★★ Directed by: Anthony Wright Written by: Anthony Wright, Luke Codling Starring: Rod Glenn, Jonathan Cash Film Review by: Vikas Yadav Writer/Director Anthony Wright’s Future Cop serves as a nostalgic wink to the countless action flicks featuring indestructible heroes tackling a plethora of bad guys single-handedly. He takes a page out of the classic “interrogation” scene between a hero tied to a chair and the villain of the movie. We all know those ropes won’t hold tight. According to the synopsis, Wright sets the story “in the crime-filled streets of Future City.” The cop (or Future Cop), played by Rod Glenn, is roped to the seat while the villain, known as The Boss (Jonathan Cash), sneers and says stuff like, “You caused me a lot of trouble.” The interrogation room is mostly dark except for overhead lights that fall like a spotlight on both parties. Wright chooses to keep a jovial mood. Nothing is meant to be taken seriously. The actors go over-the-top in their portrayals. Look closely, and you can hear them laughing behind their “acting” faces. Glenn and Cash do not play as movie-hero and movie-villain. Rather they behave as two friends having a blast by play-acting as super-cop and gangster. The vibe I got took me back to that memory with one of my friends, where we used to perform as superheroes and supervillains. We imagined ourselves as characters from Die Hard, Terminator, Spider-Man, and other such films and (over)acted the hell out of our senses. Since Future Cop is a parody, the fight sequences are choreographed with a dose of playfulness. The punches land as cotton balls hitting a solid surface. The impression you get is that of a bunch of kids wrestling over a candy than two adults engaged in a fierce fight. Future Cop is purposefully campy, and when seen exclusively through this lens, it remains frabjous. The issues emerge when you examine it in its entirety, which is not sufficient, to begin with. This four-minute short can be fully elucidated in one or two lines. The rest is filled with puerile fights. Future Cop needed more meat. What you get here is something you end up making for your own amusement. There is nothing wrong with making a film or a short according to your desire, but we have already witnessed the events shown in Future Cop a million times in other (and better) films. And as mentioned earlier, it’s a page out of an action film. What you get is just one part (the face-off), and that too is compressed under a few minutes. Here is a film that feeds on bare-bones.

★★★ Directed by: Dhanush S Nair Written by: Dhanush S Nair, Anand Manoj Film Review by: Jason Knight A man develops a very sinister perspective towards sex and women. The film begins by showing the protagonist as a school student. The class is about to have a biology lesson and he is disappointed when the teacher decides to skip the reproduction subject. He talks to one of his friends about this and they provide him with a pornographic film, so he can learn about sex. Ten years later, he is now a loner, smokes a lot and is addicted to pornography. He observes women inappropriately and he ends up committing an unspeakable act. This Malayalam dark, disturbing thriller explores the life of a sexual predator and the factors that might turn an individual into one. Instead of receiving proper sex education, the main character learns about intercourse through pornography, which has negative consequences as it makes him view women only in a sexual manner. The main message appears to be the importance of sex education, with the idea that it could help prevent that. The protagonist delivers a convincing performance as a lonely, disturbed individual, whose principal pleasures seem to be cigarettes and sex. Aside from being creepy, he also turns out to be dangerous. The supporting cast also do a good job. The film contains sequences that utilize fast cutting interestingly, although at certain points, the editing appears clumsy. There is slow motion and the music is atmospheric and at times becomes very tense and terrifying, contributing to the scenes. Also, the viewer will often hear the sounds of birds and crickets chirping. It should be mentioned that there are disturbing scenes of a sexual nature, that are uncomfortable to watch and also nasty violence. This short does not make for a pleasant viewing, due to its subject matter and the scenes mentioned above. It is thought-provoking to watch a person become evil, however it is not clearly explained whether sex films made him what he is or whether there was something wrong with him to begin with. #JasonKnight

★★★ Directed by #MikePNelson Written by #MikePNelson Starring #CharlotteVega #BillSage #MatthewModine Film Review by Hope Madden Writer/director Mark P. Nelson is kind of fixated on the social rifts in America. His 2018 film Domestics followed the aftermath of an apocalypse intentionally deployed by a ruling class looking to thin the herd. The smaller herds only fracture into groups of radicalized, violent maniacs, though, and even your white bread nuclear family types are threatened. Which is to say, this filmmaker brings a different perspective to the inbred cannibal franchise, Wrong Turn. Yes, big city liberals on a hiking trip run afoul of Virginia rednecks. But where Nelson varies from the script of the 2003 original is in reimagining the antagonists. We know there’s trouble afoot from the opening scene when Matthew Modine drives into the quaint Virginia town looking for his character Scott’s missing daughter (Charlotte Vega). The lovely blonde was last seen here, along with her African American boyfriend, another heterosexual couple, and a gay couple, one of whom is Muslim. Because apparently not one of these people has ever seen a horror movie. The film gets into trouble early by conjuring moments from Tucker and Dale vs Evil, which is a great movie. It’s an insightful lampooning of movies just like the one Nelson is trying to make, though. Nelson’s more successful when he borrows a bit from the likes of Green Room and The Ritual, although he plants Wrong Turn’s folkloric barbarism firmly on American soil. This is a film about America. If you’re looking for a movie about cannibal families, you will most definitely be disappointed. The horror is less unseemly, all of it in support of Nelson’s image of a divided America. There are some startling moments of gore, and other more harrowing ideas that suit the picture well. Nelson takes too long getting to the point, unfortunately. The film runs just under two hours, which is at least 20 minutes too long. A trimmer runtime might have helped the film leave more of a mark. Instead Wrong Turn is a decent if unremarkable backwoods thriller. #HopeMadden

★★★ Directed by: Kateryna Czartorysky Written by: G. Chandler Cearley, Emmet Padgett Starring: Patrick Monaghan, David Henderson Film Review by: Vikas Yadav Almost all of us wanted to be an astronaut at one point of our lives. That point was obviously during the sweet age of our childhood. And how could it not be? At such a tender age, you look up towards the sky, and your callow mind gets lost in space. The vastness and darkness (at night) of the sky transmute into a mystery screaming to be solved, touched, and conquered. Adulthood changes this fantastical gaze, smashing us back to reality like a meteor crashing on the earth’s surface. You unravel that becoming an astronaut is not a child’s play. The mathematical equations crush your fantasies. The sky becomes the limit. Alex (Patrick Monaghan), the protagonist of director Kateryna Czartorysky’s Voyager PEN-15, wants to be an astronaut too. The only difference between him and you is that he didn’t quit on his dreams. The equations were not able to scare this man off. Where did his passion land him? To NASA! Just hold your congratulations for a second. He is working there as, wait for it, a janitor. Who said following your dreams was easy? He wants to explore the space, but his job allows him to only surf the headquarters with a mopping stick in his hand. On a professional scale, he is pushed down to the lowest rank. Each of us has our own little world filled with pleasure, love, or excitement. Alex’s world contains a great force of gravity, forbidding him from rising above his state. No one takes his dreams seriously. When he gapes at the spacecraft, the other janitor named Mike (David Henderson) scolds him for “spacing out.” Mike tethers Alex to his truth by continually reminding him of his status. But as the saying goes, “success is simply a matter of luck.” And Alex finds his triumph after entering inside the Voyager PEN-15 aircraft, along with Mike. Why does he do that, and what happens after it is something I will leave for you to find. From here, Czartorysky resuscitates the eccentric screenplay (written by G. Chandler Cearley and Emmet Padgett) into an outlandish cinematic adaptation. There are two ways to watch Voyager PEN-15 - (1) be put off by its bizarre developments, eventually labeling it as meaningless, or (2) submit yourself to its weird setting and enjoy the ride as much as the people in (and behind) it. Of course, different people will have different reactions to it. Personally, I enjoy quirky characters in a film, and Voyager PEN-15 has just the type for my taste. Monaghan and Henderson make sure you have a smile on your face even when things go out of hand. Czartorysky ensures the tone doesn’t derail. For instance, when Alex is “greeted” by his parents and the President of the USA (don’t ask), we get a genuinely sweet moment where a family takes pride in their son’s achievements. This scene could have easily fallen into the pit of melodrama, but Czartorysky and Alex keep it within the range of the film’s wacky sense of humor. The visual effects are curbed under the weight of minimal finances. But this micro profligacy helps in keeping the film light and whimsical, just like everything else in Voyager PEN-15. Czartorysky takes the camera and goes crazy. All you have to do is surrender to her gaiety, preposterous vision.

★★★ Directed by #LillianLaSalle Starring #PedroSantana Film Review by Rachel Willis Pedro Santana is the bright, innovative, caring teacher/school administrator that every child deserves and some desperately need. It’s not surprising that in her first documentary feature, director Lillian LaSalle chose such a larger-than-life personality to concentrate on. Most of LaSalle’s doc focuses on one-on-one time with Santana, but there are plenty of interviews with those who have been touched by him: students, parents, and co-workers. All have glowing praise for Santana’s inventiveness and compassion. The film’s extraordinary subject helps hide the more mediocre elements. Apart from from Santana himself, there isn’t much that stands out. Some of the shots are distractingly blurry, and harried animation sequences detract from the spoken words. With someone as animated as Santana, why would you ever take the camera off him in favor of line-drawn cartoons? But the audience gets to see inside struggling school systems – sadly, something already too familiar to many parents and students – and how someone like Pedro Santana can make a world of difference in a short time. The children who have been impacted by Mr. Santana over the course of his career brim with self-confidence in their interviews. We’re also shown the dynamics of school politics at one suburban school district in upstate New York. A school board at odds with members of the community makes for heated scenes in which parents confront the board over decisions made for their children. The bulk of the board is comprised of men whose own children don’t attend the local public schools, yet in whose hands rests hiring decisions and money matters for those schools. These scenes make for some of the most interesting, and infuriating, moments. But at its heart, this is a movie about the impact caring educators have on children. Santana recalls his own experience with such a teacher and how she drove him forward in life. From a stint in the Peace Corps to the Teacher’s College at Columbia University and beyond, we see how a good teacher does make a difference. Santana’s approach to education is a good lesson for anyone who works with children. He pushes them to be their best, and the results speak to his skills in the field of education. And that’s probably because Mr. Santana is interested in more than test scores and homework. He is fundamentally invested in seeing children succeed – at school and in life. #RachelWillis

★★★ Directed by #JohnBalazs Written by #MichaelJKospiah Starring #HayleyBeveridge #MattTheo #RichardNorton Film Review by Brandon Thomas Revenge tales are a messy affair. Forget the buckets of blood you’re liable to wade through (metaphorically – of course). No, vengeance cinema revels in discomfort – the more emotionally taxing, the better. Put all of that together in a two-and-a-half-hour movie, and you’ve got something that’s pretty hard to sit through. That’s what director John Balazs’s film Rage delivers. Noah (Matt Theo) and Madeline’s (Hayley Beveridge) marriage is already on shaky ground when we meet them. Petty grievances populate their interactions, and the physical component of their relationship is all but forgotten. Their bond is forever fractured when a violent home invasion leaves Noah comatose, Madeline traumatized, and another family member dead. As the two begin to pick up the pieces, the realization that one of their attackers is still out there spurs them into irrational action. There’s no shying away from the brutality of violence here. There’s no celebration of it either. Gratuitous isn’t quite the right a word to describe anything in Rage. The violence is meant to make us wince and squirm, not cheer and pump our fists. While the ferocity comes in short bursts, the emotional impact is given far more time to breathe. The trauma suffered by Noah and Madeline takes up the bulk of the film’s running time, and it’s here where the real pain is inflicted. Madeline’s near-catatonic state in the latter half of the film is more disturbing than any physical scar could be. Rage occasionally abandons Noah and Madeline’s point of view to follow the detective (Richard Norton from Mad Max: Fury Road) working their case. Focusing on the police procedural side of the story takes away some of the urgency around the couple’s crumbling relationship, and, at times, threatens to stop the film dead. As the tension and drama surrounding Noah and Madeline’s actions increase later in the film, it only goes to highlight how unnecessary the police point of view ultimately is. Rage isn’t the first film to comment on the never-ending cycle of violence that vengeance can create. It is, however, one of the few films to spend more than a fleeting moment on the emotional ramifications of random brutality. #BrandonThomas

★★★★ Directed by: Matthew Ewald Written by: Matthew Ewald Starring: Matthew Ewald, Tobias Doesken, Royce Hobson Film Review by: Jason Knight A tense and dramatic story about criminals, betrayal and murder, full of violence, blood, profanity, guns, shootings and demonic-looking masks. A bunch of mobsters believe that one of them is an informer for the FBI. They have captured the alleged traitor and have brought him to their hideout for interrogation. The captive informs them he is working undercover for the FBI and that there is a group of people who are eliminating criminals around the world and seizing their cash. Things appear to be more than what they seem and the gangsters realize that they are in very serious trouble. On the surface, this feature is an action packed crime thriller with plenty of action. However, the film explores the post-traumatic stress disorder that war veterans deal with and pays homage to the members of the United States armed forces. The movie is enjoyable to watch. It is separated in chapters, each beginning with its own title card. The plot is intruiging, with tension and drama throughout and the characters are interesting. The basic concept is a couple of vigilantes who travel the world, murder wealthy criminals and use their money for good causes, kind of like Robin Hood, which is a really cool story. Although the theme and tone is rather serious, there is also the addition of dark comedy, particularly with the clumsy character Bam-Bam, played by Talon Borrelli. The performances are pretty good. Ewald in particular is convincing as a damaged war veteran, who believes in justice and wants to help the ones in need. The other actors do nice job, especially Hobson, who portrays a seasoned gangster. The film includes numerous well constructed montages, which make effective use of dissolve, superimposition and fast cutting techniques and voice-over. The music is dramatic, powerful, dynamic and tense, creating an exceptional atmosphere. The opening and closing credits deserve special mention, as they utilize very interesting animation. The Coffin Bound Kings is a thriller that is bound to catch the audience's attention. It supports, honors and reverences war veterans. #JasonKnight

★★★ Directed by #RezaGhessemi #AdamVillaSenor Written by #RezaGhessemi #AdamVillaSenor Starring #TylerWood #YusukeOgasawara Film Review by Hope Madden Where many filmmakers find brutality in the to-the-death mindset of contests of will and might, filmmakers Reza Ghassemi and Adam VillaSenor find beauty. Delicate, flowering beauty. Every living thing is at the height of its natural power for a brief moment. After that, it’s just a rush toward death. In Full Bloom circles that one moment. American Clint Sullivan (Tyler Wood) and Japanese Masahiro (Yusuke Ogasawara) are those peak specimens. Both boxers will meet in post WWII Tokyo with the world watching. The fight means a lot of things to a lot of people. To Japan, it’s an opportunity to reclaim some pride. To the US, it reestablishes dominance. To Sullivan’s team, it’s about the money. But to the two men in the ring, the moment will simply determine which of them is in full bloom. It’s a heavy metaphor, but Ghassemi and VillaSenor back it up with style to spare. The film is saturated with bruised masculinity, heightened emotion and existential panic. And like a lot of films of this nature, (Gavin O’Connor’s 2011 Warrior, in particular), the struggle at the core of In Full Bloom concerns animal strength versus disciplined grace. Ghessemi and VillaSenor set things moving in the moments leading up to the fight. As Sullivan waxes brute philosophy with his sketchy manager and angling wife, the film flashes back to Masahiro’s training. Here we leave the confines of the boxing arena in favor of gorgeous, snowy landscapes where the fighter has tracked down warrior legend Tetsuro (Hiroyuki Watanabe, bringing much needed humor to the film), hoping to learn from the master. The filmmakers don’t introduce many new ideas here. They simply strip away any breathing room, leaving only scene upon scene of hyperbolic emotion. Their film takes on a surreal quality that’s visually lovely, often intriguing, and sometimes borderline silly. Wood delivers a stiff performance that is nearly the film’s undoing. A posturing Eastwood type, Wood rarely generates enough depth of character to carry the symbolism and metaphor swimming around him. As with any bout film, the fight choreography is the deal breaker. Here, taking a cue from Raging Bull and Cinderella Man, the action itself takes on a dreamy quality that supports the film’s overall themes and imagery. It’s a solid if flawed poem, an ode to the apex predator. #HopeMadden

★★ Directed by: #PrincessRymnaEblacas Written by: #ErikaCagadas Starring: #ErikaCagadas, #LovemaePamplona Film review by: Patrick Foley When you picture a horror movie, most people imagine the terror coming from undead monsters or axe-wielding maniacs. And yet for most of us, the scariest time in our lives does not come in an abandoned asylum, but in our teenage years as we try and navigate the labyrinth of humiliation that is high school. Student-led project Erika cleverly combines the pressures and anxieties we all experience in our formative years with psychological horror to form an intriguing yet raw film. Erika (Erika Mae Cagadas) and Lovemae (Lovemae Pamplona) are friends attending the same high school. As Erika begins to experience a crisis, she begins to have visions and delusions relating to her best friend. A combination of societal pressures and dark beliefs drive a division between the pair, and Erika’s dark side begins to fixate on how to take revenge on her former friend. Erika is rough and raw in its production – as would be expected for what is essentially a Filipino student film made with little budget. Yet it is ambitious, and works within its limitations to create something of an atmosphere which is as unnerving and disturbing as the film’s subject matter. The director Princess Rymna Eblacas does a decent job of pacing the scenes of real horror and building up tension slowly. The high school setting is used to good effect – reminiscent of Carrie. The film’s plot is quite bare and is somewhat unsatisfactory. Whilst no horror film should be afraid to leave elements unexplained or open to interpretation, there is little to explain here to the viewer why certain characters make certain choices – and being crazy is not a sufficient motivation. Assuming the audience’s understanding can be a risky move, and here the result is that many viewers will struggle to follow the plot upon first viewing. The acting of the two leads is understandably unrefined and raw due to the circumstances of the film’s production. However, Erika Cagadas and Lovemae Pamplona both show an ability to convey conflicted and troubled characters that continuously manipulate and misdirect the audience. Even in moments of pure darkness, Erika’s childlike and innocent manner means audiences will be unable to prevent themselves feeling at least some sympathy for her. Her battle with her inner demons becomes the film’s unseen struggle. For a low-budget homemade horror short, Erika demonstrates the promising array of talent of its filmmakers and should be applauded for its ambitious and stylish efforts. There are some glaring issues with the core plot, acting and production (particularly sound and camera quality), these are understandable given the nature of its creation. Its strengths show a understanding and passion for the psychological horror genre and for these it does deserve credit.

★★★ Directed by: #GuyLichtenstein Written by: Guy Lichtenstein Starring: #NitaiGvirtz, #AlmuthHattwich Short Film Review by: Corey Bulloch Set against a vibrant backdrop of a night in Jerusalem, Guy Lichtenstein’s Birthday Present explores the multiculturalism, commitment and power dynamics of a couple’s last night together. Stellar production value allows Lichtenstein’s script to develop the interesting narrative of Tomer, an Israeli student and his lover Clara, an Austrian Tourist roaming the streets searching for a morning-after pill. There is a believable intimacy and history to the characters as Lichtenstein lets the setting and body language speak as much as the dialogue, avoiding awkward exposition dumps to contextualise everything. All of the moments between Tomer and Clara are enhanced by Georg Geutebrueck’s cinematography, reflecting their vulnerabilities with extended shots and close-ups. Both characters are contemplating this life-changing event that they aren’t even sure will occur, its the unknown growing between them that creates the film’s dynamic. Lichtenstein and Geutebrueck, along with Alexander Rauscher’s editing builds so much in the silence, not a conflict but possibility, especially with Almuth Hattwich’s Clara. While Tomer’s motivations are clear; his poorly hid nerves and insistence on finding a night pharmacy probably don’t indicate he’s ready for fatherhood, Clara’s more detached attitude feeds into the film’s themes of differing cultural mindsets. Clara and Tomer’s relationship is merely a fling, neither side wanting to be anything more with references to Clara’s boyfriend back in Austria. In two separate incidents, men make conservative comments on their relationship on contradicting points; once for intimacy, another for their lack of commitment. Nitai Gvirtz portrays Tomer as a man disconnected almost apprehensive of his culture, not wanting to alienate Clara. He obviously doesn’t hold the same views but he seems to perceive Clara as an escape, with the possible pregnancy causing reality to crash down on him. Birthday Present is about Tomer’s perspectives being quietly challenged by Clara’s presence, its the fusion of different people and the growth that comes from it. Hattwich plays Clara as an enigma, ordinary but brimming with intrigue, it is a terrific subtle performance and shows Lichtenstein’s skilful restraint as a director. Birthday Present remains beautifully realistic throughout, the film foregoes traditional portrayals of conflict and stakes, not hitting the audience over the head about anything. Lichtenstein through minimalistic actions has both characters learn more about each other during their journey as both Gvirtz and Hattwich’s acting gives great layering to his screenplay. The future for the characters is left to interpretation but the film leaves them in a place of good fortune. Whether Clara is pregnant or if the two will ever see each other again doesn’t matter, Birthday Present is the gift of them being a part of each other’s lives even for a moment. There is no regret or anger, there are even a few moments in the night where perhaps they are in love, its that idea of how in the vastness of this world, our differences do more to connect us than divide. #CoreyBulloch #shortfilm

★★★ Written & Directed by: #SamLevinson Starring: #Zendaya, #JohnDavidWashington Film Review by Connor Slatkoff Sharpe Over the past few years, audiences have witnessed a cinematic rewinding of time, as the use of black-and-white picture begins its re-immergence into main-stream movies. From Best Picture nominee Roma, to Robert Eggers supernatural sea-shanty The Lighthouse, some of today’s most prolific directors are journeying back to the time of simpler color palates; and with last year’s Mank (David Fincher) and the criminally underappreciated 40-Year-Old-Version (Radha Blank), this filmmaking trend does not seem to be slowing down. Enter Malcolm & Marie, the latest entry into the colorless category of feature films which, despite its similar appearance to the movies listed above, sadly lacks the narrative strength to reach the same heights. Written and directed by Sam Levinson (best known for his work on the HBO series Euporia), Malcolm & Marie tells the fraught, one night story of a young couple and their tumultuous, emotionally abusive relationship. Taking place (in real time) on the night of Malcolm’s directorial film premiere, what follows is a cyclical exploration of a couple constantly on the brink of verbal combat. Set completely in one location (the modern, secluded house rented for the couple by Malcolm’s producer) the audience bears witness to the constant dismantling and rebuilding of the couple’s relationship here in this bright and minimalist setting. Shot on 35mm black-and-white film, the movie looks and feels breathtakingly beautiful. The work from Levinson’s longtime photography collaborator Marcell Rév is superb, with his strong cinematography complemented by Levinson’s bold direction. This, when considering that Malcolm & Marie was one of the first films to be written and shot during the pandemic, only heightens the artistic ability involved from the majorly reduced crew. The viewer is constantly thrown back-and-forth between distant, almost omniscient wide-angle shots, and disarmingly intimate closeups of our two leads. The leads themselves (being the only two characters in the entire film), are phenomenal. Zendaya, fresh off her Emmy win for Levinson’s aforementioned Euphoria, and Tenet star John David Washington bounce off each other with such ferocity and desire that the audience begins to understand both the love, and the hate involved in their relationship. The long and emotionally demanding monologues which make up the majority the movie are performed with such a skill and a raw-ness that it soon becomes uncertain who’s perspective the viewer should believe. Scenery is chewed, and protagonist swaps for antagonist on a near constant basis thanks to the versatility and depth of these two performers. However, inspired direction, beautiful cinematography and power-house performances still don’t do enough to save this film from its own screenplay. While the dialogue from Levinson is well executed, the plot itself leaves the viewer feeling stuck in the same fight as our leads, resolving and restarting every few scenes. While this was undoubtedly a conscious choice by the filmmakers to explore the cyclical nature of tension in a relationship, it still doesn’t progress the story towards anything resembling a satisfying finale, feeling more meditation than narrative. Nevertheless, for the sheer artistic ability on display throughout the entire piece, Malcolm & Marie remains a film very much worth watching, despite any frustrations which might arise from a lack of narrative climax. #ConnorSlatkoffSharpe

★★ Directed by: #AlainDarborg Written by: #AlainDarborg & #PerDickson Starring: #NannaBlondell, #AnastasiosSoulis, #JohannesKuhnke, #KalledMustonen Netflix Film Review by Taryll Baker When Nadja becomes pregnant, they make an attempt to rekindle their relationship by traveling to the north of Sweden for a hiking trip but soon their romantic trip turns into a nightmare. Swedish filmmaker Alain Darborg’s bitingly cold thriller Red Dot has landed on Netflix, but does its pin-point story hit with the sharp accuracy of the titular red dot? Well, it certainly begins pretty confidently. We’re introduced to Nadja (Nanna Blondell) and David (Anastasios Soulis), a couple who are expecting and, after one and a half years of engagement, decide to take a trip into the snowy white plains. Their pleasant overnight plans underneath the Northern Lights are abruptly shattered, however, when someone is hiding in the shadows. As dark thrillers go, Darborg’s Red Dot progresses quite nicely. At least for the first half. We’re very quickly shown that these two characters can and will make poor decisions and it can be very frustrating to sit through. Not only that, but many “twists” and turns are launched at us which adds some confusion. The performances from Blondell and Soulis are decent, though the same cannot be said for the predictable writing and questionable story beats. Once the film hits the midway point it starts to falter and the pacing does freeze up, even with its short 80-minute running length, and the once intriguing nature flutters off into a frail, ridiculous shell of a film. The constant and increasingly dumb choices make it a tedious watch, and a scathing finale that perhaps feels too overstuffed with ideas brings it to a dying close. One of the few pluses for Red Dot is its mostly brilliant visuals. That includes the brisk camerawork, with some truly great composition, especially one moment that includes a flare gun igniting into the air. A good amount of special and visual effects complement the dramatic action happening within the frame, and though not necessarily adding to the narrative, it does give horror and gore fans their bit of enjoyment. That said, one scene in particular was quite grim even for me, and it wasn’t at all needed in my opinion, at least not to the extent shown. So, although it has fairly good visuals and contains solid acting, Red Dot fails to hit the mark with its overreaching story and unsure pacing. I think it bites off more than it can chew, but it does have the redeeming qualities (though not the writing) of an intensely riveting piece of filmmaking. Is it worth a watch if you have the time? Sure, why not. It’s ideal viewing for a rainy day, but don’t expect too much. Red Dot is now streaming on Netflix. #TaryllBaker