The Babysitter: Killer Queen – (Netflix) review

Brief synopsis: After surviving a traumatic satanic, murderous night two years earlier, high-schooler Cole, finds that he is the butt of ridicule and shunned by most of his peers because no one believes his story of a night of horror, murder and mayhem. 

Only his friend, Melanie, believes him as she was with him the night of the incident. When Cole finds out his parents plan to put him in a mental institution he tells Melanie. She persuades him to escape for the weekend. Unfortunately, for him, Melanie has an ulterior motive.

Is it any good?: A sequel to the 2017 horror-comedy, The Babysitter, 2020’s The Babysitter: Killer Queen, is an enjoyable one hundred plus minutes of hokum that sees the original cast reprising their roles as well as a few new additions. 

Carrying on in the same vein as the earlier film, there are gruesome, bloody deaths, sharp, quick-witted dialogue exchanges and cartoonish, video game direction. The Babysitter: Killer Queen is an enjoyable and worthy sequel. 

Spoiler territory: Cole (Judah Lewis) is a diffident and nervous high school student. Two years after having nearly being killed by his Satan-worshipping babysitter, Bee (Samara Weaving), nobody believes his story as no evidence of the night was left behind. All the students, the student’s guidance counsellor, Carl (Carl McDowell) and even his parents, Archie (Ken Marino) and Phyliss (Leslie Bibb) do not believe him.

The only person who believes him is Melanie (Emily Alyn Lind), who was with him on the night but will not back his story. Cole goes to see Carl. Carl tells him that his only problem is he needs to have sex. Cole meets up with Melanie and voices his concerns about everyone thinking he is crazy. She tells him that he should not talk about the night.

As they are talking, Melanie’s boyfriend, Jimmy (Maximilian Acevedo) and two other friends, Diego (Juliocesar Chavez) and Boom Boom (Jennifer Foster) turn up. Another student asks Jimmy if he is going to the lakes at the weekend. Jimmy answers in the affirmative. They all head to class. In class, a new student joins. Her name is Phoebe (Jenna Ortega). She is a little strange and bold. 

At home, Cole’s parents are discussing treatments that they think he needs to be taking. Cole walks in on them talking. They pretend to be discussing dinner. Later in the evening, Archie tells Cole he needs to keep taking his pills until he gets back to feeling normal. Cole protests a little, explaining that he was always told to be true to himself. 

In their bedroom, Archie tells Phyliss that Cole still believes he had a terrible encounter. They decide they will have to put him in a psychiatric school. Cole discovers that his parents plan to move him to a psychiatric school. 

At school, Cole tells Melanie. They plan to do it that lunchtime. She tells him that he needs to get away and that he should come to the lake with her for the weekend. 

Cole’s parents turn up at the school to collect him. Cole decides to go with Melanie. He does not realise that Jimmy, Diego and Boom Boom are coming as well. 

Cole’s parents, unable to find him at school, go to Melanie’s house to look for him. Her father, Juan (Chris Wylde), answers the door. He is not at all worried about his daughter being away until he finds out she took his car. 

Down at the lakes, Cole is having second thoughts as he sees his peers having fun and frolicking by the water. He feels out of place. Melanie persuades him to stay, telling him his innocence is endearing. Cole’s parents report him missing. 

At the lakes, Cole and the others are on Jimmy’s uncle’s boat. The group play a card game. Cole and Melanie end up kissing in a closet. They get back to the game. Diego asks Cole about his cult horror night.

Melanie tries to dissuade him but mentions the devil book. Cole never told her about the book. Melanie realises the ruse is up. She kills Boom Boom. 

Melanie, Diego and Jimmy have all signed the devil book in exchange for getting the life they desire. Cole freaks out when he sees Max (Robbie Amell). He saw him die two years before. John appears and then Allison (Bella Thorne). 

Cole swears that they are dead. Allison tells him they are dead. Max explains that they have until sunrise to complete the ritual they did not complete two years before otherwise, they would have to wait another two years to try again. 

Sonya (Hanna Mae Lee), comes into the room carrying cookies. She died two years ago as well. Cole grabs the fish hook Melanie killed Boom Boom with and threatens the group. 

Phoebe, coming across the boat accidentally, walks in on the scene. Cole thinks that it is all her fault. Phoebe, seeing Boom Boom’s corpse on the floor, makes an excuse and leaves. 

With the group momentarily distracted, Cole escapes and jump onto the back of Phoebe’s water ski. Max chases after them and shoots a harpoon arrow at them. He only manages to hit the water ski’s fuel tank, causing it to leak. 

Cole and Phoebe escape to another part of the lakes. Melanie, Jimmy and Diego, the new younger cultist and Max, John, Allison and Sonya, argue. Melanie sees the fuel trail in the water and sets it alight. 

The water ski blows up and the group go to the site of the explosion. Phoebe, already on a secret quest of her own, leaves Cole. She sees a man sitting by a fire. She talks to him but his intentions are less than gentlemanly. Cole comes to her rescue. 

The seven pursuers look for Cole and Phoebe. Sonya finds them first, killing the would-be molester of Phoebe before turning her attention to the two youngsters. Cole, who is in the car of the dead molester with Phoebe, runs Sonya down. He crashes her into a wall, the surfboard on top of the car sliding off and decapitating her. 

The others find Sonya’s corpse and decide to split into two groups, the younger cultist leaving three originals. Max, John and Allison go off to search for them. Cole and Phoebe head to a cabin that Phoebe used to stay at with her family as a child. 

Allison sees the kids first and goes after them. Back home, Archie, who is at Juan’s, is getting high and playing video games. At the lakes, Cole and Phoebe are spooked by a hare. Allison shoots the hare. She comes down to confront the kids. They manage to distract her by appealing to her need to be famous. Allison, offended by a comment, shoots wildly at them causing a bullet ricochets and hit her in the chest. 

The two run off, pursued by an enraged Allison. She falls between the rocks, her head getting stuck between rocks, her body dangling above the ground. Cole and Phoebe pull on her legs, parting her body from her head and killing her. Max is right behind them and immediately tries to kill them with an axe. 

They escape to a motorboat and ride off. Max, undeterred, jumps into a lifebuoy that is attached to a rope and the rope to the boat. Phoebe slows the boat down and sprays silly string into Max’s face. She sets it alight. He falls into the water, which puts the fire out. He comes to attack again. Cole switches on the boats propellor and Max gets killed. 

On the pier, with only four of them left in pursuit, Jimmy and Diego tell Melanie they are leaving. She tells them that they cannot because the deal they signed has no get-out clause. They decide to leave. They both blow up. 

Melanie decides to execute another plan. She calls Cole’s dad, telling him that Cole is not acting right. Archie, who is still at Juan’s, says they will come and pick them up. 

Cole and Phoebe head for the cabin. Melanie and John follow after them. In the cabin, Phoebe takes them down into her basement room. Archie and Juan head to the cabin. In the cabin, Cole and Phoebe get amorous. Cole loses his innocence.

Archie and Juan reach the cabin. Melanie tells Archie that Cole is freaking out. Phoebe tells Cole she was in the car that crashed into her parents. She feels it is her fault they died. 

Archie comes and calls to Cole. Phoebe tells Cole not to go upstairs. Cole, determined not to leave his father in danger, comes out of the basement with a crossbow. He tries to shoot John but misses. John grabs a sword and comes after him. He cuts through a rope, causing a large horned ornament to fall on him and kill him. 

Melanie comes into the cabin. Cole tries to tell his father that she is part of the problem but he does not listen. Phoebe throws a machete at Melanie. Melanie catches it. Cole and Phoebe run from the cabin. Archie goes after Cole. Juan tries to stop Melanie. She kills him. 

Cole and Phoebe split up. Archie catches up with Cole. He drugs him and takes him to the car. Melanie and Phoebe fight. Phoebe is winning but Melanie pulls a knife and takes her hostage. Cole wakes up at the gas station and steals the car leaving Archie. He goes to where Melanie has Phoebe and gives his blood. The others return; Max, John, Sonya, Allison and the original leader, Bee.

Melanie mixes his blood with Boom Boom’s. She, along with Max, John, Sonya and Allison, drink the blood. They all die, Cole’s lack of innocence spoiling the ritual. 

Bee knew that the ritual would destroy them and had set the actions in motion, having been Phoebe’s babysitter also. Her deal with the devil came about because she had wanted to save Phoebe’s life in the crash. 

Happy that the ordeal is over, the three hug. Bee tells them that all the demons are not dead. She drinks the blood herself and dies. Archie sees Bee die and realises that Cole had been telling the truth. Cole returns to school a happy high-schooler. The end. 

Final thoughts: As I said before, The Babysitter: Killer Queen is wonderful fun and total hokum. The actors commit fully to the material and seem to be having a blast reprising their 2017 roles. Directed once again by McG, he employs various cinematic techniques and exercises all of his flair in directing the film. 

Written by Brad Morris and Jimmy Warden, with the screenplay by Dan Lagana and McG, the script crackles with sharp and clever witticisms. 

With Weaving’s Bee taking a much smaller role in the sequel, it is left to Lind to fill the role of antagonist. She does so wonderfully, sneering and scowling as the wish craving Melanie.

The Babysitter: Killer Queen flies through its one-hundred and five-minute runtime and keeps one interested throughout. If you enjoyed the first film, you will enjoy the sequel. 

The Platform – review (Netflix)

Brief synopsis: a principled man volunteers to go into a featureless, multi-levelled prison to earn a diploma. His humanity is tested, as the level one is on determines how much food you get.

Is it any good?: Yes. A psychological horror, The Platform – El Hoyo (The Hole – original Spanish title) – is a powerful story about humanity and its base instincts.

Spoiler territory: a restaurant boss (Txubio Fernández) presides over a busy kitchen creating a myriad array of meals and delicacies. Goreng (Ivan Massagué) wakes up in a cell. There is an older man in the cell with him, Trimagasi (Zorion Eguileor), who tells him they are on level forty-eight.

Goreng does not know what that means. He looks around and asks if they are in the hole. Trimagasi explains to him that they are and it is the beginning of the month. That means, Trimagasi continues, only one thing. What are they going to eat? Goreng does not know the answer. Trimagasi answers his own question. They will eat whatever is left from the level above; level forty-seven.

Goreng looks down into a large rectangular hole in the floor. Below there are multiple levels, with two people on every level. He cannot see how far it goes down. He asks if Trimagasi knows what the hole entails. The old man tells him eating. Goreng calls down to the people below but Trimagasi tells him they will not talk to him. Why? Because they are below. The same goes for those above.

Trimagasi grabs his pillow and kneels next to the edge of the hole. A red light on the wall goes off and a green one comes on. Goreng asks why that is. Trimagasi does not answer. He looks up to the hole. A platform descends from the hole. When it gets to their level, it stops. The platform is covered in half-eaten food with plates and glasses strewn all over.

An unperturbed Trimagasi digs into the food, shovelling food into his mouth with both hands. Goreng looks at the platform with disgust. He works out that the food has already been consumed by at least ninety-four people. Goreng picks up an apple and puts it in his pocket, planning to eat it later.

The platform lowers to the next level. The room begins to get hot. Goreng mentions it to Trimagasi. He explains that the room will continue to get hotter or colder if anyone holds on to food. Goreng throws the apple into the hole.

Before being put into the hole, Goreng had been made to understand that he had to commit to the period that he agreed to spend there. He would not be able to leave beforehand. Goreng had enquired as to whether he had been accepted. Not yet. What one item did he want to take into the hole? He would take a book.

He tells Trimagasi about being accepted into the hole. Trimagasi asks him if he volunteered. He did. Six months in exchange for an accredited diploma. Trimagasi says he should get two diplomas as he is there for a year. Goreng asks what did he do to end up there. He had been watching an infomercial and bought a kitchen knife but had been angered by the same sales team promoting a similar knife in the next commercial. The knife had been better. Trimagasi had hurled his television out of the window and it had killed an immigrant who had been cycling past.

Goreng asks how many levels there are. The old man does not know but he has been as low as level 132. Goreng says what about the food. Trimagasi says there is no food by the time it gets to that level. Goreng reason that one has to eat. Trimagasi tells him that it does not mean one does not eat. Goreng tells him that he chose a book as his item and asks what he chose. The old man shows him the kitchen knife that never goes blunt from the infomercial.

As the days go by, Goreng eats from the leftovers. Trimagasi scratches the number of days into the wall. They spend a month at each level and are then moved. They do not know which level they will be moved to and simply wake up on another level.

Goreng asks Trimagasi how many levels he has been on. The old man tells him he started on level seventy-two. He mentions several other levels. Goreng challenges him, saying that if he is with him, he must have had a different roommate before. As he does not look as though he has missed a meal, Goreng speculates that he probably fed on one of his former roommates.

Trimagasi does not answer. The food platform comes down. There is a woman, Mihara (Alexandra Masangkay) sitting on it. The old man ignores her and begins to eat. Goreng tries to talk to her but she recoils. Trimagasi tells him that she is looking for her son and that she kills her cellmate every month in the hope of being put with her son the next time.

The platform moves down to the next level with Mihara still on it. The men on the next level attack her. She kills them. The months continue and one-night Trimagasi notes the smell of gas. He tells Goreng that they are being put to sleep and will be moved. He only has two months left.

Goreng is gagged and tied to his bed when he wakes up. Trimagasi has tied him up because they are on level 171. Trimagasi reasons that, given Goreng’s youth, he would be at a considerable disadvantage when it got to a decisive time. Trimagasi plans to starve him a little, to clean him out. Then he will flay him. A week passes and the old man plans to begin on his thigh. He cuts into his leg and cuts away a chunk of muscle.

Mihara comes down on the platform and smashes him over the head. She takes his knife and slices his throat. She then cuts Goreng free. She gives him the kitchen knife. Goreng drags himself over to the dying Trimagasi and kills him. Goreng passes out. He wakes later and Mihara has bound his wound. She is eating Trimagasi. She feeds some of his flesh to Goreng.

Mihara returns to the platform and keeps going down in search of her child. Goreng is eating the remains of Trimagasi and sees him in his mind. The gas comes again. He wakes up with a small dog licking his face. He is on level thirty-three, Imoguiri (Antonia San Juan) and her dog Ramasesses 2 is in the cell with him. She is amazed he decided to bring a book into the hole.

Goreng wants to know how she knows his name. She was the one who interviewed him for the hole. He asks how many people she sent the hole. She reminds him that he volunteered. She also volunteered to come into the hole. How many levels are there? She says there are 200. He tells her there is not enough food for that many levels. She says that they have to try and convince people to only eat enough and leave some for those below.

Imoguiri tries to reason with those below. They ignore her. She tries over several days to no avail. Goreng threatens to defecate in the food if they do not agree to ration their food. Mihara comes down on the platform the next day. She is poorly. Goreng pulls her off of the platform and looks after her. Mihara regains her health and kills the dog. She goes back on to the platform.

Goreng tells Imoguiri about Mihara’s son. Imoguiri says she does not have a son and that she came in alone. She was the one who put her in there. She tells him that she has cancer and that it is terminal. Goreng continues to apportion the food, Imoguiri does not eat anything, mourning the loss of her dog. They are on the last day at that level. The next day Goreng wakes up on level 202.

Imoguiri has committed suicide. Hung herself with her sheets. The mental apparition of Trimagasi appears again, telling him she hung herself so as he could feed. An apparition of Imoguiri also appears, agreeing with the old man. Goreng is going mad.

With no food getting down as far as 202, he counts the days and tries to work out how many levels there are in the hole as there are obviously more than two hundred. He wakes up on level six. He is with Baharat (Emilio Buale), an excitable black man who is trying to get those on level five to help him climb up.

They tell him to throw the rope up and they will help. As he climbs the woman defecates on him as he gets near to the top. He falls back to six. Goreng watches the men on seven fighting over the food. He has a plan. He persuades Baharat to help him pass through the levels and only allow people to eat enough food to live. Every level will eat every other day as he had worked out that he believes there are 250 levels.

The men start to execute the plan. After going down several levels, Baharat, who had been using intimidation to stop people grabbing at the food, encounters Sr. Brambang (Eric L. Goode). He respects him greatly and listens as he tells him that he needs to be more respectful and that they need to send a message back up to level zero. The message should be an exquisitely prepared meal. The choose a panna cotta.

The men agree. Their more laid back approach falls on deaf ears and the men are forced to return to violence and intimidation, all the while preserving the panna cotta. The further down they go, the more savage the inhabitants are. The platform goes past floors where all the inhabitants are dead.

The men come to a floor where Mihara is being eaten alive by a man, he stops temporarily to stab her to death. Goreng attacks him. Baharat fights his roommate who slices him across the guts with a samurai sword. Baharat kills him and then kills the other man who had been strangling Goreng. They return to the platform. They keep moving down through the levels, the inhabitants ever more savage.

The platform eventually stops at level 333. There is a young Asian girl in the room. They get off of the platform. It goes down further. They give the girl the panna cotta. Goreng hallucinates again, Ttimagasi talking to him. He is woken up by Baharat telling him that the girl is the message. He wakes up. That too is a dream. Baharat is dead having bled out from his wounds. He puts the girl on the platform. Trimagasi tells him that the girl is the message, not him. He leaves the girl alone on the platform. The platform, which travels quickly when going up, takes the girl up. The end.

The Platform is a gripping psychological horror up until the last five minutes where it leaves you a little unsatisfied with the conclusion. There are a lot of unanswered questions: What is the hole? Why was the girl in there? What was the purpose? Was it a prison or an experiment? Did anyone ever get out? So many questions!

The performances are excellent from all involved and the set design is wonderfully stark and oppressive. Sound is good as well, with the music adding to the already tense atmosphere of the story. Especially at this time – writing during a worldwide pandemic – this story of base human instincts seems particularly relevant.

Written by David Desola and directed by Galder Gaztelu-Urrutia, the film does not answer any of the moral questions either, instead leaving it to the viewer to decide who they would relate to or align with.

Visually, the film is stark. Rich in the kitchen scenes and scary in the hole scenes. Truthfully though, I could not see the point of the kitchen scenes. They only showed that the food began as haute cuisine. As the film demonstrated that even those who found themselves in a privileged position did not appreciate it, there was little to give weight to these scenes.

That being said, The Platform is an engaging watch and it was only really on second viewing and given time to think about it, that I could find these frustrating niggles in the plot. At ninety-four minutes long it is perhaps too short and could have given the viewer a bit more story context with and extra fifteen minutes. The Platform is, nonetheless, a good and highly watchable film.

Kidnapping Stella – review (Netflix​)

Ex-convicts, Vic (Clemens Schick) and Tom (Max von der Groeben) go shopping. They buy soundproof cladding, handcuffs, blackout curtains, locks, and other miscellaneous objects. They prepare a room; a sturdy double bed, blackout windows, extra locks on the doors, both the bedroom door and the door to the small, remote apartment. The apartment is in an abandoned block of flats.

Having prepared the room, the two men go and grab a woman, Stella (Jella Haase). They tie her up, gag her, and put her in back of a van, and take her to the apartment. Both the men have masks on, as they take her to the bedroom, cut her clothes off, put her in a plain red top and pants, and chain her to the bed. She has a cloth bag over her head and is struggling the whole time this ordeal is going on.

They take the bag off of her head so as to take a photo of her next to the newspaper of the day. They then leave the room. After disposing of her belongings, they return to the room. Only Vic speaks, he wants her father’s email address and mobile phone number. She gives them the information.

When they have left the room, Vic uploads the photos to a USB drive and leaves Tom alone with Stella. He tells him to check on her every ten minutes. When Vic returns they have another conversation with the woman, telling her how to indicate if she wants to go to the bathroom. They leave the room.

I didn’t say anything!

Vic and Tom are sitting down to eat. Vic notes that Tom is not eating. Tom says he is not hungry. Vic forces him to eat something. Vic is definitely the one in charge, confirming that notion by having Tom recommit to their plan. Vic goes out again.

Tom goes to check on Stella. She indicates that she wants to use the bathroom. Tom brings a bucket, and, realising he will have to undo her restraints, brings a gun as well. He releases her and gives her the bucket. Stella persuades him that she cannot do her business whilst he is watching. Tom turns his back.

She hits him with the bucket and grabs the gun. Still handcuffed to the bed on one side, she tells him to let her free. Tom refuses. He tries to grab the gun, and she gets a shot off. While he is disorientated by the deafening explosion, she grabs his mask and pulls it off. She knows him. Tom is her ex-boyfriend. Tom manages to overpower her and puts her back in the restraints.

Vic returns with bad news. Her father does not want to pay. They have to go back into the room. Vic tells Tom to set up a camera, he is going to cut off one of her fingers. Stella panics, screaming through her restraints as Vic puts the bolt cutters to her hand.

Tom starts the camera and Vic takes the gag out of Stella’s mouth. She begins to plead with him not to cut her finger off. She begs her father to pay the ransom and tells him that she is pregnant. Tom stops Vic.

I’m strangely not hungry….

Back outside of the bedroom, Vic takes issue with Tom interrupting him. Tom apologises and says it will not happen again. Vic checks the footage. He is happy. They go back into the room to feed Stella. Tom notices that the bullet cartridge from his scuffle with Stella is on the floor. Tom’s nervousness puts Vic on edge. Tom retrieves the cartridge and flushes it down the toilet.

Vic goes out to send the video footage. Tom asks Stella about the pregnancy. He does not believe she is pregnant. Tom is angry at her because she abandoned him when he got arrested and imprisoned. She tells him that she knew she had to get away from him once she found out she was pregnant.

Stella begins to choke. As he goes to help her, releasing her hands, she tricks him and handcuffs him to the bed. unfortunately, she cannot get out of the apartment.

She tries to call for help, having retrieved her mobile, but because she does not know where she is, she cannot tell the police where to find her. She goes back into the bedroom, trying to get the keys to leave the apartment, and is knocked unconscious by Tom.

He puts her back on the bed before Vic returns. Vic returns. Stella’s father has caved in, he will pay the ransom. Tom goes to prepare the van. He finds records of Stella’s doctor’s appointments. Meanwhile, Vic is with Stella, and finds the mobile phone on her. He asks her how she got the phone. Stella confesses that she tried to escape and he overpowered her. She also tells Vic that she is his ex.

Vic asks Tom if she is telling the truth about everything. Tom says she is. They take Stella to a remote location and chain her up. Vic says he has the coordinates for the money pickup. They go to the forest. Vic tells Tom to go and get the money.

I can be reasonable. Give me money.

There is no money. Vic tells Tom that he knows that Stella was his ex. He tells him he is going to kill him. Tom runs off and Vic pursues him. He shoots him, wounding him. Tom hides. Unable to find him, Vic leaves the forest.

He returns to Stella. As she knows who he is, Vic decides to kill her. A wounded Tom comes and stops him, hitting him with a metal bar. Vic shoots him again. As he is about to kill him, Stella kicks him and he drops the gun. Tom grabs the gun and kills him.

Tom is dying, Stella begs him to get the keys to her, so she can get out of the restraints. She frees herself and Tom dies. She leaves the two dead men, and finds the car with the ransom money. The end.

Written and directed by Thomas Sieben, Kidnapping Stella is not a bad film. With good performances from the three actors, and a straightforward premise, the film mostly works well over its ninety-minute runtime.

Set for most of its runtime in one location, Kidnapping Stella starts really well, and then sort of plateaus. With Schick’s Vic positioned as the antagonist, and Haase’s Stella a reluctant protagonist, Groeben’s Tom floats somewhere ambiguously in-between, neither committing to the plan, with him having instigated the snatching of Stella, out of anger, nor committing to Stella.

Though the situation is played out realistically, with all concerned acting as one would expect, in terms of dramatic tension, it does not really work. Stella almost escapes twice, the second time making a call to the police, which should have heightened the dramatic tension.

But because there is no impression of the situation getting out of control for Vic, or of the two men being close to being apprehended, or even being sought, the tension that should be present never appears.

It seems the budget may have restricted certain aspects of the film, with the only other person present being the voice on the end of the phone when Stella calls for help.

Though the kidnappers set a time frame—two days—to execute their plan, we never get a sense of urgency or pressure, which is the film’s real weakness. A sense of urgency would have made Kidnapping Stella a must watch. Instead, Kidnapping Stella is an interesting, okay viewing rather than a compelling one.

Done it!

And so it ended. I finally finished my film and it was a brilliant experience! You can see the film here.
On a very sunny Saturday in April, four strangers – the actors, a sound man and a cameraman, descended on my homestead. We – well I had anyway – planned to start at nine o’clock, under pressure to get the film shot because, for various reasons, I only had the one day to get it done.
One needs to understand, this was my first foray into directing and I was working with people I do not know. Having said that, I enjoyed the whole experience immensely. Everything I wanted to do in the film, I did. And I learned a great deal; about directing, coverage, lighting and shot composition.
The set was a happy one, with the shoot speeding by. I was extremely lucky to have a highly experienced and competent cameraman on set. He was kind enough to guide me through my ignorance when it came to certain things; camera ready, clapperboard and lighting.
It also helped with my editing practice – FCP X for those that are interested – using the latest, industry dividing, editing software from Apple! Sound was interesting as well, especially the last scene. Overall, though the film was by no means a masterpiece, I was happy to get it done and realise that I could actually do it. Now if I could just stop procrastinating, I could get my next film made!