BLOWBACK (USA 2022) **
Directed by Tibor Takács


BLOWBACK is a low budget action thriller made on a modest budget with no big name stars.  Stars like Bruce Willis, Gerard Butler or even Liam Neeson would inhabit this similar role of an underdog taking revenge on those who have wronged him.  Here, the main lead is played by little known  Cam Gigadet (9 BULLETS), who plays Nick.  To his credit, he is a very handsome guy which makes up for a role that demands little acting.

The old Hollywood cliched story of a sick or going to be blind relative who needs money for a successful operation comes right out at the film’s start giving audiences a warning not to expect anything fresh in the film.  True enough as the film progresses, cliche after cliche after cliche is added.  Nick is shown playing chess with his very smart hospitalized daughter.  Nick needs to score money for her operation and embarks on a bank heist involving stealing safety deposit boxes,

Nick involves his ex-wife, Veronica (Michele Plaia) who is now dating the criminal of the piece - the man whose men betray Nick.  Jack is played by well-known MMA’s Randy Couture, his name used to draw audiences to see this film.

The four writers and director Tibor Takács have not come up with anything really original.  Nick is shot in the chest and left for dead, only to be discovered by cops.  Nick claims amnesia.  Nick escapes from the hospital in a very boring sequence involving him hiding in the corridors and hospital storage areas.  The investigating cops, Detective Cooper (Louis Mandylor) and Detective Owens could do with a lesson or two in solving cases, besides calling their inferiors to gather too much information and to look for matches,  Needless to say what happens after this, but as can be expected Nick gets his revenge ands daughter gets to live.

To give the director and writers some credit, the film contains two solid sequences.  One is the very funny encounter Nick has with a doctor who patches him up after he is wounded.  This sequence makes for the film’ funniest part.  When Nick comes to him for help, the doctor complains that he can’t do any work because of his eyes till Nick flashes a wad of cash in front of him to which the doctor says: “This I can see.”  After working on Nick he gives Nick painkillers, expired ones, saying: “Use only as directed.’  When asked about the expiry, the doctor says the pills sure worked for him.  Afterwards, they go and have some beer.  The other sequence worth mentioning is the excruciating torture scene.  Nick and a henchman get to torture a baddie in order to extract information.  This involves breaking off toes and electric shocks.  Since the tortured is the bad guy who did the hero wrong, the audience has no sympathy for this tortured man.  In fact, many would want the torture to get worse in order for the information to be obtained.   There is some humour here too, that after some pain inflicted, the tortured guy finally pleads to reveal information, only to say later that he knows nothing.

BLOWBACK is a slightly below-par action thriller, a good time-waster if not for anything else.

Directed by Jim Archer


BRIAN AND CHARLES is a Welsh film that is the kind of heartwarming comedy that can do no wrong.  It tackles key issues like old age, bullying, companionship, family and sticking to one’s guts even though things might look really bad.

The film is written by David Earl and Chris Hayward who also play the lead characters Brian and Charles.

BRIAN AND CHARLES follows Brian (Earl), a lonely inventor in rural Wales, who spends his days building quirky, unconventional contraptions that seldom work. Undeterred by his lack of success,  Brian attempts his biggest project yet.  Three days, a washing machine, and various spare parts later, he’s invented Charles (Haywood), an artificially intelligent robot who learns English from a dictionary and has an obsession with cabbages.  What follows is a humorous and entirely entertaining story about aging and the other key issues mentioned above.

The film paints an extremely bleak picture of Wales.  Don’t go there, is the immediate reaction of anyone watching the film.   The landscape of rural Wales, where the story is set, looks barren for the most part though there are a few shots of the sea.  The houses are shacks and the roads are dusty dirt roads.  The characters drive around in trucks and live in cluttered shacks.  But the film shows that the charm of a place is not always in its surroundings but also in the people.  Charles is a lonely old man who is alone and makes useless inventions.  He hardly has any money.  In one scene, the woman in the provision shop tells Brian: “You don’t have to pay if you don’t have any money.”  When Brian says he will pay, she says that it does not have to be right away.  Besides the villainous family in the story, the other town folk are friendly and helpful.

Director Archer and the script uses Brian as the narrator.  The audience hears Brian’s narration as he goes about tinkering and about his daily routines.  The tactic works as it gives the film his perspective, while making it funny and relevant at the same time.  It also connects the audience to the story and to Brian’s character making him sympathetic and in  way oddly charming.

A few loopholes in the plot arise.  One is the money Brian had obtained to get the air ticket.  It was shown early in the film that Brian cannot pay for his groceries.  The other question is whether a robot can survive on its (in this case ‘his’) own travelling the world.  But these shortcomings may be overlooked for one does not often question the credibility of charm in any story.

There are two charming and entertaining feel good films from the U.K. opening this week, coincidentally both from Wales.  BRIAN AND CHARLES is one of them and the other is THE PHANTOM OF THE OPEN.  These are two small films that are worth a watch - forget the block busters MAVERICK TOP GUN and JURASSIC WORK, DOMINION - much, much more fun.



GUIDANCE (China 2021) **
Directed by Neysan Sobhani


GUIDANCE is a minimalist sci-fi drama set in a dystopian future in China.  It has been a decade since the Great War.  Humanity slowly rebuilds itself. . Believing that the ability to lie is the root cause of the devastating conflict, a tech entrepreneur creates a pill containing a nanotechnology app known as “Guidance” that allegedly will make everyone more enlightened.  Once swallowed as a pill, an A.I. “installs” in the person’s nervous system and aids their ability to detect deception in other people among other enhancements.

A young couple, Mai Zi Xuan (Harry Song) and Han Miao (Sun Jia) go on a weekend retreat to the countryside, and they begin to use Guidance. However, recent events have potentially compromised their trust in one another. With the tech in their bodies, the couple tries to subvert Guidance in the hopes of saving their relationship before it is too late.  Han Miao also has an affair with another man, Su Jie.

The film is very sparse with very little explanation given.  The little explanation given about the great war that is supposed to have affected the world seems like a cop-out in the film.  The only thing shown about the war is a mininalized terrorist attach in which the girl and Su Jie abandon everyone to go into his safe-house.  The audience also sees a couple placed in a huge mansion in the countryside.  One can hardly have any sympathy for either one of the couple.  No background is given to either one of them.  There are hardly any other characters in the story as well - again looking like a cop-out.
According to the press notes, Writer/Director Neysan Sobhani is an award-winning writer and director making short films and now this feature debut, GUIDANCE, in Asia.  Raised in Asia and North America and at times officially stateless, his identity was shaped by the diverse places he lived, having fled war and conflict twice while young.  This explains his fascination with war and the idea of how to stop wars permanently in the future.

In the press notes the writer-director remarked that he wanted to "tell a simple and small story of an ordinary couple placed in an extraordinary situation.”  Again his aim of the simple story and of an ordinary couple seems an excuse for an over-simplified film with an oversimplified idea.  The couple deals with the problem of lies and whether their relationship can exist with lies eliminated.  As such, the A.I. can detect and show the other person when a lie is told.  In truth, there is another underlying problem with the couple that exists clearly but not mentioned.  And that is jealousy and mistrust.  Each of the couple also appear too self absorbed in themselves.

The two main young leads are exceptionally good-looking, especially the male, Harry Song, who is just drop-dead gorgeous.  The two actors perform well and credibly, a plus in an otherwise sparse and boring film.

GUIDANCE (2021), was released in cinemas across China in late 2021 and is available on VOD platforms (June 17) including: Apple TV/iTunes, Amazon, Google Play, Vudu, XFinity Cable, and more.



LIGHTYEAR (USA 2022) ***1/2

Directed by Angus MacLane.

One of the most successful Pixar Animation Studios franchises is the TOY STORY franchise which has delighted audiences all over the world.  TOY STORY featured a boy, Andy, as he grows up, accompanied by his two beloved toys, one of which is spaceman Buzz Lightyear (voiced by Tim Allen).

LIGHTYEAR is a 2022 American computer-animated science fiction action-adventure film produced by Pixar Animation Studios and is a spin-off of the Toy Story film series, serving as an origin story for the fictional test pilot/astronaut character Buzz Lightyear. 

The title at the start of the film states the year as 1984, the year when Andy gets a toy from his favourite movie.  And what the audience is about to watch is that favourite movie.

Buzz Lightyear is now voiced by Chris Evans.  This Lightyear has nothing much in common with the toy that Andy owned, except for his ego which is not as oversized as the toy’s.  This Buzz Lightyear is also brighter than the toy Buzz Lightyear.

Lightyear tells the story of young astronaut Buzz Lightyear, who, after being marooned on a hostile planet with his commander and crew, tries to find a way back home while confronting a threat in the form of the Emperor Zurg. 

Buzz Lightyear, a Galactic Ranger in Star Command, and his commanding officer and best friend Alisha Hawthorne, explore the habitable planet Tikana Prime with their new recruit Featheringhamstan. They are forced to retreat to their exploration vessel after discovering that the planet hosts hostile lifeforms.  Buzz damages the vessel during the retreat, forcing the crew to evacuate in order to conduct repairs and continue their journey. One year later, the crew constructed a nascent colony along with the necessary infrastructure to conduct repairs. Buzz volunteers to test hyperspace fuel, a key component of the repairs. However, after a four-minute test, he finds that four years have passed on Tikana Prime, due to the effects of time dilation from having travelled at relativistic speeds.

The time travel component part of the film and the revelation of two Lightyears may confuse kids, who curious beings that they are, would likely seek explanation from their parents.  But it is this component that makes this film more suitable for both adults and kids.  The film also carries more emotional weight than other Pixar entries as in the relationship between Lightyear and his superiors.   Captain Hawthorne is given a lesbian personality which would likely result in the film banned in Saudi Arabia, as did Disney’s DOCTOR STRANGE - kudos for Disney and Pixar for standing up for the rights of the LGBT community.  The musical score and animation are also impressive and to be commended.  LIGHTYEAR pleases adults and kids as well as the LGBT and black community for its diversity.

Lightyear had its world premiere at the El Capitan Theatre on June 8, 2022, and was theatrically released in the United States on June 17, 2022, in RealD 3D, 4DX, Dolby Cinema, and IMAX formats. It is the first Pixar film to be filmed in IMAX.




Directed by Livia De Paolis


Based on events that occur in the J.M. Barrie’s Peter Pan story, THE LOST GIRLS takes several liberties while changing the original play/text from a fun loving kids tale to an adult psychological drama with disturbing undertones.  So those venturing to see this new Peter Pan story should be forewarned.  Fortunately the name Peter Pan does not appear in the film’s title.  Peter pan is played by a gorgeous looking 18-year old, Louis Partridge, who should be able to charm, without any problems the three generations of the ‘Wendy Darling’ women.

The film is written by director Paolis based on the novel written by Laurie Fox.  The film follows the events after Wendy Darling (Amelia Minto), granddaughter of the original Wendy (played by Vanessa Redgrave) who went to Neverland with Peter Pan (Partridge) many, many years ago.  It appears that Peter has lost interest.  Who wouldn’t?  Peter never grows up while his love ages.  So he goes after Wendy’s daughter (played by director Livia herself) and after then Wendy’s granddaughter and great granddaughter.  The film begins with the great Nana, the Redgrave original Wendy telling her granddaughter in private that when she is 12 or 13, she will see a boy crying one starry nigh and that the boy will take her flying and make her make a promise to him that they will never grow up.  And yes, to wait for him.  That Wendy grows up and waits for Peter.  Nobody really believes what she believes or talks about, the situation dismissed as the child, Wendy, who has not grown up and played by De Paolis as her mental problems.  Wendy marries and has a daughter while still obsessed by a promised return visit from Peter Pan.  If the story sounds a bit confusing, the film unfolds at a pace slow enough that it is relatively easy to follow.  But one might be taken aback with many references to the Peter Pan story like the references to the crocodile, the Lost boys, and the natives.  It is best to get re-acquainted with the Peter Pan story if one plans to watch the film.

THE LOST GIRLS ends up a muddled affair with a cop-out happy ending in an otherwise unsatisfactory film..  The only one who suffers at the end is the titular Peter Pan whoas the story implies is the source of all the problems in the first place.  The film leaves the notion that Peter Pan could actually not exist but be in the minds of the Darling family, known to others in the story as being a bit unstable mentally.  There is a point made in the film that the mental state actually allows these girls to be different from others.  But is this difference in a  good way?  The film seems to show otherwise.

Peter Pan is the boy that has forgotten to grow up.  THE LOST GIRLS is a film where the filmmakers have forgotten the meaning of fun.



MAD GOD (USA 2021) ***

Directed by Phil Tippett

Phil Tippett’s MAD GOD is an animated fantasy horror that boasts to be 30 years in the making.  When a film has this statement to make, it should be noted that the project is an on and off one, not a full 30 years duration in the making.

MAD GOD is a fully stop-motion animated film and Phil Tippett's pet project.  A few human actors do appear in parts of the movie, the most important being Alex Cox, himself a director of cult movies such as REPO MAN and SID AND NANCY.  Tippett started working on it in the late 1980s after making ROBOCOP 2 (1990), but considered abandoning it when JURASSIC PARK (1993) was released, and CGI animation seemed to make stop-motion a thing of the past.  However, after some urging, he started a Kickstarter campaign in the mid-2000s that allowed him to finish the movie.

The film’s beginning is the most impressive of all the other sequences.  Nothing is explained but some scary words from the Bible are reproduced on the screen - words depicting the anger of God, and in a way introducing the title of MAD GOD.  “If you disrespect me and remain hostile, I will act against you.  You will eat the flesh of your sons and daughters. And you will scatter away and I will unsheathe the sword against you.”  What is automatically assumed,, is that the ominous tower seen is the Tower of Babel, which humans built in order to reach the heavens and to reach God.  As most Christians know, God destroyed the tower and dispersed the people all over the Earth.  This is seen by a dark cloud hovering and finally consuming the tower.

The opening sequence is then followed by a corroded diving bell that descends amidst a ruined city and the Assassin emerges from it to explore a labyrinth of bizarre landscapes inhabited by freakish denizens.

Among the strange animation that can be seen:

worm-like creatures having tea; a baby that appears to be sacrificed; two monsters batting it out like King Kong vs. Godzilla but with metal spades; an ugly gnome-like creature working in the lab and a creature with cloth-like tendrils that floats around.

All the animation and the whole film is as strange as anything that can be witnessed in a  film this year.  The stop-motion animation together with the music and sound are masterfully done and immerses the audience into a world of dystopian apocalypse.  But there is no story or plot and anything can happen and does in the next frame that can be ever so disorientating.  MAD GOD is Tippett doing his thing, and it is certainly not everyone’s cup of tea.  So be forewarned that MAD GOD, though only 81 minutes may be a delight to some and an utter bore to others.  But one cannot complain that extremely hard work has been dedicated into the film and in a way, MAD GOD demands to be seen.

MAD GOD opens on the Shudder Streaming service on June 16th 2022.

Directed by Scott McGehee and David Siegel

Two siblings, a brother and sister (estranged) return to the family ranch  in Montana to care for their ailing father and must confront painful truths.   In their introduction to their film, the directors claim that they decided to make a film based on a story of a family, brought together in the times of the pandemic.  MONTANA takes the first half hour to make its footing, meandering and demanding patience from the viewer in what seems to be a silly concocted and boring story.    Then, there is the dying horse, Mr. T.  But the actors are good, and the filming is confident, as sure as the directors slowly  draw in the attention of their audience after the first third of the film.  Owen Teague plays Cal Thorne, a young man drawn back to the family ranch to be with his ailing father, Wade.  A migrant nurse, Ace (Gilbert Owuor), has been hired to care for the old man, and longtime employee Valentina (Kimberly Guerrero) tries to help manage the sprawling property.  But Wade has dug his family a deep debt to the bank, and Cal is ill-prepared to take the reins. His answer to what to do with their horses infuriates his sister Erin (Haley Lu Richardson) when she arrives from back east. The stage is set for an eternal conflict, that plays out authentically without cheap theatrics, that pushes Cal and Erin to see each other truly.  Beautifully shot in Montana, MONTANA STORY is another addition to the list of the fine films by McGehee and Siegel.




PAID IN BLOOD (South Korea 2021) ***1/2

Directed by Yoon Youngbin


PAID IN BLOOD is a rare South Korean gangster film that proves the South Koreans are just as apt at making solid commercial action films beside art-house social dramas like PARASITE.  Running at 2-hours, the film has shades to THE GODFATHER as rival gangs have to come together to prevent an evil and merciless newcomer's plan to take over the turf that they reluctantly have to keep the peace.

The story involves many gangs, double-crosses and fights to control power.  When a powerful crime ring starts construction on the largest casino in all of Asia, the group is challenged by a young, vicious gangster, Lee (Jang Hyuk) from Seoul who will stop at nothing to gain power.  In a desperate attempt to stop the newcomer’s plot to kill his way to the top, the gang’s leader, known as Mr. Kim (Yoo o-Seong) declares all-out war on the man and his followers.

  There are a lot of incidents going on at the beginning with many faces, gangs, bosses and plot.  But director Yoon is an excellent executor of manoeuvres and nothing is confusing in his storytelling making his film complex, entertaining and deliciously wicked.

The best looking  actor in the film is Jung Hyuk, a popular South-Korean rapper who has devilishly good looks, allowing him to play the King villain with equal calm and sinister.   Jung (that is his surname) is already famous in his country after starring in many hit films.  He is connected with controversy when he dodged the army draft but later apologized to his fans and served his 2-year military service.

The film’s best part occurs right at the last quarter of the film.  The two gang leaders are eating outside at a seaside food stall while their individual bodyguards watch over them.  While the bosses argue and negotiate, the bodyguards argue and insult each other,

This South Korean gangster film has its own unique style and also some fresh and inventive dialogue.   Take these sample lines: “We beat them up, boss.”  The boss’s reply:”You are supposed to get information from them before you beat them up!”  Some humour is also written into the dialogue: When shown the three of them hanging upside down” This will cause nausea,” says the boss.  When his men say they did not notice any nausea, the boss’ reply: “Not them, me,” as he looks at them.

Director Yoon, who also wrote the script, is an excellent storyteller and moves his film at a fast pace.  The plot contains enough intricacies and twists to lift it above the average script.  The stabbings are bloody enough without having to resort to unbelievable Martial-arts kung-fu.  All the actors take their roles with the utmost seriousness while the film’s setting in Korea makes a welcome difference from the North American city.

PAID IN BLOOD, the Well Go USA Entertainment release will be debuting exclusively on the martial arts streaming service Hi-YAH! Friday (June 17) before hitting Digital July 26.


Directed by Craig Roberts


THE PHANTOM OF THE OPEN tells the incredible but true story of Maurice Flitcroft, who eventually became known as the ‘world’s worst golfer’.  If the premise of the ‘silly dreams coming true’ has already put you off, think again.

For one, the film boasts two of Britain’s greatest actors - Mark Rylance and Sally Hawkins.  Rylance has already won an Oscar for BRIDGE OF SPIES while Hawkins is one of the best actresses in the world who should have had an Oscar by now, after making a breakout performance in Mike Leigh’s HAPPY-GO-LUCKY and earning accolades of praise in THE SHAPE OF WATER and BLUE JASMINE, the latter two films earning her Academy Award  nominations.

The script by Simon Farnaby, based on the same-titled book he wrote with Scott Murray, aims at putting back the magic in movies.  There is no doubt that the film succeeds as a feel-good movie from the film’s dialogue, evident in many segments.  “The world’s your oyster.  You can be anything you want in the world.”   In Flitcroft’s proposal to his wife: “I will bring you diamonds, and we will travel the world.”  It is of no surprise that the film is filled with humour and heart, given that Farnaby also wrote the Paddington 2 script.

  Maurice (Rylance) lives with his loving wife (Hawkins) and their three boys in Barrow-in Furness, an English port town where he is employed at the local shipyard.  But when 1976 arrives, redundancies are looming, causing Maurice to wonder what he will do with his spare time – that is, until he sees a golf game on the telly.  There is a feel-good segment where Maurice climbs a stairway to heaven, in his dream, before being comically whisked round the world before plunking him  back on his armchair in the living room, screaming and waking up his family.  Maurice has always been a life-long optimist.  So at age 46, without having played a round of golf in his life, he finds a way to enter the British Open Golf Championship.  When Maurice shoots the worst score in Open history, he draws the ire of the golfing elite and becomes a folk hero in the process.

The film teaches an important lesson.  From the life and dreams of Maurice, one should never give up on one’s dreams though might dish out a different slice of heaven.  Maurice has it all already, a beautiful and loving wife and family.  Dreams for him have already come true, and true to fact, he realizes the importance of family and his wife, as evident in the 42 years of marriage the real Maurice Flitcroft has remained true to his love.

Adding to the effervescent feeling and the mood of the period piece, is the bubbly pop music, from Abba’s “Money Money Money” to The Foundations’ “Build Me Up Buttercup”.

THE PHANTOM OF THE OPEN is the best feel-good movie so far this year. It brings back the magic that is in movies, offering a very optimistic view of life and dreams.  Everyone needs such a movie and THE PHANTOM OF THE OPEN is it.


THE STORY WON’T DIE (USA/Germany 2021) ***
Directed by David Henry Gerson


THE STORY WON’T DIE.  As the recent filmTHE LOST GIRLS opened, the beginning words indicate:  The universe is made of stories and not of atoms.  This same statement is just as appropriate in director David Henry Gerson’s refugee documentary in which artists use their skill to tell their stories of oppression and suffering.

The doc tracks a young generation of Syrian artists who use their work to protest and process what is currently the world’s largest and longest ongoing displacement of people since World War II.  Many of them are already living in other countries, a few of them in Berlin, Germany.

Rapper Abu Hajar, together with other celebrated creative personalities of the Syrian uprising, a post-Rock musician (Anas Maghrebi), members of the first all-female Syrian rock band (Bahila Hijazi and Lynn Mayya), break-dancer (Bboy Shadow), choreographer (Medhat Aldaabal), and visual artists (Tammam Azzam, Omar Imam and Diala Brisly), use their art to rise in revolution and endure in exile in this new documentary reflecting on a battle for peace, justice and freedom of expression. It is an uplifting and humanizing look at what it means to be a refugee in today’s world and offers inspiring and hopeful advantages on a creative response to the chaos of war. 

The most captivating thing about the doc are the stories that are told by the refugees artists. These are more interesting than looking at their art, though the art plays an important part in telling their stories.- most of them horror stories.  Their art - all forms of dance, music and film are nothing to call home about, though not too bad either.  The refugees spend as long as 6 month in a refugee camp after they arrive in the accepting country.  Many of them have no papers, after losing everything in the war.  Many were rich and had houses with many floors, many doctors and lawyers.

David Henry Gerson  is a filmmaker whose work has won prizes from the Academy of Motion Picture Arts and Sciences, the Sundance Film Festival, and has been acquired into the permanent collection of the Museum of Modern Art in NY. He is a graduate of Columbia University and the American Film Institute, where he was the recipient of the AFI Richard P. Rodgers Award for Creative Excellence.  THE STORY WON’T DIE arrives after Gerson’s earlier successes.  His film, ALL THESE VOICES, won the Student Academy Award®. David’s spec screenplay, ABOVE KINGS, was nominated to the Tracking Board Hit List and was a semifinalist for the Academy’s Nicholl Fellowship. His documentary film ULTRA VIOLET FOR SIXTEEN MINUTES (“Totally engaging” - Al Maysles), screened at festivals worldwide, the Pompidou Museum in Paris, and was acquired into the permanent collection of the MoMA. THE STORY WON’T DIE is his debut feature. 


Directed by Terrance Tykeem


The George of the title of the new film WHEN GEORGE GOT MURDERED is the George Floyd whose “I Can’t Breathe” last words and death have both angered and taken the world by storm.  George Floyd, a 46-year-old black man, was murdered in the U.S. city of Minneapolis by Derek Chauvin, a 44-year-old white police officer.  Floyd had been arrested on suspicion of using a counterfeit $20 bill. Chauvin knelt on Floyd's neck for over nine minutes while Floyd was handcuffed and lying face-down in a street.  Floyd died.  Public videos of the incident surfaced that led to Chauvin’s conviction of guilty.

The film begins with the camera focusing on the answers of several interviewees asked the question where they were when they first heard the news.  One was in the living room, one with a family relative, one at work and so on. Though these answers do not matter, they do show how shocked and angered many of the interviewed were.

The film is a reimagining of what happened inside of the jail where the ex-cop who killed George Floyd was being held in the Spring of 2020. As the guards and the inmates are witnessing what is taking place in their city and around the world as a result of George Floyd’s murder, the news of the Killers’ presence in the jail has spread.

The film’s chief purpose is to reveal what happened inside the jail.  Inside the jail, the guards know that doing their job to keep the Killer safe will not be an easy task. And they have recently become aware that none of the minority guards in the jail are being allowed to work the unit where the killer of George Floyd is being held. The film follows several correctional officers, both black and white - the black at to being allowed on the same floor as Chauvin’s cell and the whites to contend with the unrest of the black inmates and their fellow officers.  The caption is aghast as to how the news had spread and is unable to deal with the situation. The chief purpose is distracted by the news of Chauvin’s conviction and the world's anger at Floyd’s death.

The film has actors portraying the guards, the chief of the jail and even an actor to voice the killer Chavin as he speaks, in one scene, his face not seen from behind his cell.  As expected, the film feels very much like a documentary and if one takes away the knowledge that what the film is is both a re-imagining and a re-enactment, the film could very well be believed by many to be an actual documentary.

The film shows the black guards’ displeasure at having the Killer’s presence in such a small facility but also to the implementation of a racist policy that has been placed upon their fellow correction officers of colour.  Tensions continue to rise, culminating in a totally unexpected but eye-opening and thought provoking ending to the film. 

WHEN GEORGE GOT MURDERED an absorbing different examination of the George Floyd murder/conviction case offers insight and important lessons to be learnt.

The film opens on Digital Platforms June the 14th.


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