Besides the curious sound effects to differentiate ghosts and humans and some of the scenes with Fabian Loo, this movie is quite insufferable.

All other elements of the film are corny to an extreme degree and the boring ghost story overshadows what, treated in a different manner, could have been a more endearing realistic family drama set during the Covid pandemic period.

The premise of the heist and the tension that comes from it is just an excuse for a great indictment against urban life in favour of the idyllic rural one presented via beautiful impressionistic imagery.

Nonetheless, the movie still manages to be suspenseful as well as weirdly funny as well as also adequately looking into the clash between prioritising money or love through the development of the two main protagonists.

Its only downside is its feeling of being at times an overcontemplative piece of filmmaking which causes the movie to slightly drag at some points.

Durkin manages to set a great 80’s atmosphere, mostly thanks to the colour tonality and soundtrack chosen.

The hand of Chavo Guerrero is felt in the great wrestling choreography, but on the flipside the in-ring camera work sometimes diminishes its effect.

Another uneven element is the writing. The movie never feels like a true family drama, but rather an isolated look into several doomed characters. Nonetheless, the acceptable (but slightly theatrical) work from the cast and its cheesy but actually effective ending manage to emotionally move you.

Solid acting by the two leads, with MacKay stealing the show as the 2014 sociopath version of Louis.

Although the variety of genres (romance, thriller, and near-future dystopian sci-fi) and nice photography work well enough to catch your attention, the truth is that the film structure is surprisingly rudimentary as it doesn’t really exploit the interplay between the three different timelines and simply tries to force it with somewhat original but also annoying editing tricks.