Add a Review

  • Just by looking at the poster for this I knew I was going to watch it. I love these types of teenager movies with violence, especially because they have the potential to achieve cult like status. I liked the trailer for the film because it had a lot going for it to make it interesting. Pretty girls, sex, blood and gore, bright lights. All the makings of a film that would bring the blood thirst entertainment. Assassination Nation actually has too many problems with it and I couldn't get past it. Stylistically the film is nice but man its a wreck otherwise.

    The film is primarily about a group of four teenagers. They somehow manage to get center circle in a hacking scandal in their small town of Salem. This causes mob mentality and the inhabitants of the town start to show their true colors and go into a bullying and murderous rage. Why is that? Because they are intolerant, bloodthirsty, and want to kill girls who act like sluts. The main character among the four, Lily, is affected greatly by the hack and she has a target on her back. The film stars Odessa Young, Suki Waterhouse, and even Bella Thorne.

    The films messages are current for sure. The way information is spread, nudes and incriminating information being leaked out, police brutality, mob mentality, rioting, and the importance and dangers of social media. Stylistically, the films scenes look nice at many stages. The cinematography is vibrant and pulsing at times and it looks the part. However, all else doesn't work for me. The characters are all unlikable and you don't care about their fate. The main core of girls are not developed well at all. Suki Waterhouse's character... whats her deal? Not developed even slightly. The film felt like a brainstorming of good ideas just jumbled together with current media issues injected in it for a drug fueled mess.

    The high school girls all know how to shoot guns and assassinate all of a sudden? They operate shotguns and assault rifles like nothing. People in a town are all blood thirsty loons all of a sudden? Even the characters you thought were good? Okay. I know you have to suspend your belief but this was ridiculous. It strives to send out ham fisted social messages and none of it worked for me. Sorry. I wanted to like this film but needed something that would engage my brain and not have me laughing at how stupid everything was. Nice try, but no go.

  • piggulu24 September 2018
    Tries way to hard to be edgy and poignant with the incessant hypersexualization and teen dream drama that completely dominates the 1st half, but it's all just numbingly dull. The characters are neither exciting nor memorable, and while some have a few ideological points to make, none of them actually make you care. Except for Joel McHale, who is all-around awesome :).

    The story itself doesn't do them any favors, either. The leaps in mob paranoia and violence make no sense, and though one can argue such things aren't rational in the first place, in here they really make no sense. Especially when it comes to the heroines being blamed and targeted for everything, despite no reasonable inklings or motives as to how they could be responsible for anything. And the ending is as dumb as can be.

    Don't be fooled by the film being billed as a cross between "Heathers" and "The Purge" since it shares practically nothing with the two. Don't get intrigued by the trailers (which, I'll admit, are good). Don't waste your time and money on this.
  • As a cinephile, it is common for me to try to find what's good in every movie. This one made that search a little harder. Aesthetically pleasing scenes with lots of close-ups coupled with an ethereal and current soundtrack were the only silver linings in an otherwise nonsensical and often muddled film. The story seemed unable to find, and stick to a central message; was it "Girl Power"? Or a statement on the apparent death of privacy to make room for the digital age. In a nut shell, my high hopes for the movie were cut down by an inability to convey a message, and an ultimately confused storyline.
  • soulthlives21 September 2018
    Warning: Spoilers
    The movie tries to be rather super open minded but it feels fake and disconnecting to the realism of it all. Also the girls try too hard to be mean and rude, and honestly it makes me not want to root for any of them. I get it. Teenage girls aren't sweet and nice, and honestly? Go for it but really we're supposed to like these girls? I can't find a single thing great about the fact that they are rude, spoiled, and honestly hypocritical. The movie also tries way too hard to call out stupidity white hetero situations but also can't really pick a side of being a book feminist or just being a sexually liberated feminist. Which you don't have to pick, but apparently to them. You have to pick one.

    Don't see it. It's not worth it, it's obviously a bad movie and it just tells us the whole issues of singular midwestern christian white towns. All full of want to be like Los Angeles but no one wants to really listen what the Angels are saying.
  • Didn't know what to expect when I saw this at a sneak peek tonight. My friends and I enjoyed it! Some unexpected storylines coupled with the director's use of close-up shots and bass created a sense of claustrophobia throughout the movie, which worked well with the script. Had a great take on current internet culture that felt real and not like some 50 year old executive's take on "being hip". Only gripe was the last 15 minutes or so seemed crammed together. Would have gladly sat through another 10 minutes to wrap up some things they skillfully built throughout the movie. Overall I enjoyed it and would watch again. The older people in the crowd were not pleased at all, however. Lolz! (You'll better understand that last bit after the movie.)
  • Assassination Nation is a "modern" take on the Salem witch trials, which, coincidentally takes place in Salem. Once a hacker starts exposing deep secrets from the townspeople ranging from the mayor to the principal to the students, all hell breaks loose. And when main protagonist Lily along with her 3 girlfriends are blamed, they find themselves fighting for their lives. I loved every minute of this film, the cinematography was not only stylish but necessary, avoiding borderline pretentious arthouse that leaves you feeling robbed. If you are going in for the violence, you won't get much of til half way into the film, but when it does come, it is a very satisfying and adrenaline filled rush. That's not to say I didn't feel exhausted from this film by the time we reached the last 5 minutes, but only because this story took quite a bit to spiral out of control that by the time sh*t hits the fan, you are left feeling quite full with what you are fed in the final act. I say this because if you are expecting those 4 girls to absolutely obliterate a whole mob of angry people, you will be disappointed to hear that the film ends before we see that carnage, but what you do see is fulfilling enough to forgive that cliche copout, which is why I take one star away from an otherwise perfect film. If you are the type of person that thinks 4 girls talking about male genitals and whose nude pictures they have on their phones, you might be a bit annoyed with our leads. But as for me, I loved every second they were on screen. Not to mention the polarizing use of modern trap music and the booming bass constantly playing in-between scenes and in the background that compliments the 4 girls aesthetics, whether they are simply walking down the school halls or doing something mischievous that will ultimately have consequences by the time things start going south. I ask you why you are on iMDB because, it's not that this movie is some "snowflake" SJW horror film trying to bombard you with the words "trigger warning" but that it is very political and seeing how the Purge movies are received, I highly doubt this movie won't take a beating from a few bothered people. Enjoy this movie for the hilarious and disturbing outcome of what happens when a paranoid town resorts to gory violence. You may walk away feeling pleasantly surprised
  • This is a fantastic commentary on social media and the cloud...the thin line we tread between privacy and being completely exposed. It delivers on all fronts and definitely lives up to the marketing campaign pushing how "graphic" it is. Perhaps some parts were a little obnoxious and overly self-aware but wow was it a fun experience. See this in a good theater with proper speakers and you won't be disappointed.
  • Think of this movie as Mean Girls meets The Purge. Sounds strange, but it's completely worth it. Highly original and eerily perfect for the moment.
  • Biancs0614 November 2018
    I'll admit, I came to this movie to see Bill Skarsgård because I'm obsessed with him. But I quickly got sucked into this movie in the best way. All the acting is incredible, particularly Hari and Odessa. I really enjoyed anytime they were on the screen. The soundtrack is great too. Go into this movie with an open mind. Don't feel like you're gettung attacked if you're a male or someone who's more conservative. This movie isn't to bash or shame certain people. It's to show an exaggerated version of what our world is today. Very eye opening and scary at times but so much fun to watch, I saw it twice! I recommend it, 10/10.
  • It gets from 0 to 100000000 in a second. This film was well written and directed. Aggressively edited. The main continuous shot it's EVERYTHING. and the script it's fun. It's about feminism. Labels and rebellion. Very very enjoyable.
  • Funny, fantastic directing and acting. A good triple feature would be with Jennifer's Body.
  • livseywill-4654123 September 2018
    The first half hour of this nihilistic crap was all I could take. Avoid at all costs
  • Art reflects society. When society grows divided and divisive, art will reflect it, and such is the case with Sam Levinson's ASSASSINATION NATION. As with Kubrick's A CLOCKWORK ORANGE in 1972, (now ranking in the top 100 films on most critics' lists,) it's decidedly not a movie for everyone. ASSASSINATION NATION goes places uncomfortable and apropos, and does so in spectacular, over-the-top fashion.

    PEW Research cited a staggering 94% of all American teens wielding social media as of 2015. We tell these teens that all nudity is inherently sexual and that their strongest natural urge is to be shunned, all while blatantly using it to sell practically every product on the planet. Some of their private divulgences, then, naturally contain nudity. As a legal repercussion, we've arrested and charged girls as young as thirteen with Felony Pornography Production for unwisely sending their boyfriends topless pictures - pictures these indiscrete boys shared with their entire schools and beyond. For added trauma, as hacking of social media grows more sophisticated, so, too, grows the broadcast of stolen photos and missives.

    We inexplicably shame women who've been wronged - women whose privacy has been violated, women who have been raped - and excuse males, saying, "Boys will be boys." We give boys a free pass and a pat on the back, be they aspiring athletes or nominees to the Supreme Court. But oh! My mistake - Brock Turner actually served three months of a six-month sentence for raping an unconscious woman and leaving her behind a dumpster. No free pass there, though some bemoaned how "sex offender" status would hurt Turner's promising career.

    Take a country where women have traditionally been treated as Second Class, achieving the right to vote only after a nearly 100-year unmet demand and not assuming control of their own bodies until fully a half-century after that - where marital rape wasn't declared illegal across all states until 1993, where equal advancement, and equal pay, for equal work is still out of reach for many, and you have a recipe for angst.

    Next, introduce a manipulative political party (unashamedly gerrymandered a 33-seat gain in Congress while losing by 1.4 million votes in 2010) that pairs bible-banging righteousness with cascading hypocrisy to roll back hard fought rights women gained and ensure others are never achieved. Then, ice it with a philandering leader who has publicly called women "pig," "dog," "cow," "slob," and "disgusting animal," a man who elicits and validates the very worst tendencies... and you have the recipe for an explosion.

    ASSASSINATION NATION takes a bloody hard look at where we are, lensing women's societal issues through a contemporized frame of the Salem witch trials. Some couldn't see past the violence committed by Alex and his droogs and condemned A CLOCKWORK ORANGE, and so will some be repelled by the violence and avoid ASSASSINATION NATION. In both cases, though, looking closer and paying attention rewarded this viewer. Your mileage may vary.
  • I like weird movies. But this was the worst thing I've ever seen. I would give anything to unsee it. I have never hated a movie as much as I hated this one.
  • Assassination Nation will be someone's favourite movie and I fear the day I meet them.

    It's a film that sets itself up to be another Spring Breakers (itself very divisive but personally a solid flick) and then slowly then suddenly falls into the realm of unlikable celluloid.

    All in your face and with the subtlety of a sledgehammer to a watermelon, Assassination Nation evokes groans and eye-rolls after the initial effective half hour (less if you don't buy into this online witch hunt being set in Salem from the get-go)

    For all it's risky filmmaking choices and interesting editing and cinematography, Assassination Nation dulls on you the moment sh- hits the fan. A place where you realise all in that moment that none of these characters are likeable or interesting enough to get you to care.

    It feels like you've taken Mean Girls or Heathers or some other more interesting high school movie and thought you could make it more edgy.

    The film screams with the voice of a teenager who has been on the internet once and has seen a cavalcade of issues in the world and just copy/pasted them into a first draft that was then immediately filmed. And with the references to hacking, it feels like it was written five years ago.

    Assassination Nation reeks of being the first film a young filmmaker would of made, right down to the snide reference to Fight Club and the most basic cinephile and self-aware references aping someone who's favourite director is Tarantino and just Tarantino.

    Which makes it all the surprising that this film is written and directed by Sean Levinson - son of Barry Levinson - but makes all the sense in the world.

    The pure putrid world he has created full of wannabe risky filmmaking by way of The Purge if only we followed the uninteresting background actors digging the hell out of The Purge, starring four teen female leads with nothing to say except the bargain basement discussion found reblogged through Tumblr, feels exactly like something written by a middle aged white man. There's just something about the borderline exploitation of Assassination Nation that feels like it intends to be so cool and so edgy instead fills you with eye-rolls and a lack of empathy.

    Some people are going to really love this movie, and those people definitely have just begun their journey into film. That isn't the stance of film snobbery here, it's more the stance that when you take a step back and when you grow a little, you realise just how standard and uninteresting Assassination Nation is, full of unintentional parody and utter dullness, where everyone is a cartoon but it doesn't make any good commentary because it's literally what's happening in the world but no additional layers.

    Extremely harsh against women and just entirely scummy, Assassination Nation doesn't have a lot to redeem itself. You'd have more fun reading a teenager's Twitter feed while watching a Refn or Noé movie full of neon and actual interesting and deep filmmaking and theming.

    I just really didn't like Assassination Nation, people. It's everything I dislike about indie cinema when it goes wrong made by filmmakers inspired by much better filmmakers and not inspired enough by stories they want to tell and rather thinking the stupid message of stupid America is enough.

    And also it gives Jeff Winger from Community an alternative outcome for his relationship with Annie with none of the psychological journey. I'd much rather be watching that show instead of this.

    But then again I could say that about any film.
  • First off, I am stoked to be the second person on IMDB reviewing a film that is sure to blow up! Judging by the date, I probably saw this film at the same Sundance screening as the previous reviewer.

    With its $10 million sale at Sundance three days ago, this movie is sure to get a theatrical release this year, and deservedly so. It may even win the Dramatic jury prize at Sundance in a few days. My mind is dizzy right now with thoughts I want to express about this film - so I will only stick to the essentials. Let me start with this: this "little" film (cheekily dubbed as a "true story") about the breakdown of the small town of Salem, Massachusetts, will stir up national debates about internet transparency, morality in the digital age, toxic male egos, gun culture, and teenage online delinquency.

    And that is just scratching the surface.

    This is a film that can be assaulting on the senses with plenty of teenage sex, gun violence, and excessive blood. This shit is not for everyone, especially viewers over 45.

    Really, I am a bit overwhelmed. I will say that the story hits a home run. In our heroine, Lily, we find a character arch that begins with strength, then vulnerability, fear, despair, and then finally renewed strength. It is classically Aristotelian in that way. The technical execution is something to behold, with one breathless technocrane/steadicam (step-off) shot - showing with heart-pounding grace how thugs ambush Lily and her friends in a house. The price of admission is worth this scene alone.

    My biggest critique of the film is that the last one-third of the film differs in form or genre than the rest. Though I am sure this was a deliberate choice which helps the film be entertaining to its targeted youthful viewership, I also feel that this tactic may keep the film from making any lists of great cinematic achievement.

    The first two-thirds of the film is a gripping tapestry which includes music-video aesthetics, split-screens, driving dance beats and youthful energy - rife with empathetic sensibility. The second half is completely devoid of any empathy in a balls-to-the wall grindhouse or revenge story featuring babes with shiny red jackets enshrouded by guns and seemingly impervious to bullets. Also, enough blood and killings to make you think you are seeing grindhouse B-film from the 70's.

    What this film does startlingly well is that the audience is willing to let itself be immersed by the lack of empathy and incredulous violence in the last act because by this point the director has earned its trust with the gripping story and the sympathatic plight of the main characters. That Sam Levinson the writer/driector made us make this jump with him is a stroke of --I will say the word-- genius.
  • mariob-4730721 September 2018
    Now before you start reading all the negative reviews about this movie and start thinking that the just another teen movie with stupid consequences and slutty remarks and different kind of videos and music that you don't understand you have to realize that if you take a hard look at anyone that you actually think you know this is a possibility in life Not saying that the world's gonna go into complete anarchy and chaos but haven't we already ascended to a point close to that. It was directed well the acting was really good it was an advocate for humanity writes I would say it was an advocate for telling the truth it was an advocate for chaos and anyone who has any badd reviews about this really really needs to look at their browser history. This shows you the basic elements of humanity where the masses can be swayed easily while the few have to fight just to survive good movie I'd recommend anyone I know it's the purge meets Facebook enjoy
  • rodriguezjace22 January 2018
    Was it the best film? No. But it's a fun movie, it goes more towards the teenagers, young adults but it's about a small town where everyone loses their minds and it's a fun storyline. If you're bored i definitely would watch this movie, it's not boring and it has good talented actors.

    Bill is amazing, Bella is a great actress not focusing on her in the media, Cody Christian did his job, he isn't the best actor, but he's a good actor and i can see him in more roles soon.
  • jericw1611 September 2018
    Terrible but not a surprise coming from this writer/director. this is an overrated movie, that will no doubt lose at the box office.
  • I've read a lot of negative reviews for this movie. My guess: close-minded people who can't see the forest through the trees. The overarching themes of this movie are outstanding! Are there self-indulgent teens who make me feel grateful I never had children, absolutely. Not the point. The point is explicitly stated at the end of this brilliant and self-indulgent film. Don't have the patience (even though the story is not boring by any stretch of the imagination) to stick it out to the end? Well, I guess that's your loss.
  • Finally a truly 2018 grindhouse film. Based on the description I thought I would pass on this film and apparently so did a lot of other people because there were only two other people in the theater.

    It has it all: violence, rage, social media, hacking, gender hypocrisy, and general mayhem.

    I thought it was a really well done feminist teen film.. Bravo.
  • Centred around a quartet of unapologetically shallow teen girls more concerned with getting likes on Instagram than decent grades, and culminating in an orgy of gender-demarcated violence, Assassination Nation seems to set out to try to offend everyone - from the social justice warriors on the left to the second amendment fetishisers on the right, from Millennial snowflakes who have never known life without social media to Baby boomers who just can't get their head around why going viral is so important. And pretty much everyone in between. The satirical ire of writer/director Sam Levinson's second feature, however, is aimed more specifically at those who tend to see the proclivities of sexually "aggressive" (i.e., sexually confident) young women through misogyny-tinted glasses as the ruination of society (the type of insecure males who believe the term "toxic masculinity" is an oxymoron). Starting out as a commentary on a society becoming ever more defined by online hysteria and the erosion of traditional concepts of privacy, the film charts a course from Heathers (1988) and Mean Girls (2004) to The Purge (2013) by way of The Second Civil War (1997), Blackhat (2015), and Bushwick (2017). True, it does run out of steam in its third act, and, overall, it tries to take on too many issues. Nevertheless, this is perceptive stuff, with a solid central socio-political thesis and a savagely satirical narrative (even if it is populated by underwritten characters).

    The film tells the story of four relatively normal high-school friends, Lily (Odessa Young), Bex (Hari Nef), Em (Abra), and Sarah (Suki Waterhouse). When half of the population of the town is hacked, and all their data made public, the quartet, and Lily in particular, soon find themselves at the dangerous centre of a rapidly escalating situation, as the town finds itself becoming increasingly militarised and polarised. Assassination Nation made news in January, when it was the biggest sale at the Sundance Film Festival, purchased by NEON for $10 million. However, when it went on wide release in North America in September, it flopped badly, taking only $1 million in its opening weekend, and finishing 15th at the box office. This is a real shame, but perhaps it's not unexpected. The fact that it holds a very unflattering mirror up to contemporary American society was never going to pull in the multiplex crowds. That that mirror is satirical probably didn't help either. 31% of Americans believe that a second Civil War will happen within their lifetime, almost certainly race related, and I can't imagine people who think this way being especially receptive to the kind of satire seen in this film.

    Assassination Nation works primarily, if not wholly, by way of exaggeration, as with so much great Juvenalian satire - from the writings of Juvenalis himself to Jonathan Swift's mastering of the form, to modern novels such as Bret Easton Ellis's American Psycho (1991), onto films such as Natural Born Killers (1994) and Wag the Dog (1997). Levinson is not positing the story as a possible real-world scenario. This isn't social realism. Instead, he is accentuating the damage such a thing could do to highlight our own society's very real obsession with social media and the concomitant importance of digital privacy. Possible to either deride the film as the worst imaginable type of excess of #MeToo, or celebrate it as an insightful examination of the origins of a fempowerment created by those very forces which led to #MeToo in the first place, it takes as its starting point the fear that female agency (particularly regarding sexuality) can instil in the patriarchal status quo. The film presents a patriarchy which firmly believes that if young women dress provocatively, they have it coming, whatever "it" may be.

    Levinson sets the tone immediately. The opening shot shows a camera moving along a suburban street, passing by idyllic white picket fences, Blue Velvet (1986)-style, with people performing mundane tasks such as emptying the trash and watering the lawn. Except everyone is wearing a mask of some kind. A voice-over then informs us that this is a story about how Salem "lost its motherf---king." A rapidly edited montage then shows a series of quick clips, each one labelled with a requisite "trigger warning", including toxic masculinity, the male gaze, sexism, violence, gore, and fragile male egos.

    How the film deal with the male gaze is especially interesting. An early shot shows the four girls walking into school in slow motion as the camera starts at their feet and slowly pans up their bare legs before moving around behind them. You couldn't get a more textbook example of a cinematic male gaze. However, towards the end of the film, the exact same shot is repeated, but in this instance, the girls are effectively going to war, and the male gaze is no longer an issue, something the film draws to the audience's attention by replicating the form of the earlier shot - in short, the male gaze is reproduced so as to satirise and ridicule it.

    Another aesthetically interesting scene occurs after the data dump, but prior to people turning on one another, learning that her best friend has been mocking her behind her back, an acquaintance of the central quartet takes a baseball bat, finds her friend in the school gym, and cracks her over the head. This scene is the first act of violence from which all others will follow. It starts out normal enough, but soon the camera turns upside-down and we see the girl standing against an unrealistically large American flag. Turning the camera upside-down like this mid-shot and using the flag in this way indicates that something within the social fabric has fundamentally changed; there has been some kind of paradigm shift. Indeed, speaking of the American flag, it's a recurring motif throughout the film, but we rarely see it without a gun nearby, usually in the same shot. Make of that what you will.

    The film's most aesthetically accomplished scene, however, is a five-minute single-take shot depicting a home invasion, with the camera remaining outside the house, following the action as it moves from window to window. It's a dazzling sequence that has the effect of positioning the audience as passive spectators.

    Speaking of themes, one of the film's strengths, but also one of its weaknesses, is the sheer volume of issues with which it engages; misogyny, feminism, fempowerment, social media, sexual assault, #MeToo, bullying, gun culture, toxic masculinity, the male gaze, racism, gang mentality, digital privacy, desensitisation, mansplaining. In only the third scene, shocked at Lily's drawings of naked women in sexually provocative positions, Principal Turrell (Colman Domingo) tells her, "this is high-school, and justly or unjustly, there are limits to what you can say," as she tries to argue that nudity does not necessarily have to be sexual. Adopting a feminist defence, she posits that her art is reflective of how difficult it is for women in a misogynistic selfie-obsessed social media-saturated culture, explaining, "it's not about the nudity. It's about the thousands of naked selfies you took to get just one right."

    Arising from this are a plethora of other issues. For example, firmly of the belief that privacy is a thing of the past, Lily claims that her generation accepts that their lives are for mass consumption, and all they can do are try to choose how they are consumed. In relation to this, the film addresses the myriad ways that young girls are represented on social media, deconstructing and satirising the inherently misogynistic assumptions that underpin so many of our attitudes to online behaviour. Indeed, the hypocrisy and "holier-than-thou" attitudes most people assume online come to the fore when naked pictures of Turrell's six-year-old daughter in a bath are leaked, and the town accuse him of being a paedophile.

    Unfortunately, because the film tries to deal with so much, many of the issues are raised only to be touched on once or twice, and then dropped. This has the side-effect of making it seem a little thematically scattershot, and it would have worked far better if Levinson had threaded a core group through the narrative rather than jumping around as much as he does. Aside from dealing with too many themes, if the film has a defining flaw, it's that the last act essentially turns into The Purge, wherein the girls, as complicit as everyone else in the early part of the film, now turn into the leaders of a righteous avenging vigilante group facing off against the intolerance born of right-wing jingoism, a conflict drawn primarily along gender lines, although not exclusively (there are a few men on the girls' side, and vice versa). It's a disappointingly simplistic dénouement given the complexity and thematic depth of the preceding narrative.

    Nevertheless, depicting a cultural anxiety that is uniquely contemporary, Assassination Nation taps into something inherently new in human culture, and is an unexpectedly smart film examining weighty topics of great importance to the socio-political moment, irrespective of your political affiliation. While it is immensely strong (both hilarious and disturbing) in its depiction of teenage gender politics, gun culture, political correctness, online behaviour etc, it falters when it comes to the dynamics of the narrative, setting up several strands which never pay off, and ending a little weakly. Nevertheless, the questions it raises are important ones, and they are very well asked.
  • ukgreg9 December 2018
    Pathetic and forcible of following political correctness of today's world.Waste of money
  • vindhyayadav270718 December 2018
    I am giving it 1star because of style, as far as substance , there is none of it in this movie. I couldn't watch it after first 40 minutes. A piece of crap it is.
  • I have nothing but bad thoughts everytime I think about watching this bootleg asz purge... it's so fvckn trash that in my entire life this is my first time going to leave a review ON ANYTHING.. I tried to give them a zero star rating but it wouldn't let me so I have to say something bout it
An error has occured. Please try again.