BIRDS OF PASSAGE (Pajaros de verano, 2019)

February 12, 2019

 Greetings again from the darkness. It’s not unusual for movies to “trick” us into embracing a drug dealer, and even kind of rooting for them – despite the near universal condemnation of such folks when we are outside of a dark theatre. Co-directors Cristina Gallego and Ciro Guerra were the producer and director behind the Oscar nominated EMBRACE OF THE SERPANT (2015) about an Amazon tribe striving to hold tight to their way of life despite outside interference. This time out, they focus on the rural Guajira territory of Columbia, with its desert conditions and villagers committed to their own traditions.

The film is based on a true story and covers the time period of 1960-1980, and is separated by chapter titles that include the year and a hint of what’s to follow. We first see Zaida (Natalia Reyes) as a girl in confinement as she prepares to be introduced as a woman to the villagers. This is one of the more elaborate rituals of the village, and it leads to Rapayet (Jose Acosta) asking for Zaida’s hand in marriage. Her mother Ursula (Carmina Martinez), a respected village elder, sets the dowry at what she believes in an unattainable level for Rapayet: 30 goats, 20 cows, and 5 necklaces. Ursula has unwittingly set off a chain of events that eventually brings the family money, power, and tragedy. How can a few goats and cows cause this? Well, when one is poor and needs to quickly assemble a large dowry, what better way than to enter the drug trade? And that’s exactly what Rapayet does.

Rapayet’s friend and partner in the coffee trading business, Moises (Jhon Narvaez), joins him in the transition of careers, and while Rapayet is content to build his empire quietly and under the radar, Moises runs amok with the power and money. Ursula is respected for her abilities as a dream reader, and she’s constantly dousing Rapayet’s business with the cold water of her visions … worried mostly about the safety of her daughter Zaida. By 1971, Rapayet’s business of peddling marijuana to gringos is booming, and by 1979 (in a chapter entitled “Prosperity”) we see the results: a mansion-fortress in the desert protected by guards with automatic weaponry (a sure sign that bad news is on the way).

What began as a look at peaceful remote villagers sticking to the traditional path of their ancestors, transforms into a drug war featuring cartel mobsters. Cinematographer David Gallego contrasts the beauty and simplicity of traditions with the danger and violence of new money and new world order. Leonardo Heiblum’s score is a terrific complement as well. The infancy of the Columbian drug trade presented here conveniently places blame on the free-spirited youngsters of the Peace Corps; while the story plays out like a Greek tragedy, replete with mixed messages on revenge, capitalism, tradition, greed, and family ties. It’s a rags-to-riches story that pulls no punches when it comes to the price paid for taking an illicit shortcut. It’s a path that can destroy lives and culture.

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Posted by David Ferguson

VELVET BUZZSAW (2019)

February 9, 2019

 Greetings again from the darkness. Filmmaker Dan Gilroy has distinct ideas on how to make his movie stand out from the cluttered maze of Netflix: give elitists a violent comeuppance, and allow Jake Gyllenhaal the freedom to take his character over the top. Not only has Mr. Gilroy reunited with Mr. Gyllenhaal and Rene Russo, his leads from the excellent NIGHTCRAWLER (2014), but he has also assembled a deep and terrific ensemble of actors who understand exactly how to present the material … even if some viewers will be confused, startled, or unimpressed.

What begins as a parody of the highfalutin contemporary art world, slowly transforms into a satirical-supernatural-horror film that judges severely those who drive the profit train by peddling art. Morf Vandewalt (Gyllenhaal) is the flamboyant art critic who possesses God-like abilities to make or break an artist with the words he chooses for his reviews. His work often intersects with Rhodora Haze (Ms. Russo), who runs the largest gallery in the city. She was once part of a punk rock band (from which the film takes its title), and now she lives to cash in on the work of others. As she so eloquently describes, she has moved “from anarchist to purveyor of good taste”. Other players include Jon Dondon (Tom Sturridge) as Rhodora’s competitor, Gretchen (Toni Collette) as an agent, Bryson (Billy Magnussen) as a whip smart handyman, Coco (Natalia Dyer) as a Midwestern girl trying to make it in the big city, Piers (John Malkovich) as a blocked artist who regrets quitting drinking, Damrish (Daveed Diggs) as an up and coming artist, and Josephina (Zawe Ashton) as Rhodora’s ambitious assistant.

The story shifts tone when Josephina discovers the artwork left behind when her reclusive elderly neighbor Mr. Dease dies suddenly. Dease is unknown as an artist and was in the process of destroying his life’s work when he died … he wanted no part of the art world, other than creating his own work. Josephina seizes on this opportunity and works with Rhodora in representing the work of this “hot” artist. As the work is monetized, the supernatural forces take over – often in quite violent ways. The players are so focused on how to capitalize on the work, it takes them an inordinate amount of time to realize evil forces are afoot. No one escapes scrutiny: artists, critics, agents, or collectors.

In cinema, if you choose to go bat**** crazy, it’s best to not hold back. Gyllenhaal plays Mort full tilt and he’s immensely fun to watch. The extraordinary ensemble cast benefits from some unusual and vivid imagery supported by expert cinematography from Oscar winner Robert Elswit (THERE WILL BE BLOOD). It’s rare for so much social commentary to be included in a project that could easily be compared to a teen slasher. There is some excellent dark humor, though maybe not quite enough, and two art exhibits in particular are memorable: Hoboman, and the Sphere. There are some clear cut groups of people in the film: the hot youngsters (Josephina, Dondon, Damrish) vs. the establishment (Mort, Rhodora, Piers) vs. misguided wannabes (Gretchen, Coco, Bryson). No matter their approach, one of the messages shines through – artists invest their soul into their work and that often stands in direct conflict with the other side of money and commerce. We can be a bit forgiving the film’s faults given the ambitious nature of the project; just be cautious of the monkeys in the mirror.

available on Netflix

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Posted by David Ferguson

BENEATH THE LEAVES (2019)

February 9, 2019

 Greetings again from the darkness. It doesn’t happen often, so it’s probably kind of fun for them when a father and daughter are able to appear in the same film. This is writer-director Adam Marino’s first feature film, and he cast Paul Sorvino and Mira Sorvino not as father-daughter, but as Police Captain and Detective. The script, co-written by Marino, Naman Barsoon, Daniel Wallner, and Mark Andrew Wilson treads familiar, yet usually interesting ground … a crime topic covered previously by numerous TV shows and movies.

The film opens with an abusive father (Don Swayze) doing despicable things to his young son and daughter, before the two of them take action against him. We then flash forward to a prison escape that occurred after a fire is set. One of the escapees is an especially demented psychopath with a trait that ties the story back into the opening sequence. What follows is a whodunit police procedural that focuses on Detective Erica Shotwell (Oscar winner Ms. Sorvino) and the four boys who survived their encounter with the twisted prison escapee some 15 years ago. Doug Jones plays James Whitley, the prison escapee returning to finish the job on the 4 that got away. Mr. Jones is best known for his fabulous “creature” work in THE SHAPE OF WATER and PAN’S LABRYNTH.

The four boys, now grown men, are played by Ser’Darius Blain, Christopher Backus, Christopher Masterson, and Kristopher Polaha, the latter of which is now Detective Shotwell’s partner … though, against his vociferous protests, is prohibited by the Chief from working the case that he is oh-so-close to. Also providing support work are Melora Walters, Jena Sims, and fingernails in general. Director Marino’s film is mostly B-level material, and actually much milder than what we see on many TV shows these days. It does, however, reinforce the notion that screwed up kids quite frequently grow into screwed up adults.

watch the trailer:

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Posted by David Ferguson

HIGH FLYING BIRD (2019)

February 6, 2019

 Greetings again from the darkness. Steven Soderbergh has won an Oscar for Best Director (TRAFFIC, 2002) and is one of the filmmakers who has enjoyed both Box Office success (the “Oceans” franchise) and critical acclaim (SEX, LIES, AND VIDEOTAPE, 1989). He has also been behind some quite creative TV projects (“The Knick”, “Godless”), as well as many technical advancements in the industry. This latest is his second consecutive film to be shot entirely with an iPhone (UNSANE, 2018). Bluntly stated, Mr. Soderbergh beats his own drum.

Oscar winner Tarell Alvin McRaney (MOONLIGHT) wrote the script and a talented cast allowed filming to be completed in only 3 weeks … a remarkably short production time for a feature film that is quite watchable and polished.  Andre Holland (also one of the film’s producers) plays Ray, a sports agent with a soul. Rarely do films portray sports agents as the smartest guy in the room, much less as one with altruistic motives. But that describes Ray – although we have our doubts at times. The film opens with Ray having a heated discussion over lunch with his newest client – hot shot rookie Erick (played by Melvyn Gregg). The NBA is in the midst of a lockout and young Erick’s top pick contract has not yet been executed … so he’s in need of funds, as is Ray and the agency he works for.

Sprinkled throughout, and serving as a framing device, are talking head shots of actual NBA players Reggie Jackson, Karl Anthony Towns and Donovan Mitchell discussing the challenges of being a rookie. Their insight and perspective adds an element of reality to the tone of the film. Zazie Beetz (DEADPOOL 2) co-stars as Sam, Ray’s assistant who constantly reminds him, “I don’t work for you anymore”, despite her exceptionally strategic maneuvering of others. Also appearing are the always interesting Bill Duke as Spencer, who runs a camp for up and coming youth players; Kyle MacLachlan as the owners’ lead negotiator; Sonja Sohn as the Players Union Rep; and Zachary Quinto as Ray’s boss.

Ray’s work behind the scenes is misinterpreted by many, but his focus is on getting the two sides to negotiate so the strike can end. During this process, the film makes an interesting statement about who owns the players’ image. Is it the league, the players’ association, or the player himself? It’s a legal and philosophical question that again crosses the line into real life. There is also a comical bit that takes aim at the business side of the league regarding selling sneakers and inspiring rap lyrics.

Reminiscent of other Soderbergh films, there is an emphasis on heavy dialogue and creative camera work, as well as some life lessons offered up along the way. “You care all the way or you don’t care at all” is a philosophy preached by Spence, and clearly leading by example is an important element to the key characters. Toss in the music of Richie Havens, and it’s quite obvious this isn’t the typical inspirational, feel-good sports movie.

available on Netflix February 8

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Posted by David Ferguson

THE LEAST OF THESE: THE GRAHAM STAINES STORY (2019)

February 3, 2019

 Greetings again from the darkness. The story of Graham Staines certainly deserves to be told, as his impact is lasting and his kindness and devotion to the cause are quite extraordinary. In fact he paid the ultimate price … actually even greater than that … for his efforts, simply because he bucked tradition and offered an alternative to folks who previously had none.

Director Aneesh Daniel and writer Andrew E Matthews present Mr. Staines’ story (based on true events), and even shot on location in India despite a limited budget. Sharman Joshi plays ambitious young journalist Manav Banerjee, who in the late 1990’s packs up his pregnant wife Shanti (Aditi Chengappa) and heads to the remote Indian town of Orissa in hopes of securing a writing job for the local newspaper. Once there, he finds no guarantees – only an editor who assigns him the nearly impossible task of procuring evidence that a local missionary is illegally converting Hindus to Christianity.

The missionary is Australian Graham Staines who, along with his wife (Shari Rigby) and 3 kids, run a camp for locals afflicted with leprosy. Staines is played by Stephen Baldwin, the youngest of the Baldwin brothers, and best known for his turn in THE USUAL SUSPECTS (1995). Baldwin and his whispered Aussie accent plays Staines as a near-Saint; one who could only be doubted by the most ferocious traditionalists (of which there are many).

Mr. Joshi plays Banerjee as a bit of creepy-stalking guy who spends a little too much time staring at others. He’s conflicted with fulfilling his assignment and discovering the truth about Staines. Banerjee’s own moment of self-preservation likely inspired the horrific event by a mob of Hindu fundamentalists that, combined with some insider information, set Banerjee straight with how to proceed and what to report. In the process, he exposes the corruption and self-interest of rural India driven by the many minds closed by religious traditions.

Director Daniel opens the film with actual footage and archival clips of unrest and turmoil from those times. As you would expect, these clips are more disturbing and provide more intense reaction than anything the movie could produce (except for maybe the horrific event noted above). The overblown and overly-dramatic music doesn’t help the presentation, yet somehow the message of kindness and forgiven is not lost.

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Posted by David Ferguson

CAPERNAUM (2018, Lebanon)

January 31, 2019

 Greetings again from the darkness. Rare is the film that casts a kid in the lead role and then features him in most every scene … often with only him and a toddler on screen. It’s even rarer when that kid is a first time actor, and the film gets nominated for an Oscar (Best Foreign Language film). Each of these come to pass in the latest from writer-director Nadine Labaki (CARAMEL, 2007), with a script she co-wrote with four others: Jihad Hojelly, Michelle Keserwany, Georges Khabbaz, and Khaled Mouzanar (Ms. Labaki’s husband, who also produced the film’s music).

The film opens in a courtroom setting which acts as a framing device for a story that is told mostly through flashbacks. Zain (Zain Al Rafeea) is asked by the judge why he is suing his parents. His answer: “Because I was born.” Zain is an undernourished 12 year old Lebanese slum-dweller who lives with his parents and an indeterminate number of brothers and sisters. Zain is particularly close to his 11 year old sister Sahar (Cedra Izzam), and the two work odd jobs on the streets to bring home money and food for the family. When Sahar comes of age, Zain knows this spells change, as their parents view her as little more than an asset that can be traded for chickens. When this happens, an angry Zain runs away from home.

Zain’s adventure takes him from the slums to shantytown, where a kind-hearted, poverty stricken single mom takes pity on him. Rahil (Yordanos Shiferaw) is an undocumented Ethiopian who works multiple jobs while hiding her toddler Yonas (so freaking adorable). In exchange for food and shelter, Zain agrees to babysit Yonas while Rahil works. The two young boys become like brothers, and when Rahil doesn’t return home, Zain’s street smarts kick in. He reverts to the lessons of his previous life and begins literally scrapping for scraps. His ingenuity is inspiring, as is his full-blown survival mode … all while caring diligently for Yonas.

In the courtroom, director Labaki appears as Zain’s attorney, but it’s the young actor who carries the weight of the film. He is truly remarkable to watch, whether he’s interacting with other street hustlers, conversing with “Cockroach Man” on the bus, or in that final freeze-frame ending, Zain steals our heart. The film is not dissimilar to SHOPLIFTERS, the Japanese film also nominated for Best Foreign Language Oscar this year. The title means “chaos” and it begs the question, without paperwork, do we exist to society? Ms. Labaki manages to put a pretty face on a tragic environment, and offer up a rare matter-of-fact melodrama on the hardships for children in poverty.

watch the trailer:

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Posted by David Ferguson

WEST OF SUNSHINE (2019, Australia)

January 24, 2019

 Greetings again from the darkness. Life’s eternal mysteries include the question, how can one be a father when not yet a man? The feature film debut of writer-director Jason Raftopoulos focuses on fatherhood and the price of self-destructive behavior, while finally gathering the strength to right one’s self.

Damien Hill stars as Jim, a blue collar courier with a gambling habit that likely cost him his marriage, his previous job, and a solid relationship with his son. Jim is basically a decent guy who can’t seem to overcome his weaknesses, which leaves us judging him as a hapless dude who can’t buy a clue. The story unfolds over a single day as Jim faces a deadline from the loan shark he owes thousands. Banos (Tony Nikolakopoulos) is a scary looking guy who, in loan shark circles, would be considered relatively patient … although he has reached the breaking point with Jim.

Of course, Jim has a stellar plan to pay back the money – a “sure thing” on a horse in today’s race #2. However, there’s a blip (at least one) in his plan. His estranged wife reminds him that today is his day to look after their son Alex (Ty Perham, real life stepson to Mr. Hill). So father and son, rocky relationship and all, take off on a road trip around Melbourne as Jim proves to be one of the city’s worst couriers, and a borderline incompetent father. When Jim’s horse does in fact pay off, he makes the all-too-familiar mistake of a gambling addict … rather than pay off the debt, he tries to win more. You can surely guess how that goes.

Desperate times call for desperate measures, and the father-son team go about tracking down Jim’s old contacts in hopes one might help him through this dilemma. It should be noted that Jim and Alex are traveling in style – Jim’s classic Ford Fairlane, with quite an impactful story of its own. Support work is provided by Arthur Angel (as Jim’s friend and co-worker), Kat Stewart (a former girlfriend who runs an illicit business out of her bakery), Fay Smythe (Jim’s wife), and Eliza D’Souza (a would-be girlfriend and yet another Jim lets down).

Being a role model for a kid is not easy for someone as self-destructive as Jim. The steady stream of “I promise” and “I’m sorry” make it clear where Jim’s priorities rest. Alex wants to look up to Jim, but spends more time looking down on him. It takes a near catastrophe for Jim to wake up … a wake up that only occurs when one grows weary of always racing against the clock. Leaving the past behind – both emotionally and with a symbolic sacrifice – is Jim’s only path to redemption. Fine, naturalistic performances make these characters relatable to us, and filmmaker Raftopoulos does a nice job with keeping the pace moving along, while never losing that sense of reality.

watch the trailer:

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Posted by David Ferguson

GLASS (2019)

January 17, 2019

 Greetings again from the darkness. It’s pretty simple. If you are a fan of UNBREAKABLE (2000) and SPLIT (2016), then you need to see this finale to M. Night Shyamalan’s trilogy. If neither of the two previous films tickled your creep fancy, then you’ll likely find nothing of interest here. The biggest fear is that fans of the first two (like me) will be disappointed and frustrated (like me) by the missed opportunity. Rather than real world super abilities clashing, we get what is mostly a silly letdown.

The set-up is outstanding. David Dunn (Bruce Willis) and his now-grown son Joseph (Spencer Treat Clark) have teamed up for years in tracking down lowlife societal scumbags and teaching them a lesson. Mostly avoiding cameras (more difficult now than when he first realized his power), Dunn now has a nickname, The Overseer, and still dons his green poncho – though it’s now equipped with a headset for communication with Joseph.

The Dunn men have been tracking Kevin Wendell Crumb (with a Beetlejuice twist), who has kidnapped more teenage girls and is holding them hostage. James McAvoy returns as Kevin, and his 23 other personalities (referred to as The Horde), and early in the movie we get our first Dunn vs. The Beast battle. Unfortunately, it’s brief and ends in their capture and being locked away in an institution. And this is where the fun comes screeching to a halt.

It’s at the institution where we discover Elijah Wood/Mr. Glass (Samuel L Jackson) is also being held, and Dr Elle Staple (Sarah Paulson) is the psychologist specializing in treating those who believe they possess super human traits, be they good or evil. This misdirected plot line is our first real frustration, as we have already seen the super strength of Dunn, the massive transformation of The Beast, and the villainous mastermind of Elijah. By definition there is no suspense when we know the answer. Because of this, the entire treatment segment drags on far too long, and features entirely too much of Ms. Paulson, and too little of those we came to see.

Also reprising their previous roles are Anya Taylor-Joy as Casey, the only surviving former captive of Kevin, and Charlayne Woodward as Elijah’s mother. Ms. Woodward is given little to do, and Ms. Taylor-Joy’s strong acting almost saves her from the ludicrous script … a development we intellectually understand, but emotionally refuse to accept. In fact, the script is to blame for most of our frustration here. McAvoy is again tremendous in his ability to convey multiple personalities, and Jackson, once he is no longer catatonic (never a good use of a dynamic actor), relishes his return to evil. There is an interesting use of color for the three main characters: Dunn – green, Kevin – yellow, and Elijah – purple, and the cinematography of Mike Gioulakis (IT FOLLOWS) contributes some unusual angles and views.

Disney and Universal are to be commended for a rare rival studio collaboration, and M Night Shyamalan certainly deserves credit for being on the front end (with UNBREAKABLE) of the serious, dark, atmospheric superhero movie perfected by Christopher Nolan’s Dark Knight trilogy, but this film is nothing to be proud of. The film’s twist is easily predictable (and dragged out), and some parts are disappointing while some are an insult to our intelligence … and downright silly (the ending). Still, there is a certain value to closure, even if it’s a letdown.

watch the trailer:

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Posted by David Ferguson

ADULT LIFE SKILLS (2019)

January 17, 2019

 Greetings again from the darkness. Each of us deals with grief in our own way, and often it’s even more challenging to help a grieving loved one. Loss and grief are at the core of writer-director Rachel Tunnard’s feature length film developed from her award winning short, EMOTIONAL FUSEBOX (2014).

When first we meet Anna, she is creating a space-oriented home video using aluminum foil and her thumbs. Yes, Anna is an adult – mere days from her 30th birthday. She’s not the type to live in her mom’s basement … no, instead she lives in the cluttered garden shed in her mom’s backyard. The play on words for the shed clues us in to Anna’s quirky personality (as if the foil spaceship and thumb faces hadn’t already done so). The Anna we see currently has no place for humor in her life.

Anna is struggling with the grief associated with losing her twin brother – a brother she was extremely close to. She’s challenged daily by the fine line between sorrow and depression, and is regularly late to her job at an outdoor camp for kids. Her morning routine includes drying her clothes in the microwave and bickering with her mother (Lorraine Ashbourne) over finding a boyfriend and new place to live. Mom has demanded Anna move out of the shed by her birthday.

Others in Anna’s life include her grandmother (Eileen Davies), Anna’s close friend Fiona (Rachael Deering), and local real estate agent Brendan (Brett Goldstein) who may or may not be on the spectrum, is constantly refuting assumptions that he is gay, and undoubtedly has an unrequited crush on Anna. Each of these folks tries in their own way to pull Anna from her funk and get her back to living. Surprisingly, the turn occurs when she is forced to look after a neighbor boy named Clint when his mother gets rushed to the hospital. Clint is an odd kid who wears cowboy attire and proclaims his desire to be like Anna … and they are more similar than she would care to admit initially.

Jodie Whittaker plays Anna and newcomer Ozzy Myers is Clint. Young Mr. Myers excels in his role, never going over-the-top with his offbeat tendencies. Ms. Whitaker (“Doctor Who”) first charmed us on screen with her role in VENUS (2006) and she proves yet again what an accomplished actress she is … likable and relatable. Here she turns an arrested development 30 year old hermit into someone we pull for. The film is filled with awkward interactions, each grounded in reality.

Of course, there is really nothing cute or charming about a 30 year old who hasn’t yet grown up, but slack and understanding is due here because of the grief. And it’s difficult to name another film character who could count mole hills daily and make it seem natural. Just remember that when a kid says they want to be like you, take it seriously – even if it’s because you are sad and lonely. Ms. Tunnard’s film is a bittersweet comedy that’s not too bitter, not too sweet, and not overly funny. It’s simply a fine little indie movie with a terrific performance from a talented actress.

watch the trailer:

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Posted by David Ferguson

EGG (2019)

January 17, 2019

 Greetings again from the darkness. In what would likely be more effective as a stage play than a film, director Marianna Palka (GOOD DICK, 2008) subjects us to first four, and then five adults, each participating in what is mostly a 90 minute exercise in passive-aggressive bickering. There are absolutely some moments of pure movie gold, and the premise is quite promising, but unfortunately the bulk of this movie experience is simply watching annoying people and listening to their irritating banter (courtesy of the first screenplay from Risa Mickenberg).

In defense, annoyance is the goal here. Former art school classmates Karen (Christina Hendricks) and Tina (Alysia Reiner) have arranged their first get-together in many years. Karen brings her wealthy snob husband Don (David Alan Basche, Ms. Reiner’s real life husband) to Tina’s bohemian loft which she shares with Wayne (Gbenga Akinnagbe). Karen is 8 months pregnant, Don is worried about his Cadillac in this neighborhood, Tina is a conceptual artist, and Wayne adamantly refuses to be defined by his work – of which he seems to have little.

Judging others seems to be the point of this little party, and as Karen calls giving birth “one of the most beautiful things in life”, she has to stop every 5 minutes to pee and eat, and repeat the cycle – all while being unable to sit comfortably. Riffing on how decisions are made on whether to become a parent, and how contemporary gender roles are defined, an abundance of societal commentary leads to a never-ending soft core argument. The bombshell hits when Tina announces she and Wayne are having a baby via a surrogate. Things get really interesting when Kiki (Anna Camp), the surrogate, joins the group.

The wheels go flying off when Kiki reveals she has been in a 5 year relationship with a married man, and that man’s wife is now pregnant with their 6th child. Kiki also talks about the 5 stages of womanhood … each seeming to be in service to man. The conventions of motherhood, and contrasts in suburbia vs. bohemian lifestyles are a central theme here, but none of these folks are the type from which we can draw any inspiration or insight. They are self-centered, insecure types with each trying to prove their high level of enlightenment to the others.

Mostly it’s 90 minutes of whiny women and whiny men, in what could have been a fascinating look at motherhood and the evolution of friendship between two women who chose different paths. There is a bitterness to the story and the characters, and uncomfortable discussions handled in such a way that the biting humor rarely hits its mark. Even the ending, which is totally believable, is unsatisfying given what we’ve been through with these characters.

watch the trailer:

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Posted by David Ferguson

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