On Blu-ray/DVD/VOD: THE POSTCARD KILLINGS (2020) and LAST MOMENT OF CLARITY (2020)

THE POSTCARD KILLINGS
(UK/US/Germany - 2020)

Based on the 2010 novel The Postcard Killers, a collaboration between America's James Patterson® and Sweden's Liza Marklund, THE POSTCARD KILLINGS manages to be both a post-SE7EN serial killer thriller and the kind of wintry Scandinavian mystery that came in the wake of Stieg Larsson's best-selling phenomenon The Girl with the Dragon Tattoo. And for about 45 minutes, it's a terrific, expertly-crafted nailbiter that would've been a huge hit a decade and a half ago. But after an unexpected, gasp-inducing bait-and-switch that you won't see coming, the film loses the thread, stumbling and bumbling along with contrivances, confusion, and sloppy editing on its way to a dumb and unsatisfying conclusion, almost as if another team of filmmakers came in to take charge of the second half. NYC homicide detective Jacob Kanon (Jeffrey Dean Morgan) is in London to claim the bodies of his murdered daughter and son-in-law, who were just married and on their honeymoon when they became the victims of a deranged killer who "posed" them in an embrace, with their eyes pinned open, an arm (not belonging to either of the them) stuffed in the son-in-law's mouth, and his daughter's left hand missing, among other disturbing details. A postcard was sent to a London journalist and Kanon learns from the unhelpful inspector in charge (Steven Mackintosh) that a similar M.O.--newlywed couple murdered and posed, dismembered body parts from another killing, a taunting postcard sent to a journalist--was recently found in an almost identical case in Madrid. Stonewalled over his repeated attempts to take an active role in the investigation, an irate Kanon heads to Berlin after another newlywed murder happens there and gets more collaborative cooperation from rumpled Inspector Bublitz (Joachim Krol). Then he ends up in Stockholm after American expat journalist Dessie Lombard (Cush Jumbo of THE GOOD WIFE and THE GOOD FIGHT) gets a postcard before police discover a nearly identical crime scene, at which Kanon's daughter's knit hat was placed in the hands of one of the victims.

There's a parallel storyline involving...well, let's not get into that. The victims are staged like art exhibits currently in museums in the city where each killing occurs, and they're done so in such horrifically macabre ways that bring to mind an episode of HANNIBAL if directed by a young Dario Argento. Morgan does a fine balancing act of being overcome with grief and seething with entitled American rage when one European cop after another won't let him have his way and allow him to take over the investigation. Of course, he ends up doing that anyway, and  he and Jumbo establish a nice rapport and make a solid detective team. But they're let down by an abrupt shift in direction after that whopper of a mid-film reveal, and things just start to get silly, like a typical episode of a CBS police procedural or any one of these elaborate serial killer potboilers where the murderers have way too much time on their hands. Making his first English-language film since 2009's neglected and barely-released TRIAGE with Colin Farrell and Christopher Lee in a great late-career performance that almost nobody's seen, director Danis Tanovic (a Best Foreign Language Film Oscar-winner for 2001's NO MAN'S LAND) just falls asleep on the job in the second half, introducing an incarcerated Wall Street asshole (Denis O'Hare) and having no idea what to do with Famke Janssen as Kanon's ex-wife, who seems to be off in a completely different movie most of the time. And the end lands with a complete thud, made even more frustrating by the door being left open for a sequel. It's enough to make you wonder if something went wrong in post-production or if it was just too many cooks in the kitchen, with Marklund one of five credited screenwriters and Morgan among the small army of 28 producers. (Unrated, 104 mins)



LAST MOMENT OF CLARITY
(UK - 2020)

A ludicrous thriller being simultaneously dumped on VOD and Blu-ray after two years on the shelf, LAST MOMENT OF CLARITY is admirably resourceful in the way it manages to pass Norfolk, VA off as NYC, Los Angeles, and Paris (!), but that kind of ingenuity doesn't extend to its asinine plot. Sam (blank void Zach Avery) has been living a solitary life in Paris (played by Norfolk's Freemason District) in the three years since the death of his girlfriend Georgia (READY OR NOT's Samara Weaving), who perished in a NYC gas leak explosion caused by a stray bullet when gunmen entered their apartment and started shooting. He managed to escape and flee overseas and now works at a cafe owned by Scottish expat Gilles (Brian Cox, who must've happened to be in Norfolk that day). Gilles doesn't know Sam's troubled past, but admonishes him to forget about whatever happened and move on. But Sam can't, especially after he goes to see a movie and one of its stars looks exactly like Georgia, only with blonde hair. He Googles the actress, Lauren Creek (also Weaving) and finds that she's a model, tabloid fixture and rising movie star in the States. Convinced Lauren is Georgia, Sam packs his bags and heads to L.A. He attempts to crash her latest movie premiere but is recognized by Kat (MR. ROBOT's Carly Chaikin), a gofer for Lauren's PR firm who happens to be the long-forgotten little sister of Sam's best friend in high school. They catch up, but Kat isn't buying his story, especially after she tries to arrange an introduction at the post-premiere party and Lauren doesn't recognize Sam. Undeterred, Sam persists in trying to prove Lauren is Georgia, even following her and her fiance Vince (Hal Ozsan) to a bar and selecting Willie Nelson's version of "Georgia On My Mind" on the jukebox to get her attention.

That's a bit too on the nose, but nothing about LAST MOMENT OF CLARITY, is subtle or smooth, especially the eventual involvement of some Eastern European gangsters led by cancer-stricken Ivan Denisovki (Udo Kier), and more background info that Sam keeps from Kat until it's convenient for the plot. With its rampant stupidity and a surprising amount of nudity from Weaving, LAST MOMENT OF CLARITY often feels enough like a deliberate throwback to an early '90s DTV erotic thriller that you almost expect it to open with the Prism Entertainment logo. But the sibling writing/directing team of Colin and James Krisel can't stop tripping over their own feet, telegraphing twists way too early, and never explaining why someone on the run and hiding from a ruthless crime organization would decide that becoming a model and movie star, and being in the tabloids after altering nothing about their appearance beyond switching from brunette to blonde and removing two tiny tattoos would be the ideal way to lay low. Weaving is uncharacteristically dull, though at least Kier gets to shout "What do you know about death?" giving you brief hope that he'll resurrect his signature line from 1973's FLESH FOR FRANKENSTEIN. Otherwise, LAST MOMENT OF CLARITY gets its biggest boost from Chaikin, who turns in a terrific performance in an otherwise lousy movie. She imbues her character with a sense of humor that's snarky without being affected, and does a great job of conveying the seen-it-all jadedness of L.A. without turning the character into a cartoon. She does a lot with just a look and works wonders with a throwaway line (when Sam asks why she's helping him, Kat replies "Because you rejected me and I'm just sick enough to be attracted to that"), and ends up becoming the film's most compelling character. The Krisels try to develop some intriguing parallels between Lauren and Kat, but not enough to do justice to Chaikin's efforts. It's also perfectly fitting that Chaikin gets the line that perfectly sums everything up, at one point screaming "This is so fucking dumb!" (R, 90 mins)

On Blu-ray/DVD/VOD: THE ASSISTANT (2020) and GUNS AKIMBO (2020)

THE ASSISTANT
(US - 2020)

A quietly harrowing, unsettling day-in-a-workplace drama that's rooted in the Harvey Weinstein scandal, but takes an abstract, minimalist, and at times ambiguous approach. Ambiguous in the sense that it doesn't specifically deal with Weinstein per se, but someone very much like him, and he's also never seen onscreen. He's heard on occasion, whether it's a muffled voice behind a closed door from which a browbeaten underling might emerge, or on a profane tirade over the phone. This figure is referred to only as "Him," and he's a high-powered movie exec in a NYC office that's a powderkeg of toxicity, bullying, enabling, and gaslighting. It's seen through the eyes of Jane (OZARK's Julia Garner, who's phenomenal here), a recent Northwestern grad who's one of three office assistants and, as the newbie who's been there for less than two months, she's the first one in and the last one out every day. She Ubers in from Astoria seven days a week, makes the coffee, turns on the lights, boots up the computers, makes the copies, gets the mail, books the flights and hotel rooms, signs the invoices, handles accounts payable, and does extra tidying that the janitorial crew might've missed. Things like a lone earring on the floor of his office, or scrubbing out an odd stain on the couch. The other two higher-seniority assistants--both men (Jon Orsini, Noah Robbins)--often treat Jane as their assistant, though it's arguable that their actions would be the same if she was a man. When she incurs his wrath, they're sympathetic and help her write the apology e-mail he demands, almost like they're giving her a lesson in how to placate him from their own experience.

Seemingly mundane occurrences all very methodically reveal a pattern of manipulation and abuse that's been heaped on everyone to varying degrees, and writer/director Kitty Green, a documentary filmmaker (2017's CASTING JONBENET) helming her first narrative feature, goes for an almost JEANNE DIELMAN-level of cold detachment and subtle screw-tightening. Things get really tense when a new assistant named Sienna (Kristine Froseth) arrives from Boise, where the boss recently attended a conference. Sienna is a waitress with no clerical experience, and Jane is bothered that she's been booked into a posh hotel while she gets settled. She takes her concerns to the company's HR head (Matthew Macfadyen) in a brilliantly-executed ten-minute nerve-shredder of a sequence that's one of the most troubling and infuriating scenes in recent memory ("Don't worry...you're not his type"), one that doesn't really sell you on trusting your HR rep in a workplace where everyone is trying to stay on the boss' good side, but also serves as the film's turning point that leads to Jane realizing her own complicity in what everyone at the office knows is going on (watch them all snicker when someone jokes "Don't ever sit on the couch!"). THE ASSISTANT is a film that sneaks up on you and has your stomach in knots, its intensity almost feeling like a horror film at times (the voice of the boss is provided by veteran character actor Jay O. Sanders, and he sounds almost gutturally demonic at times). It's a devastatingly merciless clinic on systemic workplace abuse and many online comments section detractors missed the point when they felt that Green pulled her punches by not going after Weinstein by name. It's not meant to be about Harvey Weinstein. It's about a mindset and a culture that allowed something like Weinstein to happen. And it's best film of 2020 so far. (R, 87 mins)



GUNS AKIMBO
(Germany/New Zealand - 2020)

Like a decade-late tribute to the collected works of Neveldine/Taylor, GUNS AKIMBO puts Daniel Radcliffe through the paces of a CRANK and GAMER mash-up with a touch of SHOOT 'EM UP and WANTED that feels like it was scripted by a Mountain Dew Kickstart thread on 4chan. In the dystopian near future of Shrapnel City, Miles (Radcliffe) hates his job coding for phone app games with titles like "Nut Bust 2," is routinely humiliated by his boss, and still pines for Nova (Natasha Liu Bordizzo), the ex who dumped him. His life changes when he stumbles on an online underground snuff/fight club called "Skizm," which pits real people in kill or be killed situations, all captured by drone cameras and livestreamed to their rabid base of subscribers. After engaging in some anonymous shit-talking online, some goons show up at Miles' apartment, knock him out, and he wakes up with guns crudely bolted to his hands with an accompanying text message: "Welcome to Skizm. Your opponent is Nix." Nix is the introduced with the caption "This is fucking Nix," and she's a feral, unstoppable killing machine played by Samara Weaving, who's been so good in cult movies like THE BABYSITTER, MAYHEM, and READY OR NOT, and here looks like Klaus Kinski as a future noir Aguirre. As Miles tries to maneuver his way around with guns attached to his hands (cue shock value joke shot of Harry Potter's prosthetic dick flopping around as he tries to take a piss), Nix turns up everywhere tries to hide, derisively calling him "Fuck Boy" and leaving a trail of destruction and snarky bon mots in her wake ("Suck my clit!"). After a pair of Shrapnel City cops (Grant Bowler, Edwin Wright) try use him as bait to nab a fugitive Nix, Miles and Nix ultimately reach a tentative truce, forming an unholy alliance when Skizm mastermind Riktor (Ned Dennehy) kidnaps Nova around the time Nix discovers Riktor's been keeping a secret from her about her past.

There's a few clever ideas and legitimate laughs (Nix going berserk when a dudebro tells her "You should smile more"), but GUNS AKIMBO runs out of gas pretty quickly, opting to get more loud and obnoxious the longer it goes on. Even Weaving's crazy act, quite entertaining in the early going, wears out its welcome by the end, and before that, there's the requisite stupid needle drops, with action scenes set to aggro techno covers of Dead or Alive's "You Spin Me Round (Like a Record)" and Sweet's "Ballroom Blitz," plus Rick James' "Superfreak," and Stan Bush's "Never Surrender" from the 1989 JCVD classic KICKBOXER. As prefab cult movies go, you could do worse, but there's just not much here when it's all said and done. If GUNS AKIMBO is remembered at all--and it won't be--it's for writer/director Jason Lei Howden (DEATHGASM) having a pre-VOD release social media meltdown that saw him getting banned from Twitter and then launching attacks from Saban Films' official GUNS AKIMBO Twitter account instead. There's more to it than that, but honestly, who gives a shit? (R, 97 mins)

In Theaters: READY OR NOT (2019)

READY OR NOT
(US - 2019)

Directed by Matt Bettinelli-Olpin and Tyler Gillett. Written by Guy Busick and R. Christopher Murphy. Cast: Samara Weaving, Adam Brody, Andie MacDowell, Henry Czerny, Mark O'Brien, Melanie Scrofano, Kristian Bruun, Nicky Guadagni, Elyse Levesque, John Ralston, Liam McDonald, Ethan Tavares, Hanneke Talbot, Celine Tsai, Daniela Barbosa, voice of Nat Faxon. (R, 95 mins)

"Fucking rich people." 

That's the central theme of READY OR NOT, the strongest effort yet from the filmmaking collective known as "Radio Silence," consisting of directors Matt Bettinelli-Olpin and Tyler Gillett, and producer Chad Villela, whose work will be familiar to fanboy-approved anthologies like V/H/S and SOUTHBOUND. Their debut feature film was 2014's uninspired and instantly-forgotten DEVIL'S DUE. READY OR NOT seems a little familiar at the outset--with a set-up that's reminiscent of the excellent YOU'RE NEXT, which opened exactly six years ago--but it soon goes its own way, almost like a satirically-charged old dark house horror movie about the extent to which the wealthy will go in order to protect their fortune and privilege that's part CLUE and part MOST DANGEROUS GAME. It's wildly entertaining and contains maybe the most hilariously bonkers finale of the summer, but what really makes READY OR NOT something special is a star-making performance by Australian actress Samara Weaving. Perhaps best known for the Showtime series SMILF, Weaving (Hugo is her uncle) has been making a name for herself in cult horror circles with the 2017 Netflix original THE BABYSITTER, which was better than a movie directed by McG has any business being, and she was the only good thing about the obnoxious splatter horror comedy MAYHEM.

Weaving is a force of nature in READY OR NOT. She plays Grace, an orphan who grew up in a series of foster homes and has always longed for a permanent family to call her own. She gets that when she marries Alex Le Domas (Mark O'Brien), a scion of the Le Domas "dominion," an obscenely wealthy family of billionaire one-percenters whose past generations made their fortune in the board game industry, allowing the current patriarch, Alex's father Tony (Henry Czerny) to be the proud owner of four professional sports teams. Self-conscious Grace is concerned that she's being perceived as a gold-digger who's only in it for the money, but Alex has long been the black sheep who willingly distanced himself from the family, and for that, his mother Becky (Andie MacDowell) is grateful to Grace for convincing him to return home. It's a beautiful wedding at the expansive Le Domas mansion but Grace's perfect wedding night hits a snag when Alex informs her of a longstanding family tradition: when someone new joins the family, they have to play a game at midnight, all part of an agreement Tony's great-grandfather made with a mysterious "Mr. Le Bail" that was soon followed by success and fortune. The game is a way to honor that deal and the new family member chooses a card. It all seems like harmlessly eccentric family fun--they played Go Fish when Charity (Elyse Levesque) married Alex's cynical, alcoholic older brother Daniel (Adam Brody), and Fitch (Kristian Bruun) led a game of Old Maid when he married Emilie (Melanie Scrofano), the youngest of the three Le Domas offspring. But Grace draws Hide and Seek, which produces a palpable wave of unease, starting with Alex, who was afraid something like this would happen. Hide and Seek is the big one, the game where the stakes are much higher, something Tony's bitter harridan of a sister Helene (Nicky Guadagni) learned the hard way 30 years earlier when her new and soon-to-be-dead husband picked the same game. Drawing Hide and Seek means that it's time for "Mr. Le Bail" to be appeased with a ritual sacrifice so the Le Domas family--a sort-of Satanic Parker Brothers who sold their souls sold in perpetuity for all time--can continue wallowing in their limitless fortune. And if they want to continue living, because if the target isn't found and sacrificed by sunrise, they're all going to die.

The concept is utterly preposterous and probably sounds moronic in synopsis form, but it's a surprisingly engaging blast as Grace learns quickly that this game is dead serious, and the reason why Alex seemed so worried and distracted all day long. He makes every effort to keep her hidden and get her out of the house when things get really bad--usually due to coke-addled Emilie (she's overshadowed by Weaving, but Scrofano turns in an inspired comic performance) repeatedly killing the servants by accident ("Does she look like she's wearing a giant white wedding dress?" Daniel asks Emilie after she blows a maid's head off). The filmmakers make terrific use of the massive house and the long corridors, plus dumbwaiters and hidden passageways in the walls that the servants use. Once Grace realizes that it's kill or be killed, it's game on, and the shock that the Le Domases experience when the bride starts fighting back is quite amusing, whether it's Czerny's enraged, dialed-up-to-11 bloviating ("DO YOU THINK...THIS IS A FUCKING GAME?" to which Daniel replies "Yeah, it's Hide and Seek, remember?") or an incredulous McDowell declaring "Holy dick!" Grace is a new horror hero brought to vivid life by Weaving, who throws in funny bits like a cute little snort when she laughs too hard, eventually becoming a portrait in volcanic fury by the end, covered in blood, muck, and assorted viscera, with a wedding dress in tattered ruins, a hole shot through her left hand, and a guttural howl of rage that rivals any Swedish melodic death metal singer. READY OR NOT works in spite of its eye-rollingly silly concept, and while it's not the best horror movie of the year so far, it's definitely the most fun.

On Blu-ray/DVD: KILLING GUNTHER (2017) and MAYHEM (2017)

KILLING GUNTHER
(US/UK/China - 2017)

Following his BROTHER NATURE triumph, former SNL star Taran Killam wrote, directed, and stars in the straight-to-VOD KILLING GUNTHER, a dismal, would-be Christopher Guest mockumentary about a camera crew following a team of hired killers as they join forces to take out Gunther Bendik, the world's deadliest and most elusive assassin. In other words, if you ever thought "You know, SMOKIN' ACES was OK, but I'd like to see it in BEST IN SHOW form," then here's your movie. The first hour slogs by with maybe one remotely inventive moment that will be completely lost on any viewers outside of Canada (a drunk karaoke take on Lawrence Gowan's 1985 hit "A Criminal Mind") as hit man Blake Hammon (Killam) assembles the crack team to help him kill Gunther: there's explosives expert Donald Piznowski (Killam's SNL pal Bobby Moynihan); sniper Sanaa "Little Nightmare" Fairouza (NEW GIRL's Hannah Simone); her overprotective father Rahmat "The Nightmare" Fairouza (Peter Kelamis); genius dweeb hacker Gabe "The Human Computer" Beales (Paul Brittain, who had a very brief SNL stint several years ago); mechanical-handed Izzat "Crusher" Bukhari (Amir Talai); chronically-vomiting "Master of Poisons" Pak Yong Qi (Aaron Yoo); and unhinged Russian siblings Mia (FARGO's Allison Tolman) and Barold Bellakalakova (SUPERSTORE's Ryan Gaul). Gunther always seems to be one step ahead of them, often sabotaging their plans and playing head games and practical jokes, such as blowing up the casket at the funeral of Blake's 104-year-old mentor Ashley (Aubrey Sixto). Also peripherally involved is Blake's ex-girlfriend, retired hit woman Lisa McCulla (Killam's wife Cobie Smulders), who hooked up with Gunther following the breakup, which is ultimately revealed to be the sole reason heartbroken Blake is obsessed with hunting him down.

KILLING GUNTHER is a near-laughless miasma of tired jokes (watch Moynihan attempt at T.J. HOOKER hood slide!), shameless mugging (almost every moment Killam is front and center), lazy references that are supposed to be funny just because of nostalgia (Moynihan doing a karaoke version of Sister Hazel's "All for You"), and bush-league CGI explosions and splatter. He was funny and versatile on SNL, but the last thing the world needed was a self-indulgent Taran Killam vanity project, and the only thing that saves KILLING GUNTHER from complete ruin is the belated arrival of Arnold Schwarzenegger as Gunther. Top-billed on the poster, Arnold doesn't even appear until 70 minutes in (the closing credits roll at 85 minutes) but he immediately injects life into the dreary proceedings as it's revealed Gunther has assembled his own camera crew to make a documentary about Blake's documentary. Arnold has some self-deprecating fun, gets to crack a few almost-quotable zingers ("Those fucking dickholes!" and "My cappuccino is to die for!"), and even sings a twangy ditty called "Earthquake Love" under Gunther's country music alter ego "Cord Billmont." Unfortunately, his too-little, too-late third-act comedy heroics aren't enough to make KILLING GUNTHER worth a damn to anyone other than the most devout Schwarzenegger completists after they've skipped the first hour. (R, 93 mins)



MAYHEM
(US - 2017)

An overbearing splatter satire on cutthroat office politics, MAYHEM got some of the best reviews of any genre title this year, but in the end, it's obvious, obnoxious, overrated, and far too pleased with itself in the same way that most prefab cult movies are. Combining elements of OFFICE SPACE and 28 DAYS LATER, MAYHEM takes place over one long day at the corporate headquarters of the legal behemoth Towers & Smythe Consulting, where the secret mission statement is "greed, duplicity, and moral decay" according to ambitious lawyer Derek Cho (Steven Yeun, formerly Glenn on THE WALKING DEAD). Derek wants to make it to the top, and he gets a big boost after concocting a legal defense for "redders," those infected by a rage virus that turns them into red-eyed, homicidal maniacs who, thanks to Derek, can't be held accountable for their actions. "I wanted the corner office, and for my sins, they gave me one," explains apparent APOCALYPSE NOW fan Derek. But today is not Derek's day, as shit rolls downhill and the powers that be way up the ladder have decided to scapegoat him in a botched case on which he didn't even work. Cokehead CEO Towers (Steven Brand as Sean Pertwee) won't even see him, instead delegating Derek's immediate termination to bitch-on-wheels underling Kara "The Siren" Powell (Caroline Chikezie) and emotionless HR automaton Lester "The Reaper" McGill (Dallas Roberts). On his way to being escorted out, Derek finds the building under quarantine after traces of the "redder" virus are found in the ventilation system and will take eight hours to dissipate. So begins one long work day of everyone falling victim to the virus, which triggers a breakdown of moral barriers (not to mention narrative coherence), unleashing uncontrolled anger, depression, fear, and lust that's accelerated by things like caffeine and antidepressants. Glenn is determined to make it to the top floor (symbolism!) and expose Towers and the equally devious Smythe (Kerry Fox, who starred in Jane Campion's AN ANGEL AT MY TABLE and Danny Boyle's SHALLOW GRAVE in better days) for their lies and corruption. He gets help from Melanie Cross (Samara Weaving), who happened to be stuck in the building trying to get the foreclosure of her home reversed, as they arm themselves with power tools, buzzsaws, and nail guns to fight their way through the redder-infested building.

MAYHEM was directed by Joe Lynch, an indie-horror darling of the HOBO WITH A SHOTGUN generation whose previous credits include a segment of the anthology throwback CHILLERAMA and the terrible Salma Hayek actioner EVERLY. Like too many of his contemporaries, Lynch specializes in genre films that are created under the assumption that they're already cult classics right out of the gate. MAYHEM spends far too much time on boring office backstabbing and by the time the titular brouhaha begins, it's just a lot of yelling, screaming, and over-the-top violence. Nothing in MAYHEM is particularly humorous, and its observations on getting ahead in the workplace and being successful aren't exactly insightful ("I didn't have a job...my job had me" sighs Derek). There's also the obligatory pandering to the scenesters, from Steve Moore's  '80s-inspired synth score to a major characters's death being accompanied by a really loud Wilhelm Scream guaranteed to elicit fanboy chants of "Gooble gobble, one of us!" The best thing about the film is Weaving (niece of the great Hugo Weaving), who's had a busy 2017 highlighted by the surprisingly entertaining Netflix film THE BABYSITTER. She's a lot of fun in that film and she gives MAYHEM a needed boost every time she's onscreen. Weaving dives into this with spirited gusto and sense of humor (her dismissal of The Dave Matthews Band in favor of Motorhead, D.R.I. and "early Anthrax" is a highlight), compensating for the dumb script and the bland Yeun, so much so that you almost wish she was main star. This thing's currently rocking an 82% on Rotten Tomatoes, but I'm honestly stumped as to why. Call it 28 BELKO EXPERIMENTS LATER and move on. (Unrated, 87 mins)