★★★★ Directed by: Srwsht Abarash Written by: Srwsht Abarash Starring: Abdulrahman Muhamad, Zheer Faraidoon Film Review by: Jason Knight A check-in to a hotel turns into a series of very bizarre occurrences for an unsuspecting young man. It is poring with rain one evening and a man in a suit (Faraidoon) arrives at a hotel via a taxi. The receptionist (Muhamed) informs him that all rooms are taken, however once the suited man gives him money, he is given to key to room 217. Shortly after, he witnesses his own self talking to the receptionist and being given the key to the same room, exactly as it happened earlier on. He ends up seeing himself doing more actions that he did before that same night. Is he dreaming? Is he losing his mind? This spooky short film from Iraq contains elements of horror, suspense and surrealism. As the plot moves forward, the tension rises and the viewer tries to find out what is going on, whether there is a logical or supernatural explanation. Operating like a David Lynch film, the story gives the impression that otherworldly things are taking place but at the same time it hints that it might all be just inside the man's head. It could be up to the audience to decide. and the ending raises even more questions, which makes this film quite intriguing. It could be categorized as a mystery that cannot be solved. The acting is quite realistic, with Faraidoon delivering a strong performance as a person who is frantically trying to find out what is going on, while simultaneously attempting to maintain his sanity. Muhamed is also good in his role as the mysterious hotel employee. Rasan Jalal contributes wonderful cinematography and the lighting effects are very interesting, providing a sinister atmosphere. The lightning sound effects are frightening and help create a dark, scary environment. Room 217 is a creepy horror story that will grab the viewer's attention and keep them guessing. An achievement worthy of attention. #JasonKnight Trailer for Room 217:

★★★★ Directed by: Leigh Janiak Written by: Phil Graziadei, Leigh Janiak, Kate Trefry Starring: Kiana Madeira, Benjamin Flores Jr., Gillian Jacobs, Ashley Zukerman, Olivia Scott Welch Netflix Film Review by: Chris Olson Fear Street Part 3: 1666 (2021) Film Review [SPOILER ALERT] The Netflix horror trilogy concludes with a trip to 17th-century settlers, when the town was known as Union - not Sunnyvale or Shadyside. We finally meet the notorious Sarah Fier (played both by Kiana Madeira and Elizabeth Scopel) and learn what happened all those years ago for her to become a killing legend over 300 years later and how the curse originated. Taking on a different tone and style for Fear Street Part 3: 1666, director Leigh Janiak has less reference points to work with to keep his audience engaged. Whereas parts 1 and 2 were able to ground themselves in 90s and 70s popular culture respectively, we are given the full Crucible works here, meaning there is less gimmickry to rely on. One reference he does bring is the actors. Choosing to play the characters using some of the same actors from parts 1 and 2 who had different roles was a bold choice and one that is not without its shortfallings. Viewers may find it harder to separate the varying plotlines (ones interweaved over 300 years and 3 films) when the actor plays two completely different characters, it is disjointing at times and seemed to rob Part 3: 1666 of its own dramatic merit. That being said, Fear Street Part 3: 1666 is arguably the most emotionally satisfying of the trilogy. Yes, we get answers to a lot of questions but also there is something more fundamentally appealing about the earlier setting. The ghost-story nature seems so much more at home in 1666, where characters are genuinely terrified of curses and God smiting them. And when events jolt back to 1994, and we pick up with Deena’s desperate search for a cure for her girlfriend Sam (Olivia Scott Welch), everything feels more at stake because we now have centuries worth of investment and pathos. The inevitable showdown between the varying ghouls and killers of Shadyside from over the years and our gang of heroes takes place in a veritable smorgasbord of theatrical fighting and Home Alone-Esque tactics, all within a shopping mall. This was the perfect thrilling end to the trilogy, creating a perfect battleground to bring all the nasties into one final bloodbath (quite literally). Never before, as far as this film critic knows, has a set of horror films been released in this way. Capitalising on the streaming preferences of modern audiences, the weekly release of a franchise was a risky move for Netflix, but one which is certainly successful with the Fear Street films because of the nature of the storytelling. Jumping backwards was also a smart move and handled intelligently - how to get audiences caring about each instalment when we already know where it ends up? The films are generous with their kills and spills, crammed full of essential rock tracks (Part 3 features The Offspring - check), and move quickly enough to avoid unnecessary “breathers” for the audiences which dampen the pacing and atmosphere. They also don’t shy away from heavy themes (police brutality, class issues, gender inequality) but allow them to organically unfold within the narrative rather than be pinned to the script like an afterthought. Part 3: 1666 is a wickedly thrilling culmination to an impressive horror franchise, boasting intelligent storytelling, sumptuous horror, and a memorable thematic depth. #ChrisOlson

★★★★ Directed by #MichaelSarnoski Written by #VanessaBlock #MichaelSarnoski Starring #NicolasCage #AlexWolff #AdamArkin Film Review by Hope Madden A quick plot synopsis of co-writer/director Michael Sarnoski’s Pig suggests a very specific image. Nicolas Cage plays a hermetic truffle hunter whose beloved pig is kidnapped. He uses his particular set of skills to find her. You are almost undoubtedly thinking this is John Wick, swapping Cage for Keanu and a pig for a puppy. Nope. This touching film—a tale of love, loss, authenticity and a good meal— is essentially the anti-John Wick. And we are better for it. Cage’s legacy will rightfully be of an unhinged and singular talent—and also an actor who never turns down a gig. But every decade or so the stars align and Cage gets to stretch, he gets to underact. He hasn’t delivered as nuanced or thoughtful a performance since David Gordon Green’s 2013 film Joe. Lurking, silent and disheveled, his character hitches a ride with the only soul who contacts him regularly, Amir (Alex Wolff, Hereditary), the slick wholesaler who takes his truffles off his hands each Wednesday. As the two climb the ladder of potential kidnappers, from other outdoorsy truffle hunters to middlemen to chefs and higher still, Sarnoski mimics the beats of a vengeance thriller like John Wick or Taken, but he does this only to subvert expectations. It turns out, when your only real goal is to retrieve something beloved and lost to you, bloodshed doesn’t rank high in your thoughts. A uniformly strong supporting cast and their priceless reactions to Cage’s vagabond presence not only illuminate the pretension Sarnoski hopes to call attention to in Portland’s high-end restaurant culture. They give the actor the chance to react. Cage is almost always the center of attention in every film. It’s tough to look away from him because you’re afraid you’ll miss some insane grimace or wild gesture, but also because filmmakers love him and never pull away. Sarnoski asks you to wait for it. He gives Cage time to pause, breathe, and deliver his most authentic performance in ages. I guarantee the folks to my left at this screening were here for Cage Uncaged! ™ Hopefully they appreciated the fact that they didn’t get it. #HopeMadden

★★★★ Directed by #JorgAdolph #JanHaft Written by #JorgAdolph #JanHaft Starring #PeterWohlleben Film Review by Brandon Thomas Based on the 2015 book of the same name, The Hidden Life of Trees is a fascinating documentary that explores the complexity of how trees live, and how human beings have learned – and sometimes failed – to understand their slow-moving life cycles. Jörg Adolph and Jan Haft’s film follows self-described “guardian of the forest,” forester Peter Wohlleben (also the book’s author) through a series of interviews and tours as he describes the complicated lives of trees – from their reproduction, their slow defense from bugs, and how certain trees have a social system. Wohlleben’s approach isn’t off-putting in a dry, clinical way – it’s full of passion and even protectiveness. The Hidden Life of Trees uses stunning time-lapse footage of the German forests to get into the “meat and potatoes” of how trees work. It’s incredibly helpful in making the subject matter easily digestible for viewers who don’t have knowledge of the inner workings of forests. This “dual personality” approach to telling its story helps The Hidden Life of Trees maintain a level of nimbleness. The sections focusing on Wohlleben teeter back and forth between the forester espousing scientific facts then suddenly switching to a more philosophical approach in regard to his overall impact on forestry. Wohlleben’s activism doesn’t feel born out of desperation. His activism is born out of pure love of the forests. The time-lapse scenes feel much like a traditional nature documentary, and I half expected Sir David Attenborough to provide narration. The photography is so well done that it’s easy to gloss over the information being provided because of the film’s beauty. Much of what makes the film work is in how it approaches what we might normally think of as mundane. Trees are a constant. They are found in every country and on nearly every continent. Most of us don’t give too much thought to the trees that line our street or populate our yards. But Adolph and Haft showcase that these living beings have agency even if we can’t see it with the naked eye. The Hidden Life of Trees isn’t a preachy film. No, for a film so steeped in the plight of nature and conservation, it’s much more interested in educating and guiding the audience along. #BrandonThomas

★★★★ Directed by #HeidiEwing Written by #HeidiEwing #AlanPage Starring #ArmandoEspitia #ChristianVazquez Film Review by Hope Madden If the final act of I Carry You with Me has a documentary feel about it, that makes good sense. Director/co-writer Heidi Ewing—known primarily for docs including Jesus Camp and The Boys of Baraka—takes on her first narrative feature by spinning a love story based in fact. Ewing’s subjects, Iván Garcia and Gerardo Zabaleta, are NYC restauranteurs who fell in love in Mexico in the 1990s. Though Ewing grounds her fable in their present day, the bulk of the film waxes youthful and romantic back in Mexico. Young, closeted Iván (Armando Espitia) dreams of putting his culinary skills to use so he can provide for his young son, whose mother rarely allows him to visit. He meets Gerardo (Christian Vazquez) and they fall in love, but dreams of the success that evades him at home propel Iván north. And though the film’s title aptly captures the longing between separated lovers, it carries with it a great deal more. Ewing conjures the phantom ache that follows Iván the rest of his life without his son, his family and the home he knew. Yes, the film, co-written with Alan Page, leads inevitably to the couple’s modern-day dilemma. They’ve worked their way up from nothing, lived and achieved the American dream, but are essentially caged. Iván’s son has grown up without him. He will never be allowed to come here, and if Iván returns to Mexico to see him he risks losing Gerardo and his American dream forever. I Carry You with Me never feels like a blunt instrument. In much the way Ewing did with her documentaries, she weaves true tales with humanity and honesty so they resonate. A documentary’s best chance of affecting change is by helping an audience see themselves in the lives on the screen. Ewing did that with her many docs. She does it again here. #HopeMadden

Filmmaker Interview by Chris Olson You were recently the Producer on the feature film, The Placebo. What can you tell us about the film and how you came to be involved? The Placebo is a very simple plot that highlights a very complex story. It is based on an existential theme concerning the lives of two brothers. One is a struggling writer, and the other is a well-established medical professional. The film chronicles their relationship following the traumatic events of a divorce. We acquired the script in 2019 and went on to shoot it in the later part of first quarter 2020 – just before the first lockdown. My involvement was in managing pre-production preparations, project managing the shoot and managing postproduction workflows. Why did you want to be part of this production? It was a good script with interesting if complex themes. Taking part in the realisation of the script and the processes of turning those topics into a final product was both challenging and informative. What were your duties as a Producer? As a producer, I worked on assembling a creative team who would be passionate about the script and project. Working with the director to bring on key creative partners such as director of photography, casting and many more head of departments. My responsibility was to hire a line producer to put together a budget with myself and the schedule. Offer advice and sign off on all major creative decisions. My main responsibility was to manage all logistics and business operations furthermore, supervise all aspects of physical production through the production staff and finally making sure a production is on schedule and under the stated budget. What have been the challenges getting Placebo made and out to audiences? The biggest challenge over the past year for us has been Covid, as it has for everyone. We were very fortunate in completing the shooting before the first lockdown kicked in properly, however even then there were constraints being imposed. The difficulty in physical presence collaboration and switching to a virtual/zoom based postproduction environment did lead to frustration and delays. What's next for your production company, Babs Production? We have a feature film nearing completion in post-production at the moment; no release date as yet. A complete contrast to The Placebo it is a gory horror film. We are also in pre-production for another feature shooting this year concerning the media and contemporary relationships. Which filmmaker(s) would you most like to work with and why? One of the aims of Babs Productions is to foster and encourage new talent as well as established but under-utilised talent as far as possible. Whilst it would be a dream to work with the auteurs and celebrity names of the profession, the majority of the material we seek to produce is perhaps better suited to talented but lesser-known individuals. Why do you make movies? Making movies is fun, hard work, relaxed, pressurised, interesting and boring. It's rewarding and frustrating. It's real but not real. Its life. What would you say if you were a dolphin? “The fish needs more garlic”. #ChrisOlson #FilmmakerInterview

★★★★★ Directed by: Johnathan Levine Written by: Jacob Forman Starring: Amber Heard, Anson Mount, Whitney Able and Michael Welch Throwback Film Review by: Rachel Pullen All The Boys Love Mandy Lane (2006) Film Review This movie was screened at the Midnight Madness event at the Toronto Film Festival to a sold-out crowd, it gained a loyal audience which led to an inevitable bidding war between studios, it got sold…to a company that went out of business and stuffed it in a vault, where it sat until 2013…and that is where I come in. All The Boys Love Mandy Lane become one of those films that I had heard of and started to go mad waiting to see it; it was the story of two friends called Mandy and Emmet who decide to take out the ‘’jocks’’ at school after she had blossomed over summer to become a total hottie. That was, of course, completely unobtainable, these boys are stupid, always go for someone lower than you in the food chain, that way you can stay the real alpha. Mandy is treated like cattle, something to be observed and bought by the bidding men, trying to out macho each other. Mandy joins them on a weekend away at a family holiday home, whereby Emmet slowly takes them out one by one, hoping to please Mandy before fulfilling their ultimate plan, as we can tell at this point, Emmet is quite the simp for Mandy Lane. But of course, because he is pitching a trouser tent for Mandy she is all disgusted by him, and once he comes to the end of his kill fest, he hopes Mandy will kill herself with him like they planned…and she was like…Nah - typical woman, always changing her mind, and so she then shanks him up and makes it appear as if she is the victim all along…nice. This movie has everything, as you can already tell, an interesting and engaging storyline, a teen horror flick with a twist, a director who loved that 70s slasher feel and employed it into every detail of the film, the orange and yellow colours are everywhere to give it an old school vibe, furniture, cars as well as the character aesthetics have a subtle yet effective sprinkling of that retro flair, and combine that with vast cornfields and the right amount of sun flares, and you got a film oozing style. Its steady and relaxed pacing means you can immerse yourself into the characters enough to feel invested in their deaths, not something that teen slasher flicks tend to regularly do. It’s around 40 minutes before the first person dies in this movie, so we really, as an audience, have had the time to decide who we want to survive and who we want to die…I wanted them all to die but Emmet, I’m a sucker for a killer simp. So many great movies seem to go under the radar, and when I get into yelling about the failures of Hollywood blockbusters vs the underdogs of the movie world, All The Boys Love Mandy Lane is always a film I pull out of the bag, and for good reason, (that and Session 9, never forget my love for that film). Stylish, immersive, and compelling, All The Boys Love Mandy Lane takes a mature approach to the teen slasher genre. #RachelPullen

★★★ Directed by #MalcolmDLee Written by #JuelTaylor #TonyRettenmaier #KeenanCoogler Starring #LeBronJames #DonCheadle #CedricJoe Film Review by George Wolf You think the GOAT debate about hoop gets heated? Just wait ’til your twitter thread blows up with hot takes on the thespian greatness of Jordan vs. LeBron! Yeah, that’s not likely to happen. I can tell you Don Cheadle is a great actor, and he’s clearly having a ball as the high-tech heavy in Space Jam: A New Legacy. Cheadle is Al G. Rhythm, a (what else?) algorithm inside the Warner 3000 computer system that has designed a can’t miss WB idea for LeBron James. But LeBron is not impressed, so Al decides to get even by pitting LBJ against his own 12 year-old son, Dom (Cedric Joe). Dom is actually more interested in video game design than basketball, but feels pressured by his superstar Dad to follow in the family business. Al seizes on this rift, pulling father and son into the virtual world, stealing Dom’s design for a basketball video game, and offering a deal. You guessed it: classic Tunes (featuring Zendaya voicing Lola Bunny) vs. some brand new Goons (basketball superstars including Anthony Davis, Damian Lillard and Diana Turasi). A win for the Tune Squad puts the James family back to normal, but a loss means they’ll stay in the “server-verse” forever. Adding WNBA stars and a new look for Lola are just two of the ways director Malcolm D. Lee (Girls Trip, The Best Man franchise) and the writing team succeed with an updated premise required for new sensibilities. Sure, the resolution of the father-son tension is predictable, but it manages a schmaltzy level of resonance amid the cartoon nuttiness that we’re really here for. The antics of your favorite Looney Tunes characters (aside from an ill-advised, rapping Porky Pig) are classically looney, but the script also scores with some topical, self-aware humor aimed at the digital age, a classic Dave Chappelle bit, and LeBron himself (Dom: “Did my Dad leave?” Al: “That’s what he does, isn’t it?”) And while the original ’96 Space Jam always smacked of product placement marketing, A New Legacy ups that ante, dropping LBJ and friends into any number of Warner properties, from Casablanca to Rick & Morty. Shameless, yes. Fun? Also yes. As for King James, he follows that standout cameo in Trainwreck with a lead performance that alternates between awkward and decent. He does bring more natural onscreen charisma than Jordan (there’s reason MJ barely speaks in his TV ads), but I’m guessing the task of acting opposite cartoons didn’t help with James finding a comfort zone in his first lead role. But LeBron sure looks at home on the court, and once everybody joins him (and I mean everybody – have fun scanning the crowd), Lee rolls out some frantically fun game action with plenty of visual pop. This Space Jam may follow some of the original’s playbook, but there’s enough “new” here to justify the title, and by the time the buckets and anvils start dropping, A New Legacy finds its own fun and satisfying groove. #GeorgeWolf

★★★★ Directed by #CarlosLopezEstrada Written by #PaolinaAcunaGonzalez #JasonAlvarez #AustinAntoine Starring #AustinAntoine #MarqueshaBabers #BryceBanks Film Review by George Wolf Near the end of director Carlos López Estrada’s impressive 2018 debut feature Blindspotting, Daveed Diggs unleashes a blisteringly beautiful rap monologue. Estrada showcases the raw, extended wordplay to lay bare a character’s journey and a film’s soul. Now, after joining the directing team on Disney’s enchanting Raya and the Last Dragon last year, Estrada returns to solo work – as well as the streets – with Summertime, an uplifting celebration of urban poets “spitting that emotional fire” amid an interconnected assemblage of L.A. stories. Anewbyss & Rah (Bryce Banks & Austin Antoine) are a rap duo trying to build a following. Gordon (Gordon Ip) is tired of working in a burger joint. Brokenhearted Sophia (Maia Mayor) is stalking her ex-boyfriend and finds a kindred spirit in the thoughtful Marquesha (Marquesha Babers). Mila (Mila Cuda) is standing up to a bus riding homophobe while Tyris (Tyris Winter) is just searching for a good cheeseburger and documenting his quest on Yelp. These are but a few of the many compelling personalities in this magnetic mosaic of poems, images, cultures and identities. Estrada weaves together the work of twenty-six different poets, each one spitting emotional fire to spare. Anchored proudly in the City of Angels, Summertime drops the beats of a grittier West Coast bookend to In the Heights. There are dreamers of diverse backgrounds here, too, though these are the more openly wounded variety, finding comfort from channeling the hurt into writing. But as raw as those wounds can get, the performers never abandon the humor, joy and hope that comes from upending conventions about who they are, where they’re from, and what they have to offer. So many different threads in one 95-minute tour of L.A. probably shouldn’t work this well. Credit Estrada’s balanced vision and his wonderful cast of artists for making sure that stopping, looking, and listening to Summertime is a thoroughly rewarding thing to do. #GeorgeWolf

★★★★ Directed by: Charlotte Blom Written by: Charlotte Blom, Mette M Bolstad Starring: Marie Blokhus, Pal Sverre Hagen, Jannike Kruse, Ine Marie Wilmann Film Review by: Jason Knight A story about the life of a girl and the challenges she goes through being raised by irresponsible parents. The film begins in 1981, with Liv and Terje getting married, who already have a baby daughter named Diana. They move into their new home and meet Jan and Unni, their new neighbours, who live next door with their own daughter Irene. As the years go by, Terje and Liv become close friends with their neighbours and have another child Cato. However as parents, they are not the best role models. They argue constantly and do not pay enough attention to their children, leading to all sorts of embarrassing and awkward situations. As a result, Diana chooses to stay away from them, preferring the company of Irene, with whom she forms a strong bond as time passes. This Norwegian comedy-drama looks into a dysfunctional family and how it affects a child's psychology. It explores themes of parenthood, growing up, marriage, friendship and love. The main focus is the relationship between Liv and Terje who, throughout the film contradict each other and scream in each other's face, even though they love each other. Jan and Unni also have their own issues, acting childishly. Generally both married couples are presented as wrongdoers, while their children seem to know better. Overall, the protagonists deliver rather convincing performances, with Blokhus and Hagen putting on a good show as a couple whose relationship is on the edge and credit also goes to Kruse for her portrayal of an unhappy housewife. The are many scenes of confrontation, primarily between Terje and Liv and some of them are heartbreaking. It is upsetting watching the couple argue and their daughter becoming more and more distant, however there are also funny and uplifting moments. There are also jokes of a sexual nature and brief nudity. The film includes references to Diana, Princess of Wales and the title might make some people think of the wedding of Prince Charles and Lady Diana Spencer and they would be right, as the film contains footage of the wedding the day Terje and Liv marry, which happens to be the 29th of July 1981, the same day as Lady Diana's wedding. The movie also includes footage of Diana's sons and references her tragic passing. Of course, there is also the fact that the daughter's name is Diana. Sometimes emotional, sometimes humorous, this feature is an interesting viewing that deserves attention. With great acting, an intriguing narrative and an entertaining soundtrack, it provides an experience that is worth pursuing. #JasonKnight Diana’s Wedding will be available on Digital Download from 19th July

★★★ Directed by: #ChrisMcKay Written by: #ZachDean Starring: #ChrisPratt, #JKSimmons and #YvonneStrahovski Film review by: Brian Penn The concept of time travel has been frequently plundered by film makers over the years. The possibilities are endless if we suspend our disbelief for long enough. Surely the safer option is to visit the past where our 21st Century nous can see us through any rough patches. The more dangerous option is a journey into the future; unknown territory fuelled by evolution and intellectual advancement. But what happens when the future visits us in the present with an apocalyptic vision? It’s obviously time for Chris Pratt to flex his superhero muscles with a trusty automatic weapon to hand. I’m fighting it but my disbelief is already breaking loose. The story begins in 2022 on the evening of the World Cup Final in Qatar. And wouldn’t you just know it soldiers arrive from 2051 to announce that life is on the brink of extinction. We learn the human race is fighting a war with alien invaders called the Whitespikes. The only hope is for soldiers from the present to save humanity in the future. Biology teacher and former Green Beret Dan Forester (Chris Pratt) watches the TV in disbelief and utters a line that is strangely prophetic, ‘this is a joke’. I couldn’t help thinking the same thing as a fanciful plot slowly weakens the film’s credibility. Thousands are transported to the future as a bloody war begins. However, few soldiers return and a compulsory worldwide draft is sanctioned. Draconian measures are implemented as Forester is drawn in and selected for special assignment. Time and space mean that Forester’s commanding officer in the future is his own daughter Muri (Yvonne Strahovski). Dan makes it back to the present armed with intelligence on the enemy. But needs expert help so turns to his errant father (J.K. Simmons) to save the world from destruction. For all its faults the Tomorrow War is strangely watchable. The combat sequences are genuinely gripping as the film maintains a powerful aesthetic. But when the light show finishes it is little more than science fiction by numbers. The narrative is crying out for more humour and the excellent J.K. Simmons is used too sparingly. The film lacks identity and feels more like a hybrid of Alien and War of The Worlds. Sadly it’s not even the same sport let alone the same ballpark. But will keep fans of the genre happy and don’t doubt the sequel is already on the storyboard.

★★ Directed by #MartinWilson Written by #MichaelBoughen Starring #KimieTsukakoshi #KatrinaBowden Film Review by Hope Madden It’s Shark Week! What’s the best way to celebrate? Watching Jaws, obviously. But maybe you just did that because of the mandatory 4th of July weekend viewing. Then what? Well, there’s a new movie for you to consider: Martin Wilson’s Great White. There are so many shark movies. So, so many. It becomes tough to find something new to say. Some are better than expected (The Shallows), some so bad they are almost worth watching (Sharknado), some masterpieces (Jaws, Open Water). Great White is none of those. Michael Boughen’s script follows an Australian charter boat into unfriendly water. Cruisers include a rich coward, a haunted hero, a woman with history, a cook, a girlfriend, and, of course, a great white. Wilson serves up a beautiful movie, beautiful people, gorgeous scenery, Hallmark-channel writing, and a Hallmark-channel score. The actual undersea footage is very borrowed from stock, although there are some cool looking aerial shots. Plus, a dude rides a shark, which is never not fun. Katrina Bowden, as captain’s girlfriend and brains of the operation Kaz, poses. She exclusively poses and her emoting is so bereft of emotion that her big crying scene is shot from high above with voiceover wailing. It doesn’t help that so very much of her emoting has to be done underwater. So much underwater emoting. So much. Woman with a past Michelle (Kimie Tsukakoshi) fares better. Most—though not all—of her emoting happens above the waterline and she proves to be as competent an actor as this script will allow. Great White spends most of its time on a life raft with five characters and impending doom. Lifeboat did something similar in 1944—of course that was Alfred Hitchcock directing a script by John Steinbeck, a big vessel to fill. Wilson fills it with lazy writing, superficial performances, contrivance and conveniences that descend into idiocy, and not the fun Sharknado kind. Just the plain old idiotic kind. #HopeMadden