including the cinematography from Jonathan Brown and score from Michael Giacchino. It's watchable, but not as memorable as this fantastic cast deserves. 

Lost Girls

Movie Name: Lost Girls
Year of Release: 2020
Director: Liz Garbus
Starring: Amy Ryan, Thomasin McKensie, Gabriel Byrne, Lola Kirke, Miriam Shor, Dean Winters, Kevin Corrigan, Reed Birney, Oona Laurence, Grace Capeless, Ana Reeder, Jimi Stanton
Genre: Drama
Score out of ten (whole numbers only): 7
Watch it on Netflix

Synopsis and Review

"Lost Girls" is based on a true story and on the book by Robert Kolker, "Lost Girls: An Unresolved American Mystery". It had its debut at the Sundance Film Festival, in January of 2020 before being released by streaming platform Netflix. The narrative focuses on the story of Mari Gilbert, a single mother working multiple jobs to make ends meet in the area of Long Island, NY. When her eldest daughter goes missing, Mari reaches out to the police, who initially don't care much about her missing persons report. That changes when a police officer accidentally uncovers the remains of what turns out to be 4 different young women who had disappeared a few years back near the area where Shannan, Mari's daughter, was last sighted. Suddenly the attention is focused on uncovering Shannan's whereabouts, as well as to what happened with those 4 young women (who turns out to have been sex workers, using Craigslist as their means of procuring clients). As the pressure mounts on a pre-retirement Police commissioner, Mari stops at nothing to uncover what has happened with her daughter, whom she had a conflicting relationship with. As more bodies are uncovered, the more fear mounts that Shannan won't be found alive, something that causes more distress to Mari's other two daughters. Mari decides to follow some clues and do some of her investigation, but that eventually leads nowhere, until Shannan's body is indeed uncovered.

"Lost Girls" hails from director Liz Garbus, a prolific documentarian, who has also veered into directing prestige TV Shows, including "Yellowjackets", "The Handmaid's Tale", and "City on Fire". Her extensive work in documentaries comes across in the way she manages to capture an unflinching portrayal of a woman on a quest to find her daughter, and in the process give her more humanity than simply falling under the guise of a "murdered sex worker". It's a film that smartly mixes the images and archival footage of the actual investigation of the murders which took place in 2011, with the staged aspect of the film, which is shot and captured in an emotional, yet not manipulative manner. The narrative could have benefitted from providing some additional layers of detail on the lead and supporting characters, including the late Mari Gilbert and her daughters.  That being said, Mari's portrayal is a vivid one, someone who comes across as a resourceful and stoic individual in the face of crushing events. The cast is uniformly great, and they bring authenticity, grit and warmth to the narrative, led by the always fantastic Amy Ryan, with solid support from Thomasin McKensie, Gabriel Byrne, Lola Kirke and Miriam Shor. The production team is solid, including the beautiful cinematography from Igor Martinovic, and score from Anne Nikitin. A solid film worth watching.

Warlock

Movie Name: Warlock
Year of Release: 1989
Director: Steve Miner
Starring: Julian Sands, Richard E. Grant, Lori Singer, Mary Woronov, Richard Kuss, Kevin O'Brien, Allan Miller, Anna Thomson, David Carpenter, Kay E. Kuter, Ian Abercrombie, Kenneth Danziger
Genre: Action, Fantasty
Score out of ten (whole numbers only): 3
Watch it on Amazon

Synopsis and Review

Steve Miner will forever be associated with the "Friday the 13th" film series, as it marked both his feature and sophomore directorial endeavors (with parts 2 and 3 respectively), but he has since then have had an eclectic career, including titles as "My Father the Hero", "Lake Placid" and multiple TV shows, including "Felicity", "Eureka" and "Once Upon a Time". "Warlock" followed his work on the successful TV show "The Wonder Years", and is actually one of the first produced screenplays of the famous David Twohy, who has since then made a name for himself writing/co-writing the scripts for Andrew Davis' "The Fugitive", Ridley Scott's "GI Jane", Kevin Reynolds' "Waterworld", and the "Pitch Black/Riddick" series, which he has directed himself. The film follows the story of a Warlock who is captured in the 17th century by witch-hunter Giles Redferne. He is sentenced to death, but malevolent forces manage to save him and send him to the 20th century, with Redferne hot on his pursuit. The Warlock lands at the house of a waitress named Kassandra, and wreaks havoc in her life, including murdering her roommate, while also placing a curse upon her. Redferne explains to her the rules of Witches and Warlocks and what's at stake if they don't stop the Warlock's intents. Not to mention the fatal aspect of her curse. They pursue the Warlock to a Mennonite family where they battle him out, but he eventually flees the scene, though Kassandra eventually manages to revert her curse. They figure out his ultimate goal lies in Boston, and they have a final confrontation with the Warlock in a cemetery. 

While "Warlock" was completed in 1988 and had its international release in 1989, it only made its premiere in the US in 1991, due to the bankruptcy of New World Pictures. The film has modest ambitions, and while it tries to embark in some of the motifs some fantasy films in the late 80s had, such as Ron Howard's "Willow" and even Jim Henson's "Labyrinth", its modest budget prevents the film from having a more distinct point of view (and visual effects). The film also suffers from not being able to carve out stronger lead characters, with the Warlock, Redferne and Kassandra all coming across as somewhat anemic and without much charisma. In a way films such as Robert Kurtzman's "Wishmaster" which was produced almost a decade later, has a similar DNA but gives the narrative both more pulp and slash, which means, while the characters are flimsy described and presented, the villainous lead is given a more distinct point of view and motivation for his actions (and the mayhem also increases). With "Warlock", and while the fantastic Julian Sands brings the character to life, both his motivation and the consequences of his actions are never truly magnified, which makes the film always have the feeling of being at the precipice of something but held back, a bit like unresolved potential. There are some similarities between Richard E. Grant's character in this film and how Christopher Lambert portrayed his Connor MacLeod in Russell Mulcahy's "Highlander", but once again, he doesn't get a chance to do much in the film, or bring the usual layers of humor he typically places on his performances. One of the highlights of the cast goes to Mary Woronov who as a brief but memorable participation, whereas the production team is unremarkable (and the visual effects are quite mediocre). It's watchable, and Julian Sands and Richard E. Grant do try their best with their characters, but the film fails to convincingly create an ominous environment, which makes it ultimately not particularly memorable.

Freaks: You're One of Us/Freaks: Du Bist Eine Von Uns

Movie Name: Freaks: You're One of Us/Freaks: Du Bist Eine Von Uns
Year of Release: 2020
Director: Felix Binder
Starring: Cornelia Groschel, Tim Oliver Schultz, Wotan Wilke Mohring, Nina Kunzendorf, Frederic Linkemann, Finnlay Berger, Ralph Herforth, Gisa Flake, Thelma Buabeng, Gesine Cukrowski, Charlotte Banholzer, Marcel Nazarov
Genre: Action, Drama
Score out of ten (whole numbers only): 5
Watch it on Netflix

Synopsis and Review

Another release from Netflix, this new directorial endeavor from director Felix Binder, focuses its narrative on Wendy, whom we first encounter as a young girl dealing with a traumatic event that has occurred at her school. The narrative quickly moves ahead in time, and Wendy now works as a waitress in a restaurant which supports a gas station. Wendy is married and has a son, and while her life is somewhat tranquil, she has some issues with her supervisor at work who thinks she's a pushover. One evening while cleaning the restaurant and taking the trash out, she becomes acquainted with Marek, a homeless man who tells her that she should stop taking the pills her psychiatrist has prescribed for her (and that she takes every day). When Marek jumps off a highway bridge and appears unarmed the following day, Wendy finds the situation bizarre. She stops taking the pills, and when she's harassed by a bunch of hoodlums, she manages to fend them off with super human strength. In the meantime, a young man by the name of Elmar, who lives with his father and his new girlfriend, is also coming to terms with these newfound abilities, which allow him to control electricity. And while Elmar is somewhat in a stunted adolescence type of existence, thinking these new occurrences are much like the comic books he has been reading his whole life, Wendy wants to understand what exactly is going on with her.

"Freaks: You're One of Us" is an interesting concept, in the sense that it tries to be very akin to a superhero film, but takes the usual superhero inception story and replaces it with a premise that these heroes are just every day people who are being pinned down and controlled by some shady organization. For the most part Felix Binder manages to portray the triviality of Wendy's existence, even if at times it seems that Wendy has neither much of a past, nor much in terms of interests, beyond her repetitive tasks both at home and at work. The same goes for Elmar, who is also portrayed in a rather rudimentary way, with his stunted perspective on adulting, and the awkward relationship he maintains both with his father and his new lover. This lack of dimension of the main characters, including the nefarious Dr. Sten, fails to ignite much interest to the film, though the premise itself is ripe with opportunity. The film at times comes across as a pilot for a tv show, where one can assume in the following episodes more backdrop will be provided towards the characters and their relationships with each other. As it is, and while there's a rather compelling and straightforward aspect to the narrative, the film also falls a bit under a generic umbrella, without much of a distinctive point of view. The actors are solid in their depiction of the lead characters, with highlights going to Cornelia Groschel, who illustrates Wendy's journey from complacent to dynamo in a subtle but impactful way, and Ralph Herforth as Elmar's icy father. The production team is competent yet unremarkable. It's a viewable but ultimately forgettable feature. 

The Huntsman: Winter's War

Movie Name: The Huntsman: Winter's War
Year of Release: 2016
Director: Cedric Nicolas-Troyan
Starring: Chris Hemsworth, Charlize Theron, Emily Blunt, Jessica Chastain, Nick Frost, Rob Brydon, Sheridan Smith, Alexandra Roach, Sope Dirisu, Sam Hazeldine, Sam Claffin, Sophie Cookson, Conrad Khan, Niamh Walter
Genre: Action, Adventure
Score out of ten (whole numbers only): 2
Watch it on Netflix

Synopsis and Review

After the surprising success of Rupert Sanders' "Snow White and the Huntsman", a sequel was quickly set in motion to focus on the least interesting part of that film, the Huntsman, who was played by Chris Hemsworth at the time riding the wave of popularity brought forth by the Marvel films. The sequel shifts its focus and takes us back in time, showcasing how Queen Ravenna's magical powers and beauty have been able to grant her control of other kingdoms. She has a younger sister by the name of Freya whose powers have not yet emerged, who falls in love with a nobleman, hoping to get married. Freya is pregnant and eventually gives birth to a little girl, before the couple has a chance to wed. However, Freya discovers what appears to be Andrew murdering their child, and grief-stricken her heart is frozen and she kills him with her newfound abilities, the control of ice. She moves towards the North and becomes a ruler of that region, courtesy of her abilities. She also starts training her armies from an early age, always making sure they all remember her teachings to never fall in love. Amongst her young recruits are Eric and Sara, both the best of their class, who grow up to be formidable warriors. Their love is however uncovered by Freya, who disapproves and apparently gets Sara killed and Eric thrown into a river. Years later, and after the events of the first feature, Snow White has fallen ill due to Ravenna's Magic Mirror. The Mirror is sent to the Sanctuary who protected Snow White, however while on route it gets highjacked. Eric is tasked with finding that mirror, which he agrees with since he knows if Freya gets ahold of it, her ice domain will increase. Much to his surprise, Sara who is still alive comes to his rescue and agrees to go along with him to make their mission is successful. But not all is what it seems in her intentions.

"Snow White and the Huntsman" was a barely watchable film, one that benefitted from Charlize Theron's icy performance (and one where Kristen Stewart was miscast). However, she is largely absent from this film, which in turn focuses its attention on Chris Hemsworth Huntsman, Emily Blunt's Freya (a version of Disney's Frozen), and Jessica Chastain's other Huntswoman, with several sidekicks for entertaining value and comic relief. The film, which is the feature directorial debut of Cedric Nicolas-Troyan, who previously had a lengthy career as a visual effects specialist, is riddled with enumerable tropes, incongruences, and visual issues. The characters all have fairly limited dimension, and for that matter motivation, including Freya's who is a conflicted villain, but also walks through the film half asleep. Even the White Walkers from the TV show "Game of Thrones" are more dynamic and menacing than anything that Freya and the writers on this film can actually come up with. Both Eric and Sara (great realistic names contrasting with Ravenna and Freya, both of which seem like great soap names), seem to be either Scottish or Welsh, whereas the queens seem to be British, all of which are details that are obviously irrelevant, however none of their ambitions seem to be very sensical at all (and by the way, those accents seem to come and go throughout the film). This ultimately feels like a narrative built by a committee, where a thread, an arc seems to be irrelevant, and where the ultimate goal is to get these great looking cast members in front of the camera, and hope they somehow bring this film to life. Sadly it doesn't work, for anyone on this film, including Charlize Theron and Jessica Chastain, both immensely talented individuals, who are completely wasted in this narrative. Visually the film boasts some questionable visual effects, but the cinematography from Phedon Papamichael is solid, as is the score from James Newton Howard. This is a mediocre and forgettable endeavor. 

Run Rabbit Run

Movie Name: Run Rabbit Run
Year of Release: 2023
Director: Daina Reid
Starring: Sarah Snook, Lily LaTorre, Damon Herriman, Greta Scacchi, Neil Melville, D'Arcy Carty, Trevor Jamieson, Shabana Azeez, Georgina Naidu, Naomi Rukavina, Maurial Spearim
Genre: Horror, Thriller
Score out of ten (whole numbers only): 2
Watch it on Netflix

Synopsis and Review

Director Daina Reid has made a career for herself primarily working on tv shows, including high profile series such as "The Handmaid's Tale", "Shining Girls" and "Miss Fisher's Murder Mysteries", to name but a few. "Run Rabbit Run" is her feature sophomore endeavor, and premiered at the Sundance Film Festival of 2023, benefiting from the attention its lead actor Sarah Snook had been experiencing courtesy of another tv show, in this case HBO's "Succession". The film follows the story of Sarah, a recently divorced fertility doctor. She lives with her daughter Mia who is celebrating her seventh birthday. They both find a rabbit which they assume is a gift from Mia's father, Peter. Mia's behavior soon becomes increasingly strange, and she starts wearing a rabbit mask she made herself, one that she refuses to take off even when Sarah asks her to. Sarah also starts experiencing hallucinations, and her nightmares grow more intense. Sarah takes Mia to visit her own mother, who is living in assisted living, now that her father has passed away and she has dementia. Joan keeps addressing Mia as "Alice", who turns out is the younger sister of Sarah who disappeared around the same age as Mia currently is. As Sarah and Mia are staying in her childhood home, Sarah's hallucinations increase and her relationship with Mia becomes even more strained. Through these hallucinations Sarah hints at what may have happened to her sister.

"Run Rabbit Run" who is written by celebrated author Hannah Kent suffers from a case of trying to be a hybrid gestation of a M. Night Shyamalan film married with a Jane Campion sensibility, which sadly produces something that is neither particularly suspenseful, nor particularly insightful about the relationship between mothers and daughters, or even between sisters. The film starts interestingly enough, focusing on a character that isn't necessarily affable or even likable, which is how Sarah comes across. However the hints of eeriness that are supposed to come from Mia's behavior are randomly presented, and are more grating than actually scary. Both the director and writer, fail to actually showcase what type of relationship exists between mother and daughter, both coming across as strangers who are just now getting together. It's difficult to understand much about these characters, since not much dimension is given to either of them, in terms of their motivations, dynamics with others and even affections, the same extending for the supporting characters, which includes the absent ex-husband and even Joan, the matriarch of the family (who is played by the always underrated Greta Scacchi). Gore Verbinski was able to do quite a bit more with "The Ring", which also featured a single mother fantastically played by Naomi Watts, dealing with a supernatural entity which was threatening both her and Aidan, her son. In the end, "Run Rabbit Run" doesn't satisfy from the perspective of understanding the relationship between all these characters, the same way that the supposedly shocking revelation doesn't really come across as one. Sarah Snook who is usually a reliable performer, feels a bit lost in the middle of this film that can't quite find its tone, with Lily LaTorre and Greta Scacchi managing to be far more effective in their performances. The production team also has its fair share of issues, with a rather underwhelming cinematography from Bonnie Elliott and a lackluster production design from Vanessa Cerne. Ultimately it's simply not a great viewing experience. 

Missing

Movie Name: Missing
Year of Release: 2023
Director: Nicholas D. Johnson, Will Merrick
Starring: Storm Reid, Nia Long, Tim Griffin, Joaquim de Almeida, Ken Leung, Amy Landecker, Megan Suri, Daniel Henney, Lauren B. Mosley, Lisa Yamada
Genre: Drama, Mystery, Thriller
Score out of ten (whole numbers only): 6
Watch it on Amazon

Synopsis and Review

"Missing" is the feature directorial debut for Nicholas D. Johnson and Will Merrick, both possessed of a noticeable career as editors, with Merrick as well having directed a few shorts. They both edited Aneesh Chaganty's "Searching", who was produced by the same team who is behind this feature, with "Missing" being a sequel to "Chaganty's film. The narrative focuses on the story of a young woman by the name of June, who just turned 18 and lives with her mom in the LA area. June's father died of brain tumor when she was little, and she has become her mom's constant focus. Her mom Grace is about to leave for a vacation with her boyfriend Kevin, the first actual relationship she has had in years. June in the meantime is being left under the care of Heather, her mom's friend who is a divorce lawyer. A week goes by and June goes to pick up Grace and Kevin at the airport, and much to her surprise they don't show up. She communicates with the American consulate in Colombia, but they're unable to help her much. She decides to use the digital tools she has at her disposal and investigate what is happening. She hires Javier, a Colombian gig worker to do some investigation on the ground. She manages to crack the password to Kevin's gmail account, and discovers a number of aliases he has been using. She also uncovers the fact that he has a criminal record, all of which related to scamming women for money. The more she investigates, including the dating app where her mother met Kevin, she soon realizes her mother was aware of his past. However, June soon realizes there's more to this story, and that the woman who was on the flight to Colombia may not have been her mother after all.

"Missing", much like "Searching", invites the audience to witness the central character of the narrative frantically trying to locate someone. The film, much like some of the B-movies of the 1940s and 50s, provides little exposition on who these characters are to begin with, focusing instead on setting up the apparently impossible situation, and how ingenuity, persistence and intelligence ultimately uncover venues in which the characters manage to escape from dangerous situations. This film transposes this type of economical narrative perspective to modern times, placing the young June at the center of a digital investigation, made that much more challenging since her mother is abroad. The film smartly creates a sense of claustrophobia and timeliness, by placing June solely in her room, and her mother potentially running out of time. And while June and Grace are never given much in terms of who they are, there's enough breadcrumbs of information that are provided, which allow for a revealing picture of who they are to come across. It's a suspenseful film that while not as dynamic and enticing as a Hitchcock work, still manages to capture one's attention with multiple twists and turns. The cast is uniformly solid, with highlights going to Storm Reid, Tim Griffin and Nia Long. The production team is solid, including Steven Holleran's cinematography, Kelly Fallon's production design and Julian Scherle's score. Entertaining and worth watching.

Shazam! Fury of the Gods

Movie Name: Shazam! Fury of the Gods
Year of Release: 2023
Director: David F. Sandberg
Starring: Zachary Levi, Asher Angel, Jack Dylan Grazer, Rachel Zegler, Helen Mirren, Lucy Liu, Adam Brody, Ross Butler, D.J. Cotrona, Grace Caroline Currey, Meagan Good, Djimon Hounsou, Faithe Herman, Ian Chen, Jovan Armand, Marta Milans, Cooper Andrews, Gal Gadot, Rizwan Manji
Genre: Action, Adventure, Comedy
Score out of ten (whole numbers only): 5
Watch it on Amazon

Synopsis and Review

Following the critical and commercial success of the first "Shazam!", director David F. Sandberg, went back into creating a few shorts, where he originally started his career, before tackling the successor of the superhero film which originally propelled him into another layer of visibility. The film follows the events of the first "Shazam!" and finds Billy and his siblings all living with those newfound powers and trying to make a difference in Philadelphia. Unbeknownst to them, Hespera and Kalypso, two of the daughters of the Titan Atlas, have an agenda of their own and they manage to recover and repair the Wizard's staff. In the meantime Freddy develops an infatuation with a new girl named Anne, who turns out is the youngest sister of Hespera and Kalypso, with her actual name being Anthea. The sisters eventually get a hold of the Golden Apple, which was in possession of the Shazam group, take away most of the powers of the Shazam family, and Kalypso plants the apple at the Citizens Bank Park, which grows throughout the city, threatening to destroy it, even more so when mythological monsters erupt from it. Billy devises a plan to save his family and the city, even if the sacrifice for it to come to fruition is a considerable one.

The reviews for this film weren't quite as balmy as the ones that greeted the original. That prompted a bit of a reaction from the creative team behind it, including the director and some of its lead stars. The thing about criticism ultimately lies with the fact that these are just opinions, and essentially interpretations of a product someone puts out there to be consumed. The problem with "Shazam! Fury of the Gods" isn't related to the fact that it's a terrible endeavor and cinematic journey. The narrative is a mix bag of trying to build a backdrop for the existence of these paper thin villains, married with this adolescent vibe (closer to a WB teen show) that is taking place with all the siblings and their super-hero personas. The rhythm between these threads clashes quite steadily and lacks the fluid aspect the original film showcased so well. By the time the third chapter of this film comes around (the clashing with the villain), it's once again peppered with an abundance of digital effects that doesn't necessarily add much distinctiveness to the super-hero genre and formula. There's still quite a bit to enjoy from this film, namely the sense of family unity, companionship and community the director builds amongst Billy's adoptive family (and city), however when the focus gravitates towards the villainous sisters, it becomes a very different endeavor, in terms of tone and even in terms of acting. While Helen Mirren manages to be phenomenal as always, Lucy Liu doesn't really know the tone she needs to impart on the character, oscillating between near camp and over the top villain (she lacks more of a grounding baseline much like she had on Quentin Tarantino's "Kill Bill Vol. 1"). The rest of the cast manages to bring these characters to life, even if with very limited dimension. The production team is solid, with highlights going to Gyula Pados' cinematography and Christophe Beck's score. Paul Kirby's production design is at times reminiscent of the "Harry Potter" universe, and not necessarily memorable. Ultimately this film plays out like a teen focused, highly budgeted TV movie, with little character definition. It needed a stronger point of view and a tighter narrative thread. It's watchable but forgettable.