Very very predictable, including the post credit scene !!!

Good start, but then it gets ruined

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

I'm a sucker for a good lifetime movie, and this is one! Took twists I wasn't expecting and was excited all the way through. If you more looking for a good lifetime movie, look no further!

Not a bad movie at all. It started pretty cheesy then ended up catching my attention and it kept me interested. It was predictable at times but the emotional side of this movie is what kept me watching. I felt so sorry for the victim's (sara) family. Sara's mother played her part very well. So did the victim's friend. I could put myself in the characters' shoes therefore the acting was pretty good overall. This movie upset me as I found it to be very realistic. Not many movies make me cry, but this one sure did. Definitely worth a watch.

There was some good acting here, and the movie moved along fine. In the end, though, I was left disappointed that the movie was too "based on a true story" to be good fiction, but too fictionalized to be a good docudrama. It kinda slipped into the crack in between.Tina Ivlev is absurdly sexy, but her character here is so obviously psycho that it's hard to even try to warm up to her. Right from the start she's disturbingly flippant and manipulative. There's never a moment of horrifying realization for the audience, here; the outcome seems telegraphed from the very early going. With no mystery, it seems that the only thing we're watching to see is everybody's reactions to what we know is going to happen.Despite those and other flaws, the movie-making quality level is decent here, for the most part. It's really just the script that needed some work, I think. I give this 5/10 for being watchable but forgettable.What I did take away from this is that I will eagerly look forward to more from both Tina and Brittany, two lovely and talented young actresses. (If they make a movie about Helen Hunt's life, I vote Tina to play her. Eerie resemblance, IMO.)

In 2012, Skylar Neese was murdered by two of her friends; in 2014, her story was murdered by Hollywood. Some films are so bad they are good; this one is so bad it gives Below Utopia a run for its money.My ongoing prayer that Lexi Ainsworth won't make me look stupid by making my prediction of an Oscar for her within a decade or so just took a slight hit, but through no fault of her own. The fate of her character in the film appears a metaphor for the actress's true opinion of the material. Given absolutely atrocious writing, and a nearly-as-atrocious supporting cast, she did her best to save it, but the patient died anyway. In this film, Lexi is like the slow kid stuck at the doorbell after her friends rang it and ran way, leaving her to account for the sins of her peers.Sara Cowan (Lexi), Jade (Brittany Underwood), and new-girl Ashley (Tiina Ivle) form the titular clique, with one meeting the titular fate. The unattractive Ivlev chews the scenery as if she'd smoked six joints on an empty stomach on her way to an all-you-can-eat buffet. Her impact on the film is that of a nuclear weapon. The exceptionally hot Brittany Underwood reveals that she is a much stronger television actress who comes much more into her own with a long-term role. Her take on Jade seems to be that of "submissive lesbian stoner." As Sara, Lexi mails it in, but does so with first-class postage for a script she could easily have performed in her sleep. The best she could give is what she gave: an absence of even minor mistakes. Having seen both Underwood and Lexi on soaps for years, I know what each are capable of. The emotional range she displayed in the scene she turned in on GH when Mac killed Warren could have won film awards. With compelling material, and a competent cast, she'll shine, but this film has neither.Ideally, a world-class actress should be able to sit and wait for that killer script, but in the real world the bills have to be paid, and films like this have their place in the profitable true-crime niche, where the confines of the story tend to suffocate an actor's ability to take over a film. Rarely has this been made more apparent to me than here.