MOVIE: Bad Teacher (2011)

Okay, okay, YES, it’s stupid.  And it has a gross fart/poop joke.  AND (gah!) it includes a lengthy scene featuring Justin Timberlake dry-humping Cameron Diaz from behind, which, quite frankly, is something I never need to see EVER AGAIN.

However, I laughed out loud, and loudly, and more than once.  I keep trying to hate Cameron Diaz and I just can’t do it.  Her upper arms are phenomenal!  And her smile just makes me happy, even though it’s borderline Heath-Ledger‘s-Joker.

Plus, ex-Boyfriend of the Week Jason Segel!  And future Boyfriend of the Week Eric Stonestreet (the big guy from Modern Family)!  So much to love right there.  Especially Jason Segel as a sharp, sarcastic, pudgily-adorable gym teacher with no upper body strength whatsoever.

It’s fun, ya dig?  The rest just don’t mattah.  After an emotionally challenging Friday, spending my Saturday afternoon with this flick and a friend (who is a teacher and I’m sure was taking notes) was exactly the fixer-upper I needed.  For that alone, I give it all the stars in the world.  Sure, it’s a one-joke schtick.  But you know what?  It’s a pretty funny joke.

Recommended!  If you’re in the mood for a dumb comedy, and you have to choose between Hangover 2 and this one, pick this one.  Nothing to disappoint you here — no expectations.  Just plain ol’ stupid fun.  Perfect.

[Prequeue it at Netflix | View trailer]

Genre: Comedy
Cast: Cameron Diaz, Lucy Punch, Jason Segel, Justin Timberlake, Phyllis Smith, John Michael Higgins, Dave Allen, Eric Stonestreet

MOVIE: The Hangover, Part II (2011)

I saw this flick Saturday night at a bar/movie theater in Seattle where you can have waitresses serve you fancy cocktails at regular intervals during the film, and I must say, that’s really the only way to go with this lame, lame sequel.  After my third drink, I almost stopped caring that it was painfully unfunny! Alcohol!  It’s like MAGIC the way it works sometimes!

Still love the characters, and it’s not like the movie is completely without laughs, but it would’ve been a lot more entertaining just to stay home and drink while popping the first one into the DVD player instead (my recommendation to you, sirs and madams).

Lame story; half-assed jokes mostly consisting of references to jokes from the first movie; a chain-smoking monkey, which is among the cheapest of cheap gags; a heavy focus on anti-homosexual humor that started to make me feel decidedly uncomfortable; and, well, hey, can someone go get me another Bogart (gin, cointreau, lemon-lime, and sage)?  I feel the urge to drink to forget.

AVOID LIKE PLAGUE.

[Prequeue at Netflix | View trailer]

Genre:  Comedy, Crap
Cast:  Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha, Ken Jeong, Paul Giamatti, Mike Tyson, Jeffrey Tambor

SIFF MOVIE: On the Ice (2011)

Alaska Natives Qalli and Aivaaq have been best friends since they were little.  Now that their senior year of high school is over, though, things have started to grow a little strained for the boys, primarily because Aivaaq has picked up a drug habit and knocked up his girlfriend, while Qalli is planning to leave their tiny Barrow community in a few months to go to college and create a better life for himself.   Suddenly, two boys who had everything in common are coming to realize they’re about to take dramatically different paths in life, and the friction this causes between them is hard to ignore.

But ignore it they do.  Or at least, they try to.  And so, thinking mostly in the now instead of the down-the-line, the two boys are spending as much of their last summer together as possible, going to parties, talking about girls, and hanging out with their friends.   In keeping with Inupiat traditions, both are also avid hunters, and one afternoon they decide to spend the following day on a seal hunt out on the ice, along with their friend James.

The night before their hunt, though, all three are at a party together.  Qalli leaves early, needing to go visit his grandmother, but Aivaaq and James end up getting hammered — and high — and stay up all night.  Since they’re awake in the wee hours, they set out on the hunt early together, sharing James’s snowmobile.  When Qalli gets up and goes to Aivaaq’s, his mother tells him the other two boys already set out, and Qalli heads off to follow their tracks.

A short drive later, Qalli sees his two friends far ahead of him, but they’re no longer on the snowmobile, nor does it look like they’ve started the hunt.  Then suddenly, one of them throws a punch at the other, and Qalli hits the gas.  When he finally gets close enough to intervene, however, the fight has gotten way out of control.  Aivaaq is down, and James is holding a shovel, getting ready to whack him in the head.  Aivaaq pulls out a knife, Qalli races into the fray, and the next thing they know, James is lying on the ice, dead from a stab wound to the neck.

Panicked, Aivaaq wants to take James back to town right away and tell the truth about what’s happened.  It was an accident, after all.  Right??  But when Qalli looks down and sees a crack pipe, he realizes Aivaaq is high and that the cops would undoubtedly arrest him, maybe even trying him for murder.  With a baby on the way!  In an attempt to protect his friend, Qalli quickly decides the only option is to hide the body, which shouldn’t be too hard in the enormous expanse of ice outside of Barrow.  All they have to do is find a hole somewhere and drive James into the water below on his snowmobile.  Then it looks like an accident — people accidentally drive into holes and drown sometimes, after all, and their bodies are rarely recovered.  It seems like the perfect plan.

Which, of course, means it’s absolutely doomed from the start.

Complicating matters, Qalli’s father is the head of the local search and rescue squad, and also a savvy tracker.  The boys tell him what happened to James — the lie, anyway — and he immediately puts together a search party to try to find him.  But when Dad sees the patterns of tracks and footprints, and the hole in the snow where the boys had dug out all the bloody ice to hide the evidence of the fight, he begins to get suspicious, thinking Aivaaq had killed James and lied to Qalli about what had happened.  As the questions pile up, the already-fragile Aivaaq starts to crack under the pressure, and Qalli is forced to decide which is worse for his pal:  the truth or the lie.

Especially considering the fact the truth is not quite what Aivaaq thinks it is. . .

This is a wondeful film that takes us deep into the small, rural world of the beautiful, frozen town of Barrow, a place I’ve been fascinated by myself since I first learned of its existence while in college (I used to read the forecast for all the cities listed in the paper and it was always FREEZING there, even in the summer, so I looked it up to learn where it was and immediately fell in love with the photos and stories of the Inupiat culture I found).  The scenery is stunning — STUNNING, I say — and the ice itself is so pivotal to the story it practically becomes a character all its own.  The way it shifts — unpredictably, quickly, helpfully, disastrously — serves as the perfect metaphor for the friendship between Qally and Aivaaq, and the culture of the Inupiat natives living on that ice provides another complex layer to this otherwise somewhat predictable story.  (Nice, also, to finally see Barrow in a film that DOESN’T involve blood-sucking vampires, though I did love 30 Days of Night too, I confess.)

I was truly mesmerized by this film, and was especially moved by the ending, though I wasn’t terribly blown away by the acting, which was mostly amateurish (except for Frank Qutuq Irelan, who was incredible as Aivaaq;  Josiah Patkotak (Qalli), on the other hand, was either naturally terrible at expressing emotion, or trying to ACT naturally terrible at expressing emotion, and either way, his blunted affect made it hard to get a read on or take much of a liking to him).

I was pleased to see this film took a jury prize (for best new director) at the Seattle International Film Festival (SIFF) this year.  It’s not the film I would have selected for that prize myself, but I can certainly understand why it was chosen.  This is a unique, gorgeous, emotional movie about the harshest kind of coming-of-age — the kind that rips a childhood relationship wide open and exposes all the cracks and frailties of the kids who lie within.  Highly recommended, so keep an eye out for it on DVD over the next few months!

[Prequeue at Netflix | Featurette from Sundance]

Genre:  Drama
Cast:  Josiah Patkotak, Teddy Kyle Smith, Denae Brower, Tara Sweeney, Frank Qutuq Irelan

MOVIE: Super 8 (2011)

It is my feeling that this film is best described using math.  And the mathematical expression best used in describing it would be this:

((The Goonies² + Cloverfield) x Predator)) / E.T. = ABSOLUTE PERFECTION!

I’m not going to say anything about the plot, the characters, nuthin’, so as not to run the risk of spoiling even a moment of your upcoming thoroughly awesome experience.  But I do want to tell you two things about it:

1) I haven’t had this much fun at a movie in as long as I can remember, and

2) Stay for the closing credits (because what you will see there might very well be the most delightful cinematic five minutes of all time).

J.J. Abrams, I thank you for this one, sir.  It was exactly the movie I needed to see today.

Highly, HIGHLY recommended!

[Prequeue at Netflix | View trailer]

Genre:  Science Fiction
Cast:  Joel Courtney, Kyle Chandler, Elle Fanning, Amanda Michalka, Jessica Tuck, Joel McKinnon Miller, Ryan Lee, Zach Mills, Gabriel Basso

SIFF MOVIE: The Off Hours (2010)

Francine is a young woman living in a rural Washington town whose life pretty much revolves around her dead-end, night-shift job at a local truck stop diner and a string of sexual encounters with pretty much anyone who seems interested, mostly in dingy bar and restaurant bathrooms (and oh, honestly, is there anything more depressing than cheap sex in public restrooms?  Blargh.)

It’s not much of a life and she knows it.  But she feels stuck, trapped.  She’s been there so long (12 years) she seems to have forgotten she ever had options.  And the people she’s close to are similarly cycling and recycling through their own personal circles of hell:  there’s her boss, Stu, an alcoholic divorcé with a teenage daughter he rarely sees; Jelena, a middle-aged Serbian waitress who spends her off hours sleeping with truckers in her motel apartment; and Corey, Fran’s roommate and foster brother, who’s so furiously in love with her he can hardly stand talking to her anymore.

One night, Francine spots a new face at the diner.  She introduces herself, pours him some coffee, and the two begin to chat — his name’s Oliver, he’s a truck driver who’s just started a new route, he’s married with two kids, blah blah.  Over the next few weeks, they become friends — him looking for her through the diner windows as soon as he pulls into the parking lot, her face lighting up as soon as she spots him.  Turns out he’s sort of on the other side of “stuck;” he was a banker for ten years and when his branch closed, he decided he was tired of a 9-to-5 existence and took a leap into the life of trucking just to try something new.  Now he’s hardly at home, always on the move, his wife growing more and more frustrated by the week.  Unstuck in some ways, for sure.  But perhaps more stuck than ever in others.

When a series of things go wrong at roughly the same time, it seems to dawn on Francine at last that she’s in charge of her own destiny.  With a line of nudges all giving her a collective shove, she decides it’s time to unstick herself.  How she does it is the final scene of this mesmerizing, gorgeously-made film, and it takes what is otherwise a painful story of desolate, dark sadness and drops a light right into it.  A flare goes up.  And you leave the film knowing Francine’s gonna be just fine.

Goddamn, I loved that final scene.

In fact, there were so many things I loved about this haunting film I hardly know where to begin.  The acting is incredible, the writing is tight and authentic, the story is engaging and relateable, and the visuals — wow.  I’ve heard people raving about local cinematographer Ben Kasulke for years, and though I’ve seen a few of his other films, this is the first time I really understood what all the hoopla was about.  The colors, the crispness, the still shots, the long shots — this movie does everything visually great art is supposed to do.  It moves you; it picks you up and takes you right to it.  And it does it subtly, quietly, perfectly.  In between scenes, there were often quick stills of images from around the town — a beat-up truck here, a broken rocking chair there, an angled shot of the diner counter that made it look like it went on forever (oof, so great), a close-up of Francine’s face that showed every pore of loveliness and despair.  By the middle of the film, I found myself wishing I could get a print of every single one of those shots to frame and hang on a wall where I’d see them every day.  They were that good.

They were lovely, in fact.  In fact, lovely is the right word for every element of this film.

This film is lovely.

Highly, highly recommended.  And I can’t wait to see what director/writer Megan Griffiths does next.  Here’s hoping it doesn’t take her a decade to make her second film (as this one did), because the world shouldn’t have to wait so long to be so incredibly moved again.  A masterpiece.

[Prequeue at Netflix | View trailer]

Genre:  Drama, Indie
Cast:  Amy Seimetz, Ross Partridge, Tony Doupe, Scoot McNairy, Gergana Mellin, Lynn Shelton, Bret Roberts, Madeline Elizabeth

SIFF MOVIE: Detention (2011)

First things first: I thought this flick was incredibly entertaining and I laughed out loud more than once while I was watching it.  Director Joseph Kahn (who thoroughly charmed me when he introduced the film at the Seattle International Film Festival (SIFF) last week) is ferociously clever and I’m fascinated by the way his brain works and can’t wait to see what he does next.

That said, this movie is an absolute disaster.  Whew, what a mess!  Not only does the dialogue zoom all over the place, but the story does too, and while that frenetic pacing was clearly part of the film’s deliberately chaotic style, it was so overdone it ultimately made the movie feel more sloppy and unfocused than different and cool.

The plot takes place at a high school and focuses on one girl, a senior named Riley, who’s not quite cool enough to be cool, and not quite dorky enough to be a dork.  She doesn’t really fit in with any group, in other words, and while I think she’d probably tell you haughtily that she didn’t give a rat’s ass about that, her defensive anger would suggest a different story.

Making matters worse, she’s got a crush on her friend Clapton, who appears to only have eyes for the school’s stereotypical head cheerleader character, Ione.

Oh yeah, and also making matters worse?  There’s a killer on the loose, dressed as a sort of prom queen mummy and assumed by the kids to be the incarnation of the star of a fictional slasher series called Cinderhella.  That ain’t good.  (But, it’s also neither here nor there, really,  because Kahn seemed to forget he was making a slasher movie a good 80% of the time — just one of the many, many examples of his complete lack of focus here.)

Even more distracting than the all-over-the-map storyline, though, were the two huge issues I had with the film’s dialogue.  The first is that the characters, especially Riley and Clapton, frequently converse in over-written, too-craftedly-clever, Dawson’s Creek-speak — swapping long, long, precociously astute, complete sentences back and forth rapid-fire.

You know, the way NOBODY talks?

Equally problematic for me, though, was the characters’ incessant use of pop culture references from the 80s and 90s — decades chosen intentionally for one character (there’s a subplot involving time travel — in a giant bear — don’t ask), but which make little sense for the others.  We’re supposed to believe that modern day teens spend time arguing about whether Roadhouse Patrick Swayze could beat up Any Movie Steven Seagal?  Wha’?

The net effect of this film’s chaos was that visually and story-wise, the film seemed directed toward the 15-20 year-olds in the audience (and, indeed, it was a panel of 15-20 year-olds who selected it for the festival, as part of SIFF’s Future Wave project).  But dialogue-wise, it was far more relevant to my generation — people who grew up in the 80s and 90s — which is why only we 30-somethings laughed when, in one scene, a physics teacher circled the word “FLUX” on the chalkboard and then mumbled something about “1.21 gigawatts.”

That’s a good example, though, of the things I DID like about Detention.  Its sense of humor is sharp and crazy and kooky and weird and delightfully subtle at times, and it combines a huge variety of stylistic elements from an equally huge variety of genres — sometimes brilliantly.  (That film-within-a-film-within-a-film montage of clips from previous Cinderhella installments at the end was masterful, for example.  Though, again, did the audience’s 15-20 year-olds really get that scene’s reference to Ron Jeremy?  I have a hard time believing they did.)

Overall, I definitely recommend renting this one just so you can see what it’s like.  I think you’ll enjoy it.  But Kahn said during his introduction that he made this movie without any studio involvement (after the studios ruined his first feature film Torque, he said) so he could have absolute control over every element, and I think a little meddling feedback probably would’ve done the final product some good.

If Kahn can mellow out ever so slightly and not try so damn hard to be clever and cool, I think he could be a truly unique and engaging filmmaker.  But ultimately, I felt Detention was a lot like its main character Riley:  not cool enough to be cool, not dorky enough to be dorky, and not quite fitting in with any (audience) group.

I liked Riley a lot, you see.  But she’s still got some growing up to do.

[Prequeue at Netflix | View trailer]

Genre:  Horror, Comedy
Cast:  Josh Hutcherson, Dane Cook, Spencer Locke, Parker Bagley, Richard Brake, Kate Kelton

SIFF MOVIE: Everything Will Be Fine (2010)

This gripping Danish film starts out as one thing — a thriller involving the Iraq War — and ends up as something completely different — a heartbreaking love story.  The end, employing a gimmick I usually hate with a passion in films but which is done masterfully here, had me weeping in my seat, something I almost never do in theaters (don’t much like cryin’ in public).  And I wasn’t the only one sniffling and wiping my eyes as the end credits rolled, either (much to my relief; see above re: cryin’ in public).

The film focuses on two men and the way in which their lives eventually intersect.  The first is a young guy, Ali, who has agreed to go to Iraq to serve as a translator for the Danish army.  As his story progresses, we see him arrive in the Middle East, get stationed at a POW camp, and then witness numerous horrific human rights atrocities perpetrated by the Danish army against Iraqi prisoners.

The other man is Jacob, an older man who writes screenplays and who is about to adopt a child along with his wife Helena.  He’s struggling with his latest project, though, and the stress is mounting as his producer tells him he’s got until Friday to deliver a script or else the project is kaput.  Distracted one night driving home from his office, he accidentally hits a man we soon realize is Ali, back from the war and walking home after his debriefing.

Jacob leaps out of the car and races to Ali’s side, just in time to hear the injured man say, “Get my bag out of here!” before passing out.  Confused, Jacob grabs Ali’s duffel, throws it in his backseat, and speeds off to find help.  He pulls into a mini-mart to make an anonymous call from the payphone there, not realizing there’s a security camera pointed right at him (whoops), and then takes off for home.

Once safely alone, he opens Ali’s bag and inside finds a packet containing Ali’s diary and a set of graphic photographs depicting the violence he witnessed overseas.  Jacob immediately contacts his sister, a reporter named Siri (played by Paprika Stein, who I adored in last year’s SIFF film Skeletons), and the two decide the photos must come out.  Siri puts Jacob in touch with a more appropriate reporter for the job, Michael, and the two agree to meet.

Jacob keeps the photographs after Michael tells him the paper can’t print them without verification from Ali.  But when Jacob decides to call the police and turn himself in, primarily so he can find out where Ali ended up, the cops tell him they have no record of the accident.  That is, they got his phone call, but when they arrived at the scene ten minutes later, there was no body.

Jacob immediately becomes convinced the army had been following Ali, stole his body, and are now after HIM, knowing he’s got the incriminating photographs.  As the days pass, he becomes more and more paranoid, focusing that paranoia on one man in particular he believes has been following him.  Then the bodies start piling up, Helena disappears, and all hell breaks loose.

That’s when the story changes abruptly, shedding its political thriller costume and revealing itself to be one of the saddest films I have seen in a really long time.  I’ve read some other reviews of this movie in which the reviewers say they weren’t moved at all by the ending, instead feeling kind of duped or cheated by it, and I completely understand that reaction.  But for me, the story really hit somewhere powerful, and the acting, my god — the agony of the characters in the final scene shot straight from the screen into my heart and sat there twisting for hours after I’d left my seat.

Despite the devastating ending, though, I absolutely loved this film.  It’s beautifully crafted, wonderfully written, and just confusing enough to keep you thinking, without being so confusing you become annoyed.  When I looked back, I could see plainly a number of elements that could have clued me into the twist at the end, elements that struck me as slightly strange at the time  (like the enormous painting of a security camera over a hotel room bed — weird decor for a bedroom), but not necessarily relevant to the story — until it was over, that is, and everything clicked.

Very effective, very intelligent, very moving, and very, very highly recommended.

[View trailer | IMDb page]

Genre:  Drama, Foreign (Denmark)
Cast: Jens Albinus, Igor Radosavljevic,  Marijana Jankovic, Thomas Høite Meersohn, Paprika Steen

BOOK: Beat the Reaper by Josh Bazell (2009)

Peter Brown is an emergency room physician with a sharp tongue, a brilliant mind, and a . . . how should we say? . . . “different” sort of ethical code.  He’s extremely dedicated to his work, but he’s also the kind of guy who will beat a would-be mugger nearly to death and then screw a pharmaceutical rep in the hospital elevator a few minutes later.

When a new patient, Eddy Squillante, comes into the ER one day, takes one look at Peter, and exclaims in terror, “Don’t kill me, Bearclaw!”, the story of Peter’s past comes out at last, a story that explains a lot of his “quirky” personality.

You see, Peter is in the Federal Witness Protection Program (“WITSEC”) after spending nearly a decade as a hit man for a bigwig mafia family, the Locanos — a mafia family that became like his own until the son, Peter’s best friend Skinflick, turned on him.

Peter reassures Squillante that he isn’t planning on killing him, but it’s too late — Eddy has already called someone and set things up so that if he dies, the Locanos get a phone call telling them where to find their old enemy.  The doc isn’t too freaked out by this, all things considered, until he learns from Squillante that Skinflick, who Peter had thrown out a 6-story window a few years back, is still alive.  And desperate for cruel, painful revenge.

Surgical complications take Eddy, alas, leaving Petey with about 90 minutes to get the hell outta Dodge.  The problem is, if he moves again in WITSEC, he’ll be giving up medicine for good  (can’t exactly hang a medical license in your office with somebody else’s name on it, after all).  And, of course, there’s that other patient of his about to lose her leg if Dr. Brown doesn’t help . . .

Well, RATS!  What’s a foul-mouthed, shady-moraled, ex-Mafia hit man to do?

This novel is incredibly funny and clever, with a great story and lots of interesting tidbits about the inner workings of modern medicine, pharmaceutical marketing, and mafiosos (plus the Holocaust — a unique combination, for sure).  I also found the parts about Peter and Skinflick’s boyhood friendship really poignant, and was truly moved by the story of the love of Peter’s life, the beautiful, gentle, tragic Magdalena.

For a comedy about sarcastic hired killers, in other words, this novel is surprisingly touching.

Well-written and fun, Beat the Reaper is a quick read and a great choice for anyone looking for a good summer vacation book.  Recommended!

[FICTION]

[Buy from an Indie Bookstore | Buy from Amazon | Browse more book reviews | Search book reviews]

SIFF MOVIE: Jucy (2010)

Australians Lucy and Jackie (code name “Jucy”) are best friends and have been for years.  Both in their early 20s, they work at a local video store together, act in a local theater group, and share as much of every waking moment with each other they possibly can.  They’re so close, in fact, that rumors abound regarding their sexual preferences.  But no, they’re straight.  Guys have “bromances;” Jucy’s having a “womance.”

When their local theater group decides to put on an adaptation of Charlotte Bronte’s Jane Eyre, starring the object of Jackie’s desire as Rochester (Alex), both girls try out for the play.  They’ve made a pact, you see, that by the next cast party (usually a somewhat depressing affair for the girls, who feel like they’re making less of their lives than they ought to be), Lucy will have her dream job (acting full-time) and Jackie will have a dreamy boyfriend (Alex, or anybody else she can find).  The play seems like the perfect chance to fulfill them both.

Problems strike, though, when Lucy, not Jackie, ends up cast as Jane opposite Alex, leaving Jackie to play Rochester’s crazy wife Bertha — just as Jackie had decided to quit taking her medication for depression.  Pretty soon, Jackie’s so deep in despair she can barely function, and when the girls have a terrible fight — a fight featuring the kind of spot-on cruelty only best friends or siblings can wield — Lucy decides she’s had enough of Jackie, quits the play, and takes a corporate job in marketing alongside her snooty, more traditionally successful younger sister.

What happens next — in the play, with Alex, with Jucy’s relationship, and more — is a brilliant, wild ride.  This film is an absolute delight, with the perfect balance of hilarious comedy and heart-breaking emotion  This smart, witty, and affectionate film won me over almost instantly, in large part because of Francesca Gasteen and Cindy Nelson’s perfect take on their characters.  Not only did Jackie and Lucy seem completely authentic to me, but they charmed the hoo-hah out of me to boot.  I left the film feeling like I really knew them — and what’s more, that I really loved them too.

As I’ve said before, one of the things I love most about going to see movies at the Seattle International Film Festival is the audience experience.  When it comes to “regular” movies these days, I often find myself in an audience of fewer than ten — nobody’s going to theaters any more, it seems.  Or, at least, they aren’t going at 5pm on a weeknight.  But SIFF movies are generally pretty full of people, and they’re all people who LOVE WATCHING FILMS.  They don’t talk.  They don’t text.  They really, really get into good movies, and they have a great time razzing bad ones.

The audience for Jucy was one of the best I’ve sat amidst so far this year.   We were all, men and women alike, so thoroughly engaged and charmed by this film that the energy in the room left me buoyant for hours.  People laughed at the funny parts with abandon, they let out a hushed sound of sympathy when the origin of Jackie’s tattoos became clear, and I could tell the entire room was having an absolutely marvelous experience.

Definitely keep an eye out for this one.  You can already reserve it for your queue at Netflix (see link below), and if you can catch it at a film festival, I highly recommend you do.  A true gem.

[Prequeue at Netflix | View trailer]

Genre:  Comedy, Foreign (Australia)
Cast: Francesca Gasteen, Cindy Nelson, Andrew Ryan, Ryan Johnson, Charlotte Gregg, Christopher Sommers, Sally McKenzie