Reviews

Despite awkward writing in pertinent moments, this script works. Walt's love interest could have been better cast by yards or inches depending on how the director had control. The base theme is spot on in terms of how the writers displayed the denial that accompanies the deep loss felt by a child when coping with devastating loss. The relationship between Walt and some-girl-at-his-job was weak at best. His relationship with his therapist was more meaningfully developed in only minutes, a few scenes. Did not understand the egg thing. Rather, got it, but did not feel the import. Cool film, nice sentiment. Some ideas were undeveloped, but then maybe that's just the way it is. Acting well done by William H.Macy, Justin Kirk, Virginia Madsen, Jim Gaffigan of course, and AndrewJ. West.

The scene where Walt and Kendall shared a moment (in fact any shared screen time by these actors was forced) where Kendall was crying in the theater was sad only in that it was so poorly written. Failed love plot or huh? In fact, that's where the plot missed the attempt to connect the potentially shared grief. Walt's voice over stated that life's dreariness is blah blah unless shared. Completely failed element. Never developed. Nice film, well acted. Just needed some plot polishing beyond some cookie-cutter chick laying on popcorn ala American Beauty rose petals. We get that. Finish it. Yeah, the romance was stale at best even if it was a sub-plot. Finish the plot.

The first half of this film is misleading. It's seems to be a by-the-books drama until the second half kicks into high gear. I found the male character unlikeable, though this may be intentional. Other than his earning potential, I can't understand why these women were so obsessed with possessing him. The guy is quite the self-absorbed jerk.

The real plot is about two women battling it out in terms that are absolutely chilling. Bearing in mind that the female leads are very attractive and surely see each other as mortal enemies, one wonders how enmity can quickly grow to such extremes. Cold and brutal. Opens one's eyes to the kitty eat kitty aspect of modern female workings. It's refreshing to see a film that catches the vagaries of both sexes. Well shot, well acted, firmly directed. Entertaining. Some plot points were completely dropped however. Almost seemed unfinished. When you watch, you will understand my meaning. I'm simply avoiding a spoiler. All said, there are lasting thoughts, a memorable theme, and an element of horror worth checking out.

Really? A resort expands their fiscal interests to the extent of actively murdering civilians. A match-stick spitting detective balances his job against a cookie-cutter corrupt captains orders? Why? How was Julien ever able to have government approval to build this fantasy world? The precept is ridiculous. And why, oh, why can't the bad guys hit a target? The scene of henchmen firing clip after clip into a concrete pylon while some psycho babbles poetry is probably the most ridiculous scene ever filmed. Why was he going on about caged birds? Why were they wasting supposedly frangible ammo on reinforced concrete? Moving on. Ambyr Childers has some talent. Under utilized Lydia Hull performed well as a cop shop system forensic .

Just sad. Done here. I walked out of a film for the first time in my life. Need one say more? Production values were TV fare, nothing more. Long slide down for the major player(s).

This is the story of a farming family finding themselves surrounded by urban sprawl, and the modern values that inevitably pervade along with it. Twenty-something Mitsuo works hard in his greenhouses raising tomatoes on a farm his father left to the family after selling most of the land to developers and running off with a local bar maid.

As viewers, we follow Mitsuo as he struggles with falling tomato prices, briefly a married woman's carnal addiction , his best friend's impulses, his father's choices, a mother and senile granny at home, and the courtship of a woman as traditionally minded as himself. We watch as Mitsuo juggles these with simple fortitude.

The films style is very matter of fact and paints a seemingly grim, but always hopeful picture, while underlying is a perennial message. No fancy cinematography here, just solid directing, requisite scripting, and adequate acting telling a story very well. This film is as strong as,and yet as simple as, it's main protagonist, and that speaks volumes. The characterizations are also right on target. This IS a Japanese film, so having some knowledge of, and love for, Japanese culture goes a long way toward getting the full import of the story. Scene elements run from the mundane, the poignant, and, as the title implies, through to the tragic. The plot is fairly direct and holds water effortlessly. A fine film for fans of film-as-story. This is a hard to find film, but worth the effort. Not for the Hollywood, eye-candy crowd.

Somehow this title flew under the radar here in the US. Here's the basic idea. Valerian and Laureline meet in medieval France (AD 912). He is from the future, she is ahead of her times. Forty episodes of sheer entertainment.

Valerian is on his maiden(haha)voyage from a distant future(AD 2412)to prove he is capable of handling a space ship that can travel through time and space without damaging future reality. Easy, right? After much training he finds himself to be a Spatio-Temporal intern dumped into the past with an older space ship managed by a sassy, interactive computer. Upon his arrival in medieval Normandy France, he finds himself caught up in local politics. Quickly, our hero falls in love with Laureline while carrying out his duties. But since they are both unwilling to accept true love, and love at first sight, they must go through hell to get to heaven.

Okay. From there, Valerian finds himself jailed with, then escaping with Laureline. Laureline knows that Valerian is somehow better than a marriage forced upon her and sticks to him like medieval super-glue. Poor, poor Valerian. He is ready to be a hero from birth and forever unprepared for Laureline. Serving her own immediate needs, Laureline is attracted to our hero and follows him forever. Bam! End of story...or is it?

Narrowly escaping ancient France, our duo return to the future only to find that Earth has vanished! Somehow the Earth disappeared due to Valerian and Laureline's escape and it's effect on the future. The space-ship's temporal jumping ability was also damaged and repairs will be costly.

This is a great forty episode series. Pure entertainment from set one. While there are filler episodes and strange CGI, mostly Valerian and Laureline carry us through mercenary actions to always fill their purse in an ongoing attempt to find Earth. They spend more than they ever earn, or get ripped off by their dubious employers.

I enjoyed this series a lot. Despite the odd CGI (dedicated to the bad guys)and the soundtrack eclipsing voice at times(the English dub?), the characters are fully developed through and through. The story follows a solid arc beyond filler episodes and delivers a satisfying end. For SciFi fans this is a must watch. I viewed the original series with the wonderful, British talent employed by VSI, so I can not comment on the French original voices. The 2D animation is well done by Satellite, Japan in a generally anime form. Music is true to situation and general theme. It would be great to have this voiced by Japanese artists. Hoping.

Check out this title and it's source, comic, material. Oh, by the way, totally kid friendly. Easy eight out of ten. Two points off for the CGI incongruity and the music over voice at times. Still, well done VSI, well done.

Older brother makes a mistake carrying out his duties that in effect involves the sharing of shoes with his little sister. The idea that a pair of shoes, simple shoes, can change a families life on levels of loss and aspiration are indelibly portrayed in this film. The children take it upon themselves to carry the burden to the extent of hiding their shared secret from parents. How this evolves through the story is nothing short of minimalist exposition with superb attention to detail. Acting is beyond anything Hollywood could imagine, story beyond what many can relate to. At the same time, the story sucks you in and takes you to a place you forgot. Memorable, heartfelt and involving ideas lost in western materialism. Watch it and feel your childhood. Certainly not a gender study, this film is about the personal perception of characters and their goals. Truly film-making at it's finer moments. Almost perfect. Nothing is such, so nine of ten, well deserved.

The Clan has been without a steady food supply for some time due to poor relations with the spirit world. It is up to the young members of the Clan to embrace a challenge requiring purity of mind and heart. In this way, they may enter a mythical land and gain what is needed to set the Clan back in good standing with the spirits while bringing old, tiresome hatred out from it's shadows so it can be dealt with openly. While the animation is a bit dated, it lends a charm to this script and is in keeping with both the simplicity of the story and it's target audience. The script is likewise as simple and far-fetched as are the minds of most little ones, but does a fine job of including the whole family from grandparents to grandchildren. The acting is par with the production. It's refreshing to NOT be bombarded with Disney-like gender bashing and agenda crunching. Sadly this film did not enjoy the wide release it may have otherwise shared. Compared to the junk issued from Hollywood that is high in production, low on substance, we have here quality at a minimum cost that won't infect your kids with attitude and avarice. Good, silly fun with a few fine messages for all viewers.

Great soundtrack. That's an impression. Superb acting given the nature of both subject and a slippery theme. Another impression. Difficult material by writers such as Dostoyevsky are deeply profound, dark reading and, as such, are a challenge to adapt to screen. A reference to Brazil is appropriate at a glance given the setting and camera work. Emulation is not flattery, but observance. Direction, camera values are not nuance, but intentional. That this film was not commercially successful points out it's import. Ironic.

That said, multiple viewings may bring even more appreciation of the story and how it is purveyed. Don't we all have someone inside that wishes to break the mold within which society cast us? Cut the strings, evolve back? Kudos to cast and crew as this theme is hard to evoke on film in a manner that engages both of us. Me and me.

Not for every viewer, but certainly for those that can see inside and out with doubt. Bravo.

This is a great TV series and well worth watching the first five Seasons.

Now, for the fans.

The Red John arc was well written if poorly ended. The season six writing is a poor imitation. While dialog is still snappy and somewhat consistent to the characters, plot holes and weak episodic structure hamper what The Mentalist was all about. The CBI building was charming while the new FBI building is sterile. Dallas has nothing on Sacramento in terms of setting. Credit to the writers trying to emulate what Bruno Heller created, but they fail in the plotting overall. Pulling Rigby was a bad idea as his character was a perfect foil at times. In a nutshell, this is a different show that misses the mark. Everything points toward a decision to end a series, but sadly, on a weak finish provided wholly by a disinterested producer. Bruno, WTF? I'll miss you Jane and crew. Overall a fantastic effort in seasons past. Eight well earned stars with the exception of the end of Red John and the shift to FBI based agenda. Thanks for all the fun.

As a long time JC fan and movie buff, I found the fast paced editing too distracting. Why the editor decided to hack even dialog sequences into constantly shifting angles and tiny bits is beyond my knowledge of film making. The director and photography certainly covered ALL the bases, but editing tried too hard to evoke or imply action where it was not needed, or, at other times, cover for poorly directed choreography. I do understand JC is not a spring chicken and that plays a role in edits. Still...could be handled more concisely without jumping edits. Seemed as if the editor was a character at times. Hmmmm.

The story was fairly solid, production values were very high. Acting was spotty at times due to seemingly weak characterizations in the script. The premise had merit, though the finale was not entirely consistent to such.

Again, it was the frenetic editing and confusing camera direction that distracted from the core elements of the story/narrative and knocked two stars off the review. At the same time, two stars added for seeing JC in a serious role and incorporating family values regarding a single father trying to amend his relationship was great. There is, as always, tremendous talent there. As to those that criticize JC for this effort, I'd suggest they be more gracious toward a man that is evolving on personal levels, and one who strives to entertain at all costs. Go Jackie!!

This film has great direction,concise editing,high production values and superb acting. The shortfall is the handling of plot-over-characters rather than having characters truly driving the plot. It's a sure thing when a writer has an otherwise intelligent character suddenly becomes a moron just to satisfy the plot progression, that they sacrificed cohesion for expediency. Really? A toxin researcher almost dies from a snakebite? Quick incision and a suction device curtails any further toxicity. Knowing the job risks? Nobody handling venom or other toxins regularly in a research setting would NOT be prepared with antivenoms aka immunoglobulins. It's just lazy (or inexperienced) writing, or producers in a hurry. The type of story that involves reflectively inter-meshed timelines and character incidentals, requires deft handling to truly work well. Crash did it well, but failed in that it was too race political.Of course people make poor choices sometimes and they get into bad situations; and surely passion is responsible for many. In the end, the message of this movie is: go for it, you might get lucky. Not a single plan came to fruition, but for that of the doctor's. Then again, though this reviewer accepts a world of both coincidence and design, the narrative relied too heavily on coincidence to edify design. Six stars for exceptional effort.

I'm having a hard time understanding the true goals of this group. They are aware of ecological breakdown, aware that pornography sells quite well. And yet somehow, as do so many starry eyed hippies, they have failed to see the hypocrisy of their efforts. What is the biggest threat to ecology? Humankind. Where are all these humans coming from? How are they created? Aiding ecology through selling porn is like selling bombs to stop warfare. I'm baffled and immensely amused. The documentary itself is poorly structured and backfires to such a staggering extent, that one (this reviewer) can clearly see the moral of this modern fable: Intentions are nothing without knowledge and wisdom. As to why the group went on to market the documentary could only be an attempt to make (back?) some money and probably console themselves. "we did good, right? didn't we...guys?" What's next? "Drown for Oceans", "Doping for Sobriety". In the end, I would recommend this documentary as an object lesson to any NGO, particularly small, distorted, egotistical ones. Two stars for educational (how not to raise funds, make a documentary) value.

About music? Or what, exactly.

Glam? Music is an art form.

To make a film about music, one should respect the subject and performers within the confines of the script.

Pretty faces do not music make.

Nor does production values film make. Scripting is story, production is canvas,direction is product.

Any musician would see, any at all, poor research on behalf of the writer(s).

Go for it with gusto next time, practice, practice, practice.

Makes perfect.

It is with dull merit that I had to include more lines than needed to get this review submitted. So be it. This film does not express what it tried to say, but follies about with faces and drama.

With comedic timing and sad moments portrayed through excellent direction, it is hard pressed for any honest reviewer to find fault in this film.

Other than the simple fact that I, as a viewer, was not part of this truly fantastic script...I could only find fault in the scripted play on physics and temporal mechanics. Try as I might, I found that a darkened closet, clenched fists did little for me; that I was, in fact, not transported to my past and felt massively misled by the writers is of null effect. Nothing had, or will, change. Great movie. I did, however, ask my dad if there was anything he would like to tell me. He gave me a look and shook his head.

Oh well, anyway, acting is brilliant, script well paced and complete. Direction and lens are targeted and specific in regard to story. Really hard to find flaws in production or otherwise. Bring your heart to the venue. Very, very enjoyable movie.

It is hard to begin this review without mentioning camera work. The reason being that so many other qualities of this production were well appointed, to say the least. Within the tight confines of a small craft, this film was given emergence and submergence through deft play of lens. In an almost converse of the subject character's decisions, the focus was always about the environment, objects and a human subject.

Beating, in sailing terms, is like paddling upstream...but using the wind on your face and bow to fill sail and go forward. This film reaches into the moments of a man at sea, and tacks accordingly.

Robert Redford is a force of character, in or out of film. Nuance has always been a skill he deploys, charm is natural. Though the whims of the seas certainly bring forth a leading lady to be reckoned with, again Robert Redford brings his skill.

It could be said that the character's seamanship was questionable. That was, perhaps, the point of the narrative. A sea-anchor tossed from the stern is, after all, ludicrous. Short-handed sailing is not for the amateur.

This story is in deeper waters; the surface of it staged simply for the setting. With fine attention to detail on part of crew and cast, I can surely say, "fair winds and following seas" to the many. Solid film with solid direction. Kudos all.

Are subtitles so hard for western audience to utilize? Oldboy is a story told in Eastern ways in an Eastern locale. Specifically Korea; which is unique and also a perfect canvas for this, heretofore, gritty, movie-magic dialog. The original story is contained and extracted there, not here. Chan Wook Park, through total, uncompromising vision, nailed it the first time. To adapt it to a western setting is simply absurd. What's next? A new release of the Mona Lisa in MTV sporting a pierced lip? spandex? See the original. Hollywood has no idea how to conceive Asian cinema. Another dumb-down of great film. Spike, stay continental...Asian is not the new black.While this film does carry some of the drive of the original and has technical quality, it's just a shadow in comparison. Don't get started on the vengeance trilogy Hollywood. Surely failure will befall.

A simple road show is bashed by many. Really? Where is the audience? Too busy too actually see themselves? When I saw the (input sedan or model of car) exploded by a passing truck while Sandy (real) was explaining to Sandy (thief), I was amused to a higher power. Jason knows exactly whats happening on set, and there is little doubt as to the story. Why the hate reviews? Jason can act far beyond all the Glam stars. Try to find any actor with comedic timing to match and just work the field.

If anything, I would state that the antagonist Melissa was not up to speed, relying on the trashy but, "oh gee I'm actually misunderstood". I mean, really? Is fat the knew cool? As if struggle is an excuse to give up until ones base realm is a social trampoline? I enjoyed this film for the simple premise. The "lost child Dianna" as criminal a weak plot device, but the chemistry worked on the level expected. Using Latino and Black as counter cut-outs was quite weak in the scripting plot movement. In the trunk, really? Shot in the foot, really? Anyway, the idea is there, and a great idea it can be. I liked this film, just not the message and ending. What I mostly liked about this film was the way IMDb admin took a position on a feminist stance. Deleting member posts that hinted in the least toward anything pofatfully incorrect. This movie is directly on the mark. Eat less, earn more.

I was in love with Anne Hathaway from both the first time I had seen her face and heard her voice. Since a time I had spent as a young child. Though at said time, I was me and Anne was a fleeting romance of imaginary whimsy, a summer-camp girlfriend of preteen puppy love whose real name shall be forever kept dear; her face and character were still the image that had yet to be Miss Hathaway.

Lo and behold, seeing her early exploits selling houses to realizing enchantments had been nothing less than divine. A voice, charm, eyes like pools of I-would-be -lost-in -there.

And then it all went sour, lately. Seems the feminist crowd and the gay right have co-opted, as usual and in combat, to force the sickening and world destroying agenda of gender politics disguised as art. Sweet Anne is now to portray Winona Ryder from a "Girl Interrupted" ha-ha, as Anne Hathaway being Fantine. It does get confusing, I know. Anne Hathaway is a woman deserving of better than a butch job and third rate publicists. And yet, she can carry all and sundry to a higher level of talent that directors need only imagine. Cinematographers have yet to catch up on the true wiles of this amazing star.

Ohhh, the movie? Whatever, it was OK. High production, medium heart. Strip away the gloss, it's just sham and mentalist drudgery borne of smoke and mirrors that insult a truly great cast and production crew. Enough. Hello Dolly

Oh well. I finally broke my undead silence to comment at, not review to, this pathetic series. Wasting a little girl in the opener of season one was spectacular and dumb. I can't resist adding that ensuing episodes were akin to soap opera levels of emotional garbage piled on top of the requisite body count. Shock value and stock value have apparently been lost in any form of direction to minds that matter. Ooops! Probably lost most of the marketed crowd in that last statement, along with the producers and directors.

I just could not wait for the pace to go forth or, hopefully, die. Considering the theme, I was in hysterics at the irony of the drawn out, milking-the-crowd, moronic scripting. Whatever. Make the idiots happy with zombie stupidity and always devise plotting to the level of the target audience. This is marketing which, in this case, also happens to be populated by zombies. This show, truly not anything other than show, is embarrassing to any semblance of cinema. I give up. Words fail me now.

This series is eating the mindless idiots it portrays. Buffy Vampire Slayer is levels beyond this trash . In all and all, this series proves that market rules and art is lost. If you don't like this review, I suggest you check your phone for text messages before you become a zombie and lose focus with all your zombie friends. Don't you get it?? This show is making money in advertisements and commercials because you are a zombie. OMG

In the dark realm of comedic exposition, films come and go. Location is always a factor. Dark and cold tend to coexist as partners in a loop.(Think Fargo) And this film displays both the dark, in humor, and the cold within the setting.

The emotional setting is clearly set in opening pieces to amusing extent. The acting and character development support this quite well.

Soooooo.....

Our aging, anti-hero,(a hit man) kills the wrong guy, in a botched job, and ruins his own dwindling reputation as a killer to the effect that he has been put to pasture. A former colleague offers him a job baby-sitting a former client that had been reported as dead. "Former" is an operative term here.

Our guy accepts the job, stoically, and goes forth into the dark unknown of the wintered Carpathian mountains in Eastern Europe to fatefully encounter yet another former colleague whose wits seem at odds with his lack of...well...wit.

They soon learn that all is not well in this frigid paradise, as a wonderfully cliché, gangster, bitch shows up and happens to enjoy being the clients toy. She has her own agenda and somehow becomes dead while our heroes are present. Sorry, no spoilers. That's the premise.

Dark comedy ensues as loyalties consume all to twisted ends. The acting is quite good and direction is directed upon a cast and film crew that know their setting. Scripting seems fairly tight and is carried forth by the basic pivot of the whores death...Although, I feel this plot device may have been developed more in the intro to the setting. But then, she was caprice in a shell.

All in all, a great romp and the dialog was well suited to the characters and situations. Only a European crew could do this the way it was done. I highly recommend this film to any fan of dark comedy, especially those with a mood for snow and ice, haha.

Wow! I have seen and read more than enough reviews of this very well crafted film,(yes,I have placed my vote and cut to the point of my opinion) to see the divisions in perspective riding the gender lines of guilt through association. If this film does not awaken one to the roles and responsibilities of humanity and not remind one of the Lord of the Flies (loosely), then one has missed the point of isolation and how it affects the very evolution of gender roles through both denial and power. Darwin meets his horror on a human plane that defies any critic to separate heroine and antagonist of either gender in the end. No spoiler there. While men are portrayed as vacuous beast, our anti-heroes (who knows who as there are many) are nothing less than contributors to the the demise of many.

Hae-won, a woman in her thirties, however empowered in a metropolitan life, has coldly conducted her life in isolation not knowing her inner mechanisms and fatefully forced to return to her past through a journey to her Grandfathers island home where she had in childhood bonded with Kim Bok-Nam, a girl she met as a child and had ignored since those times.

Without going too much into the plot, it's obvious where the plot mechanics go. Though the plot development may seem for those not tuned into Asian and Korean culture a bit slow in building, get ready for a ride that will twist gender roles and mounting vengeance into a landscape well filmed. Acting is nothing less than inspired by all. Location and cinematography well matched to theme.

This is a great, thought provoking film. Unmatched in execution and pace within the genre of drama and horror in recent years in my opinion.

Simply well done.

As one who seldom writes reviews here,I felt compelled to do so in defense of entertainment value versus perspective and an individuals tastes. Some reviewers seem to hold film aesthetics as the hallmark of great film-making and seem to forget some really bad movies will go down in history as simply being very productive for industry and movie-goers alike. That said, I'm often amused to see a review that slams a movie for it's high budget and low art. I've seen many a so-called art film that bored the pants off of most viewers whilst tickling the fancy of the highbrow wanna-be critics. A film CAN be aesthetically appealing and not in the least entertaining. Conversely, A film can lack aesthetics whilst being a joy-ride. Box office sales still drive much of the backbone of film-making and gives breadth to young talented directors to finance their visions. Whew! There,I said it

That said, I enjoyed this film as it was entertaining had an adrenal appeal that us sci-fi fans do not get enough of. Sometimes it's fun to just turn off the brain and let the lizard cortex take over, hehe. So that's all I have to rant to you film trolls out there.

Well. While some wry comedies may be subjected to reviewers in need of a new pair of glasses, this reviewer was entertained by both the premise and execution of this film. One need not expect high art or brilliant script, nor production standards exceeding that needed to portray a cop with eccentric integrity faced with a challenge that questions his role in life and as an enforcer of basic values.

So, Do Man meets the new Chief of police assigned to his station in the form of a traffic pattern violator while Do Man is performing his duties as a newly demoted-to traffic cop. Upon unerringly issuing a traffic ticket to said person, Do Man finds himself in a head to head play of wills after being charged by the new chief to act as the bank-robber in a police training simulation intended to quell critics of the departments inability to stop local bank heists.

Little did the new Chief of Police foresee the conviction Do Man would duly bring to bear in order to carry out his assignment. Ooooops!

This is a comedy. The acting is par given the intrinsic cultural subtlety and the scripts plot holes with which the actors were charged to respectively portray and abide. A dead guy driving a bus is simply loose plotting, but contrived for closure. That said, the subtle plot points and the tiny but poignant romance were enough to give this film warmth and value.

Perhaps there could be an INMCDB, ha ha. Some reviewers miss the point in the endeavor to be critics and not observers.

All said, this was an enjoyable film with originality in idea, and as such can be forgiven any flaws in execution as minor.

Having been a long time fan of Asian films within multiple genre, I found this title to be a great example of Korean sci-fi perspective finely wrought. Though some might focus on flaws in minute detail, this reviewer is rating this film on a comparative basis. No need to list other K-movie titles here as that would detract from my intent. Suffice to say that many lesser craft were floated in the sea of Korean science fiction films.

I read reviews here comparing this to the fine Phillip K. Dick adaptation titled "Bladerunner" and agree there are many parallel themes. Given current global trends, this reviewer feels that Natural City is a natural expansion on the ideas incorporated in the original fiction story.

Well produced with an eye for detail by both director(s) and editors, as well as seemingly terse but at times poignant acting, this is a title well worth a second look.

I read someone here say the acting was wooden. Hmmmm. Perhaps that poster does not understand Asian demeanor nor the intent of the director to display the dislocated environment within which these characters live. Science-Fiction is extrapolation. No less and no more. If one expects ideas and human elements combined with adequate acting and direction, then this product will entertain.

Derivations aside, (even "Bladerunner" was an adaptation) some critics may perhaps broaden their climes and see that imitation is both flattery and homage to thought and endeavour. Enough said.

This is my first review here as I was piqued by some of the critics.

In summary...good acting and direction, detailed and well shot. Hope to see more from these players all.