The hospital is a battleground, where coincidence and ridiculousness are common to a degree that could irritate more logic-driven viewers. She’s a nurse (on probation) in a hospital that’s not well staffed, not well run, and losing more patients and organs than it has a right to. Everybody’s an obstacle in Mandy’s way, but nothing about her behavior suggests that she’s more than a vaguely defined cipher for anybody who’s ever been stuck at a soul-crushing job that has, over time, lost all meaning, and is now just a means to some ill-gotten ends. Yet, you still get the impression that underneath the malaise, murder and drugs she isn’t a bad nurse and does actually care about her patients and that there is a sense of tragedy to her past. As a Black woman unfortunately named Karen, Nikea Gamby-Turner is a pleasantly entertaining surprise, while David Arquette has little do beyond what’s predicted of his cop-killer character (he and his wife Christina McLarty Arquette are two of the project’s producers). Bettis oozes world weariness as the cynical Mandy. A slight pause, then Mandy replies: “There's a few things I like better than cash in my hand.” “Me too, actually,” Gamby-Turner says. Written and directed by Brea Grant, it follows Mandy (Angela Bettis) as she settles into her long shift as a nurse in a rural hospital in 1999, Arkansas.

Right off the bat, 12 Hour Shift expertly evokes the world of 1999 Arkansas (with a nod to Kroger and Surge and Squirt brand sodas with a ‘Spurt’ soda machine) and the grueling life of shift nurse, Mandy (Angela Bettis). What benefits 12 Hour Shift is Grant’s simplicity in character design, never overdrawn as redneck stereotypes outside of believable archetypes (within the ecosystem of 12 Hour Shift).

She is a wonderful, fascinating creation, and I would love to know more about her; but 12 Hour Shift gives us just a twelve-hour story. Written and directed by the actress Brea Grant, “12 Hour Shift” has roughly two good jokes for every third that comes across as overdetermined (an unexpected musical number) or self-amused.

That’s not to say there isn’t gore and violence, but it’s a subdued, maudlin sort, and as such, Bettis eventually seems a bit underutilized. 5 minute read.

I was mostly fine with “not,” even if Farnworth’s cartoon energy sometimes made me wish otherwise. Stupid is as stupid does in the context of a chuckle-worthy midnighter about haplessness, illegalities, and bumbling thrills that’ll get you through just fine. Regina can play “Little Miss Murder Queen” without any outside interjections, as corpses pile everywhere but the facility’s morgue (er, well, except one). Privacy Policy There is also Kit Williamson as Officer Myers, who as well as adding another layer of complications to the night also brings some lightness to the pitch-black tone. Regina may be a caricature of a bimbo, but for the most part, everyone in this hospital setting is utterly realistic; indeed this extreme contrast just serves to highlight how real everyone else feels. For more recaps, reviews, and original features covering the world of entertainment, why not follow us on Twitter and like our Facebook page? You can check out our thoughts on, 12 Hour Shift review – black comedy tone with slapstick content, Do Do Sol Sol La La Sol episode 11 recap – Ra-ra deals with Jun’s secret and the aftermath, Private Lives episode 11 recap – Lee Jeong-hwan offers a hopeful future to Cha Joo-eun, What We Wanted review – a worthwhile relationship drama, Elfkins (2019) review – a fun family animation delight, It Takes A Lunatic Review: A Celebration Of An Undeniably Great Man That Fails To Live Up To Its Subject’s Example. But Regina is not the sharpest scalpel in the operating room, and it’s only after a comically drawn-out pit stop for cheese puffs that she learns that she forgot to grab the latest biohazard bag. Karen covers for Mandy while she uses bleach to kill off terminal patients, then Mandy takes those patients’ internal organs and hands them over to some generically ornery bikers (including one played by ex-wrestler Mick Foley), who in this case are using Regina as their go-between.

In the exploitation splatter comedy “12 Hour Shift,” two nurses manage an organ-trafficking network out of their Arkansas hospital. Between dealing with patients and “self-medicating” she's also involved in acquiring organs for a black market operation. The latest drop-off is … Some links on this site are affiliated. In an early scene, Karen and Mandy divvy up their payola: “There’s nothin’ I like better than cash in my hand,” says Karen. amzn_assoc_design = "enhanced_links";

If 12 Hour Shift sounds like one of those “none of this should make sense” calamities, you’re correct. Everything is just slightly off-kilter, based in reality enough that the danger faced by Mandy and Regina feels genuine, but oddball enough that a surprising little dance number from a paramedic doesn’t feel out of place.

There are some men, mind you, but they are largely there either as obstacles or to add to the chaos.

You can also read our Fantasia Fest review of 12 Hour Shift here. Among the evening’s enjoyably interlocking complications, Regina disguises herself as a nurse and tries her own hand at murder and nephrectomy — despite having an imperfect grasp of which patients’ kidneys are functional, and of exactly where in the body kidneys are located. 12 Hour Shift is available in theatres and on VOD in the US from October 2. NY 10036. Ecstatic and excited are nowhere near appropriate descriptors for what Mandy thinks about her job. By Eric LavalléeSeptember 29, 2020, Top 10 Most Anticipated Foreign Films of 2021, Nicholas Bell’s Top 5 – 2020 Berlin Intl. However, it ends up landing on the more low-key side of things in a way that not everyone will find satisfying after such escalation.

As far as explorations of the cruelty of grifting healthcare situations and the resulting human collateral damage, this should have more effectively mainlined empathy for at least one character (which is why J. Blakeson’s 2020 title I Care A Lot ultimately feels so irksome). For Grant’s purposes, Bettis is the glue which keeps this operation running even when we’re really waiting for everything to run completely off the rails.

A good film levelled up to great by its lead performance. “Or not.” I have no idea what the joke here is, but that seems to be the point of the scene: you’re either in with Mandy’s crew, or you’re not. Mandy’s consequently never more nuanced than Bettis’ constant grimacing, teeth-grinding, and eye-rolling. Interviews (The effeminate hypochondriac would have been offensive even in 1999, when the movie is set.)

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