Jeremy Werner, Author at MediaMikes

Film Review “Dracula Untold”

Starring: Luke Evans, Sarah Gadon and Dominic Cooper
Directed By: Gary Shore
Rated: PG-13
Running Time: 92 minutes
Universal Pictures

Our Score: 1.5 out of 5 stars

The latest movie surrounding Dracula (or Vlad the Impaler) is a story nobody asked for. The combination of historical, fictional and contemporary folly has created “Dracula Untold”. In the same vein of this summer’s “Maleficent”, albeit a lot more bloody and silly, we have yet another look at a villain turned anti-hero. In many other circumstances, the concept of retelling a story most people know is manageable, but Dracula just doesn’t seem like a fruitful tree to pick from.

“Dracula Untold” steals so many pages out of so many other movies; you could probably fill a book with the stolen pages. There are some slightly original differences from Bram Stoker’s creature. Instead of being the original vampire, Vlad (Evans) has to bargain with a different, original vampire, known as Caligula (yes, that Caligula). Vlad travels to the dark, bone covered cave where Caligula lurks to make a pact with him. Vlad will become a vampire by drinking Caligula’s dark red blood and he does so to protect his kingdom, his wife and his son from Sultan Mehmed (Cooper).

As the movie says, Dracula is given the power of a hundred men along with some other powers that don’t make a lot of sense. He’s able to command vampire bats at will and he himself is able to turn into a flurry of bats while gliding rapidly through the woods. Without breaking a sweat, he takes out an entire army of invaders mere moments after acquiring his newfound skills. With powers like this, the ultimate boss battle at the end with the mortal Mehmed feels entirely way too anti-climactic.

One of history’s greatest monster/butchers has been defanged as he’s reduced to crying, spouting righteous teachings to his son and comforting his wife, all the while yelling at his village that he’s become a vampire to protect them from the true evils of the world. Maybe in 500 years someone will have Pol Pot as the sympathetic anti-hero who just wants to live life and love. Of course if you’re not knowledgeable on Romanian history, you might not care, and that’s completely fine.

The movie is far from shy at hinting and saying that Vlad is a terrible person. He still finds time to impale people and there’s even a scene where he admits to feeling nothing as he scorched entire village and murdered thousands of innocents (it’s OK, he had his reason). The charming presence of Evans can’t save this movie’s main character because he’s flawed from the beginning. Turning the most iconic Universal monster into a man of courage and nobility with an inadequate historical backdrop is one of the worst uses of Dracula in recent memory. He would have been more entertaining as the creature of the night that falls into his old, sadistic ways with his new powers instead of becoming a fanged nobleman or blood drinking seeker of justice.

All that aside, it’s still not a very well made movie. The action sequences, while shot imaginatively, have no bite. The visuals are automatically forgettable and the budget seems to have cut some corners in the CGI department and the storytelling sector. If this does well, it’ll most likely spawn a sequel or two, and just like the “Twilight” franchise, let’s hope Blade shows up at some point to put an abrupt end to this monstrosity.

Film Review “The Good Lie”

Starring: Arnold Oceng, Ger Duany, Emmanuel Jal and Reese Witherspoon
Directed By: Philippe Falardeau
Rated: PG-13
Running Time: 110 minutes
Warner Bros.

Our Score: 3 out of 5 stars

In a movie like this, the number one question to ask yourself is, “How much does this movie care about the people it’s portraying?” It’s a very legitimate question that has plenty of factors. The director of “The Good Lie” has a soft visual touch to the difficult issue of the second Sudanese civil war. Writer Margaret Nagle has handled the lives of others in her works, near and dear to her heart, so she doesn’t harm their image. And most importantly, some of the actors and actresses have lived through this kind of experience. So why can’t this movie outgrow its ABC Family TV movie feeling?

Mamere (Oceng), Jeremiah (Duany), Paul (Jal) and Abital (Kuoth Wiel) are happily headed to America after spending years in a Kenyan refugee camp. 13 years prior to that, they had to flee their Sudanese village after it was torched to the ground and their parents were slaughtered in front of them. In their nearly 500 mile trek to safety, they lose friends to starvation, watch other refugees get gunned down and Mamere watches soldiers take his older brother Theo. Mamere has to persevere and become the leader of hope for the group.

The first half hour is a bit harrowing since it pulls no punches through unnerving scenes of lifeless bodies floating in the river and our group having to bury one of their friends in the unforgiving wasteland. Even after all those hardships and helping one another through it, they can’t live together in America. The three men learn that their sister Abital can’t go with them to Kansas City. She has to go to Boston because rules require separating the men and women. Then the tone of the movie does a complete 180 when the trio arrives in cowtown.

While it’s a necessity that we need some humorous culture shocks to add relief to the horrors we just watched, they really seem to heap it on in a slightly dehumanizing fashion that borders on making fun of our group. It’s a bit light hearted to see them react suspiciously to jello, but I would hope it’s not the filmmaker’s intention for us to laugh at them being uncomfortable in their living situations and moving their mattresses into the living room so they can spend their first night in a new country together. Then if that wasn’t enough, the product placement is very blatant and repugnant. Consider the context of one scene where one of them becomes carsick because they’ve never been in a vehicle and have airplane food swishing back and forth in their bowels. What’s the cure? McDonalds. I’ll just leave it at that.

Miraculously it stops itself short of being completely off putting by introducing Carrie (Witherspoon) who instead of giggling at their misfortunes, is there to help them find jobs and seems genuinely concerned about their predicament. She doesn’t get a lot of on-screen time even though the poster for this movie would tell you otherwise. The real emotional draw for this movie is the refugees, but it doesn’t know where to go with them. Mamere wants to be a doctor and is probably the most driven of all of them. Jeremiah even quits a job because he morally doesn’t agree with what his boss has him do. Paul for some reason takes the advice of people he doesn’t know or has any real connection to, and starts smoking pot. It’s almost as if someone didn’t feel confident enough with the men trying to find normalcy after escaping a war torn area theme powerful enough and began shoehorning in another angles and characters.

I commend the actors for portraying something that’s very near and dear to their heart with such honest passion. When they’re on screen spilling their heart out, “The Good Lie” succeeds and nearly redeems its poorer qualities. Despite my complaints, I find it somewhat miraculous that the final moments are still a powerful message about good will. “The Good Lie” is a crowd pleaser, albeit one that is far from knocking it’s touching story out of the park.

Read Complete Article

Filed Under: Film Reviews Tagged With: film, good, lie, review

Film Review “Love is Strange”

Starring: John Lithgow, Alfred Molina, Marisa Tomei and Charlie Tahan
Directed By: Ira Sachs
Rated: R
Running Time: 94 minutes
Sony Pictures Classic

Our Score: 4.5 out of 5 stars

Today’s a big day for Ben (Lithgow) and George (Molina). After spending the past 39 years together, they’re finally getting married. It’s a joyous occasion, accompanied by friends and family, who’ve watched the couple stick it out through thick and thin for nearly four decades. The honeymoon, the real and metaphorical one, is now over and an unexpected snag begins to take hold.

George, a respected teacher and member of the Catholic school he works for, has been fired because of his marriage. With his meager salary and Ben’s pension, they can’t quite make the bills anymore. They now can’t afford their apartment and need to seek a new residence. Because of George’s work, they’ll have to split for the time being. Ben goes to live with his nephew Elliot (Darren Burrows) and his wife Kate (Tomei). George has to move in with a pair of gay policemen who party on the weekends and play Dungeons and Dragons on the weeknights; Far from ideal for both men.

While their current predicament may not seem like the worst thing in the world, their calls and conversation hint at much tougher hurdles in the past that have been overcome. “Love is Strange” teaches that love can become stronger through adversity, but it’s not their love that’s in for a bumpy ride. The real struggle lies within Elliot, Kate and their son Joey (Tahan). They’re a decaying family. Elliot is constantly busy, but one may suspect he’s having an affair. Kate is usually at home attempting to write her latest book, but finding that most of her daily stresses are hampering that. Then there’s Joey, a real enigma. He can tell his parents aren’t on the best of terms and it doesn’t help he’s not on the best of terms with both of them.

There’s so much conflict told visually that many of the problems are never solved or fully developed verbally. It leaves the audience wondering what, if anything, is actually happening. While that’s off putting to some, that’s perfectly fine with me. Speculation is the most fun one can have during a movie and after leaving the theater. Joey seems to resent Ben at first, but…that’s the biggest mystery in the movie. While Kate may believe Ben is the reason things are imploding, the family dynamic appears to have been festering for years. Elliot seems to believe nothing is wrong at all or is too busy to care.

The most telling moment is when Joey has trouble answering a question from Ben. “Have you ever been in love?” Joey immediately takes offense wondering if Ben is implying he’s gay. That can easily be chalked up to a typical teenage homophobic concern that’s rooted in one’s own sexual confusion. But instead it tells me that he hasn’t grown up in the most loving of households. That watching his mom and dad slowly drift apart is taking a personal toll on him and he’s slowly losing grip on everything else.

The ending comes after a traumatic event that has clearly impacted Joey. Tahan is given the arduous task of portraying the only real tearful, emotional moment of all the characters and he’s spot on. It’s not an ensemble cast, but it’s definitely one that has the swagger. Lithgow leads the way perfecting every little word he speaks and every little facial movement. He lives and breathes inside Ben and has never done a more believable job in a role. If he doesn’t get a nomination at this year’s Oscars for his performance, it would be a damn shame.

“Love is Strange” is short and thoughtful. Outside of being a touching film, it’s shot in a very beautiful way. Most times people love to focus on the cold concrete structures of New York, but director Ira Sachs finds the grandeur of nature breaking through the cracks. It’s a bittersweet symphony that displays a different message to different people. It may tell you that life, in essence, is short and that we need to cherish it. Or maybe it’ll tell you that even in the most desolate of circumstances, you can come out in the end a happier person.

Read Complete Article

Filed Under: Film Reviews Tagged With: film, love, review, strange

Film Review “Tusk”

Starring: Justin Long, Michael Parks, Haley Joel Osment
Directed By: Kevin Smith
Rated: R
Running Time: 102 minutes
A24 Studios

Our Score: 2.5 out of 5 stars

Ah yes, that uncertain feeling of love or hate when walking out of the movie theater. It seems A24 has this knack for finding these bizarre titles that leaving me feeling a bit clueless on my personal opinions and emotions. On one hand, during “Tusk”, I couldn’t stand it and wondered if it would be ethical for me to just get up and walk out of the theater, and still talk be able to with you about it. But on the other hand, some part of me, that watches and giggles during Troma movies, enjoyed this perverse hodgepodge of midnight horror and black comedy.

“Tusk” was an idea born on a podcast (I’m sorry, smodcast) that for some reason became Smith’s return to movies. If you remember, he stated that he was retiring from filmmaking…then said he was going to come back and do “Clerk III” and that would be his last movie…then somewhere along the line “Tusk” happened. Seems like this may have been some kind of last minute idea that was quickly rushed, and at times during “Tusk”, it definitely shows.

Wallace (Long) has the job that’s only possible in movies; he makes his living as a podcast host. He’s the mean spirited man behind the “The Not-See Party” show which provides a string of predictable jokes throughout the movie (Nazi! Get it? OK then…). He plans on going to Canada where he will interview a viral media star and most likely embarrass him for his adoring fans. Much to his selfish dismay, the kid has killed himself, and he doesn’t want to waste his $500 plane ticket, so he takes an ad found in a bathroom that promises a fantastic story/adventure.

He drives to the middle of nowhere to an eerie mansion owned by Howard Howe (Parks). He’s a salty old man that glides from spot to spot in his wheelchair and seems suspiciously excited to tell the inconsiderate Wallace about his lifelong adventures. Among his tales, he spins a story about his encounter with a walrus…the only creature that ever loved him. During his story, Wallace fails to realize that his tea has been drugged. He passes out and awakes to a horrifying scenario. Wallace, through the visually grotesque art of surgery, will turn him into a walrus. Now comes the part of the movie where people might start walking out.

For those who remain seated, Parks never runs out of scenery to chew and it’s a surprise he never gets full off it. Every scene he is in is a joy to watch as he talks like a well-learned aristocrat, but flips on a dime to a walrus obsessed sociopath that would give the creepiest of animal lovers the heebie jeebies. I’m not sure who turned Smith on to this wonderful actor, but he’s definitely been the saving grace now in Smith’s past two movies.

As a comedy, I didn’t chuckle; although the prospect of a disfigured human-walrus hybrid version of Long does make me smile. I almost laughed at the surprise cameo in the third act of the film, but even before the big reveal I had some sneaking suspicion about who it was. He definitely adds a certain flavor to his scenes, but one in particular feels long, dry and unfunny.

There’s no doubt in my mind that Kevin Smith fans will gobble this up like most of his releases and that’s not to say I’m not a fan of his work. One of my biggest concerns is that this is a man that still needs an editor’s input. There’s a couple long winded moments where Smith plays show and tell where just showing or telling would have been perfectly sufficient to explain the scenario. He has progressed as a filmmaker since his incredibly low-budget cult classic “Clerks”, but he seems to playing to his audience more than he’s trying to find something new to do.

As for the final verdict on “Tusk”, it’s still an internal debate as I finish this up. It’s definitely one of Smith’s weaker entries into his catalogue. Its purpose feels misguided, if there is a purpose, and feels lazy in some regards. I think it’s a movie I enjoyed, but it’s definitely not something I can recommend unless you’re a fan of Smith’s work or someone who grew up on Joe Bob Brigg’s Monster Vision and have a “refined” taste for hokey monster suits and over-the-top villain theatrics.

Film Review “A Walk Among the Tombstones”

Starring: Liam Neeson, Dan Stevens, Brian ‘Astro’ Bradley
Directed By: Scott Frank
Rated: R
Running Time: 113 minutes
Universal Pictures

Our Score: 4 out of 5 stars

Liam Neeson has traded in his concussion inducing fists, action film one liners and torture tactics — at least for the time being — for his latest role in “A Walk Among the Tombstones”. Many will be expecting another hit-man seeking revenge action flick, but Neeson shows some quiet restraint as Matthew, a former NYPD cop turned gumshoe. Instead of making grand leaps throughout Europe, Neeson strolls through the grim landscape of Brooklyn, that’s seemingly trapped in a perpetual state of rain. It definitely atches Matthew’s weathered face and grim outlook on life. These are the kind of roles I like Liam Neeson in.

Matthew lives a very minimalist life. It’s shows because he doesn’t have a computer or cell phone. But that’s OK, it’s 1999 in this movie, and there’s still pay phones littered all around the area and people are freaking out over Y2K. He’s recently been hired by Kenny (Stevens), a well to do drug dealer. He’s kind of like the upper middle class in the drug dealing ring. He loves clean modern furniture and doesn’t abuse his product. Kenny hopes Matthew can track down a duo of beasts, that kidnapped his wife, demanded a ransom, and then after receiving their pay day, delivered his wife back in multiple, small, neatly wrapped cocaine bags in the trunk of a car that you would suspect a drug dealer would drive.

These pair of monsters that Matthew is tracking down would make Hannibal Lecter drool with delight, but unlike Lecter, they lack charisma and charm. One appears to derive pleasure from sexual violence and watching his victims squirm while the other assailant simply appears to be in it for the money; sampling the pieces of his partner’s blood lust. They’re a real disgusting pair to watch at work. We come to find out they’re hitting up drug dealers to satisfy both of their appetites and have a decent sized portfolio of potential victims. As the movie goes, so does their descent into darker wants and needs.

“Tombstones” is one of the best made thrillers in recent memory, leaving the motivations and deepest levels of depravity of the villains up in the air, creating a nauseating sense of suspense in the viewer’s gut. The film takes a couple of moments to breathe with the introduction of TJ (Bradley), a homeless African-American child that looks up to Matthew. TJ feels like a speed bump in the pace when he’s first introduced, but it becomes clear towards the latter half that his introduction was to provide Matthew with an outlet to voice his inner demons and find that sliver of hope in his personal pit of despair.

It’s interesting watching the supposed good guy of the film quickly shrug off the protagonist role. While Matthew might not be personally invested in the crime, he’s attached his own path of soulful enlightenment by how he reacts to each step towards solving the mystery and its eventual outcome. Neeson has no problem handling the weighty emotions of Matthew and if these are the kind of roles we can expect from Neeson in the future, count me in.

Film Review “The Drop”

Starring: Tom Hardy, James Gandolfini and Noomi Rapace
Directed By: Michael R. Roskam
Rated: R
Running Time: 106 minutes
Fox Searchlight Pictures

Our Score: 4.5 out of 5 stars

Rarely do organized crime movies have heart warming or touching moments. In fact, most of the times you’re trying to find that soft spot or likeable quality about the sociopath on screen and a lot of times…you don’t. “The Drop” is a by the books crime drama that you’ve seen before, but the character driven story, along with the elegant performances by the key players, makes it a superb movie.

The first key player is the late, great James Gandolfini. It’s ironic that his final on-screen role will be one that symbolizes what people will remember him as, a thug. Instead of being a criminal ring leader like he has been in past roles, this time he’s an aging, depressed bar owner known simply as Cousin Marv. He also runs a bar…simply known as Cousin Marv’s. He bitterly reflects on the glory days of being respected instead of his current predicament, the money launderer for a Chechnyan gang that casually threatens him through cocky smiles.

His hardest worker is the low key, shy bartender, Bob (Hardy). He has a gentle soul and his dialogue borders on unintelligible mumbling, but the British born actor creates an understandable Brooklyn accent for the endearing character. Every little thing about Bob is stupendously crafted by Hardy, who gives subtle visual cues that add to Bob’s good intentioned exterior, but his quick darting of the eyes towards the floor or to something else reflect the mind of a person that constantly is reminded of something more alarming.

The story sprinkles dread filled bread crumbs around the intriguing history behind these two. What complicates things and really adds the warmth to the plot is when Bob heads home after work one night and comes across a young, abused pit bull in the trash outside of the home of Nadia (Rapace). He instinctively doesn’t suspect that she’s the one who harmed the dog and connects with her over the torn and tattered puppy as they dress it’s wounds. Just like society’s stereotypes, Bob and the pit bull are misunderstood creatures.

Bob eventually becomes the center of this character study as tensions escalate when someone robs the Cousin Marv’s bar. One wonders how Bob will react when there’s so many contradictory character opinions about who the real Bob is. The parallels between the general misconceptions about the violence in pit bulls and people constantly warning that there’s more to Bob than meets the eye are uncanny. By the time the end comes, the reveal is a bit anticipated, but still satisfying because of Bob’s reasoning and how well Hardy makes it believable.

The script sharply keeps us in the dark while most of the other people surrounding Bob seem to know something we don’t, but dare don’t utter it. Hardy is a real joy to watch as he weaves from scene to scene, perfectly balancing mystery and charm. Despite his increasing infection for Nadia, it never feels covetous or sexual, but more of an appreciation for someone that could be attracted to someone like him; which adds more intrigue into his murky past.

While “The Drop” will most likely be overlooked come awards season, it’s important to point out that Gandolfini, being one of the main instigators for problems, comes off as sympathetic despite his hardened demeanor.“The Drop” is a reminder of the great talent that no longer graces our presence. It also provides us the reminder that sometimes the darkest of actions have the most compassionate reasons.

Read Complete Article

Filed Under: Film Reviews Tagged With: drop, film, review

Film Review “The Discoverers”

Starring: Griffin Dunne, Madeleine Martin, Devon Graye, and Stuart Margolin
Directed By: Justin Schwarz
Rated: Not Rated
Running Time: 104 minutes

Our Score: 1.5 out of 5 stars

“The Discoverers” might be a bit too smug with its theme. It’s the tale of a family journey that’s derailed by another family journey that finds it reenacting another journey. Through these strung-along journeys, a father discovers true insight into his children. Through emotional healing, they discover their true emotions. They eventually discover something new about themselves and all this while they portray America’s original discoverer’s Lewis and Clark. To imply there’s any more to this movie than journeying and discovering would be a vast overstatement.

Lewis Birch (Dunne) is a failing history professor who decides to road trip to Oregon for a literary conference with his artsy liberal daughter, Zoe (Martin), and incurious stoner son, Jack (Graye). This short-lived plot point is derailed by the passing of Lewis’ mother. After making funeral arrangements and a quick cameo by John C. McGinley, Lewis’ father, Stanley (Margolin), immediately heads to the woods for a Lewis and Clark re-enactment (because tradition?). The family has to follow because Stanley’s mental health is quickly waning and they must keep notes on the feeble gun-toting old man with his coonskin cap.

“The Discoverers” is a dime store movie that I assume indie admirers will gobble up, but I found myself counting down the minutes until it expired. While the movie tries to pass itself off as heartfelt, it felt a lot more insensitive and unnecessarily boorish. I guess the cockles of our hearts are supposed to melt when Lewis and Zoe have a heart-to-heart while she’s on her period in the great outdoors without a tampon for miles.

Dunne and Martin’s performances are fantastic and really create some of the more adhesive moments of the film. Martin plays the snarky daughter perfectly while Dunne’s creates a believe man on the verge of a breakdown. There is one moment in the movie that shows signs of creative bliss when Lewis and Zoe find solace in each other. I guess Jack isn’t gloomy enough to join in on the emotional conversation during the third act of this movie.

Writer/Director Justin Schwarz has the right quirks in mind, but he never fills out the emotional depth of all the side characters to compliment Dunne and Martin’s performances. Everyone feels like pieces of furniture being shifted to different locations hoping to add a flare to the scenery. Schwarz obviously wants to create a loveable, yet chaotic family, but he forgot the impassioned depth that makes us want to see the silver lining in this bleak existence.

The tale of family dysfunction has become the road most traveled when it comes to indie stories and “Discoverers” catalogues itself as one of the more forgettable ones. I personally look forward to the more sharply written movies that place a microscope over the fading nuclear family highlighting a contemporary slice of Americana. Schwarz needs some work before he crafts an indie gems that spring up in a sea of conventional blockbusters.

Film Review “The Giver”

Starring: Brenton Thwaites, Jeff Bridges and Meryl Streep
Directed By: Phillip Noyce
Rated: PG-13
Running Time: 94 minutes
The Weinstein Company

Our Score: 2.5 out of 5 stars

Before the screening of “The Giver”, people had the opportunity to watch the live Fathom event, the airing of the red carpet premiere of “The Giver”. While this may seem like a nonpoint in the critique of a film, it brought up a fact that I did not know and appeared to be a running motif throughout the live premiere. This is a film that has been through its own development hell. Jeff Bridges has spent 18 years trying to push this movie into production. While it may finally feel like a dream come true, I feel like nearly two decades of constant struggle should have been a sign that some things are better left unadapted.

Like most American high school students (or middle school students), I had a yearly curriculum consisting of classic literature and the occasional challenged book. I read “Of Mice and Men”, “The Scarlet Letter”, “Animal Farm” and “The Giver”. Teens still read thought provoking books right? “The Giver” is a unique amongst those books because it’s one of the few that has created its own dystopian society instead of simply mirroring the flaws in our own.

Just like the book, the movie portrays a society with no privacy, structured assigned jobs, and a community where every individual acts in a mechanical fashion and view feelings as irrational. Jonas, who’s supposed to be 11, but is instead played by the 25-year-old Thwaites, is the outlier in society. He sometimes has nagging questions and possesses an indescribable set of emotions that he’s unsure how to handle. While other kids go off to become future gears of civilization, Jonas finds himself as the perfect candidate to be the next receiver of memory and is taken in under the Giver’s (Bridges) wing.

The Giver’s job is to pass along all the memories of life, society, war, love and everything else in between. This set’s up the movie’s overall theme of love and loss, and why memories and feelings go hand-in-hand. With so many more themes in the book, it feels like they took the easy way out and went for the easiest one, but fumbled the pitch. Instead of a hidden message, the subject is railroaded and despite Bridges best acting efforts, it comes across as a bit tacky.

What makes “The Giver” a literary necessity in schools is the argument for individualism. Sure we all have memories and emotions, but it’s how each person interprets existence. The movie makes it feel more like a police state is constricting our human emotions more than the book’s notion that as we grow, we have to understand that others around us have different attitudes to this big world. We must not impose what life is and accept that reality is different for everyone. The movie fails by putting forth the notion that our main character is simply trying to share love with a few select people around him instead of sharing the experience of life as a community.

I’m not sure why the theatrical adaption lost that key element. Everything else it combined was fantastic. Bridges and Meryl Streep were spotless, the sharing of memory sequences were handled well, and the visual transition from a world of black and white to one filled with vibrant colors was very subtle and smooth. From a technical viewpoint this is a good movie and that might be why I can’t fully come out and loathe something so visually gorgeous yet so textually frustrating.

I know for some of you this is “the book fan” complaining about the movie with a predetermined viewpoint of distrust towards the adaptation, but there’s been plenty of movies based on books that know how to capture the magic and essence of the literature they’re adapting. This felt like a manipulated dream. If you’re looking for a young adult movie filled with young love and unnecessary action sequences wobbling towards the finish line, this is for you. Otherwise, unwind tonight and read the book.ividualism. Sure we all have memories and emotions, but it’s how each person interprets existence. The movie makes it feel more like a police state is constricting our human emotions more than the book’s notion that as we grow, we have to understand that others around us have different attitudes to this big world. We must not impose what life is and accept that reality is different for everyone. The movie fails by putting forth the notion that our main character is simply trying to share love with a few select people around him instead of sharing the experience of life as a community.

Film Review “Let’s Be Cops”

Starring: Jake Johnson, Damon Wayans Jr. and Rob Riggle
Directed By: Luke Greenfield
Rated: R
Running Time: 104 minutes
20th Century Fox

Our Score: 1.5 out of 5 stars

What should have been the dumbest plot of the summer actually manages to be not as bad as some of you probably would have thought. I’m talking of course about “Let’s Be Cops” premise that’s based solely on two guys who impersonate police officers and seemingly get away with it. While it’s far from being recommended or up to par with “22 Jump Street”, “Let’s Be Cops” proves that there’s some future potential for the two leads despite the coarse humor they had to deliver.

Ryan (Johnson) is pretty much a bum living in the past. He constantly thinks about the “What ifs” of a football career that ended due to an injury and lives off the $100,000 he got paid for a herpes commercial (By the way, if that’s the price to say I have herpes on a commercial, sign me up). His roommate, Justin (Wayans), is a little better off as a video game developer although he’s anxious about confronting his arrogant boss or standing tall and proud behind his ideas. Ironically, but not really, his video game idea is where gamers can play a cop.

Since he bought real police gear for his failed video game sales pitch, he might as well put it to good. The duo have a college alumni party to go to so they strap on the uniforms and head to the miserable reminder they’re in their 30’s and haven’t accomplished anything. It’s after the party, when they’re in the general public, that they quickly find out that they now commandeer a level of respect they’ve never felt before since bystanders now believe their actual cops. Good thing this is L.A. and not suburban St. Louis. Of course they will have their own trouble once they flaunt their false authority to some mobsters.

Luke Greenfield and Nicholas Thomas have paired up before on some forgettable comedies that temporarily provide a decent chuckle, but overall fail to materialize memorable characters or stable humor. There’s definitely a lot of jokes that can be plucked from such a fruitful concept about two friends pretending to be the boys in blue, but it actually feels like they ran out of ideas after page one and then had to resort to a couple of contemporary comedy tropes like responding to perfectly normal questions with swear words or how smoking pot is just…funny…I guess.

Wayans and Johnson definitely have some chemistry and some of the more funny moments feel like genuine improv on the cast’s part, but a lot more scripted scenes feel contrived. And since this movie clocks in at over 100 minutes, those long pauses of poor comedy and tone changes push the movie past its breaking point. Another saving grace from the abyss is Rob Riggle as the legitimate cop, Segars. I say saving grace because you dream and hope that one day someone as talented and charmed as him will get his own action-comedy.

“Let’s Be Cops” feels like a concept born from people who grew up on “Lethal Weapon” and “Bad Boys”, but didn’t quite understand why those movies were good. Or perhaps the male driven buddy cop comedy movie has run its course and the only thing left to do now is to subvert the formula until audiences are ready to watch two guys with holstered weapons act like a bunch of middle school boys who smirk and laugh at swear words and genitals again.

Read Complete Article

Filed Under: Film Reviews Tagged With: cops, film, review

Film Review “The Hundred-Foot Journey”

Starring: Manish Dayal, Helen Mirren, Om Puri and Charlotte Le Bon
Directed By: Lasse Hallstrom
Rated: PG
Running Time: 122 minutes
Walt Disney Studios

Our Score: 3 out of 5 stars

In a summer that’s already been delighted by Jon Favreau’s “Chef”, it’s hard to be charmed once again by the same feel good concept featuring an abundance of food porn imagery. “Hundred-Foot Journey” is definitely treading in paths already traveled, but as we begin to exhaust what’s left of new summer movies, it’s hard to dislike something that tries to be so uplifting.

While the advertising for this movie has gladly slapped Helen Mirren’s face on every single promotional inch of poster, the real main dish to this movie is Manish Dayal. He plays the shy, yet astute Hassan who seems to have a natural curiosity for food from a very young age. He learns quickly from his mother that food is more art than science, although much later in the movie he’s somewhat forced to believe the opposite. Her spiritual connection to food is some of the best writing in the film, but sadly it’s short lived. An unexplained, violent revolution leads to the death of his mother. Escaping what I can only assume is persecution or certain death, he and his family trek towards colder and more northwestern territories.

Britain’s a bit too cold for their liking so they quickly relocate to one the lushest parts of France. They must have found the one town in France where residents aren’t buried into their smartphone screens since everyone chats over tea and coffee and take in Mother Nature’s surroundings. I legitimately had no idea what time period it was until someone pulled out a cell phone. While in town, his father (Puri), through some odd non-visible premonition, decides that their family will open a restaurant across the street (100 feet) from a much celebrated French restaurant. Something about that dust covered building enchants him, much to the dismay of the French restaurants proprietor, Madame Mallory (Mirren). So begins a choppy and misguided rest of the movie that never replicates the exquisite flare that we see in different spicy dishes throughout the film.

The main problem with “The Hundred-Foot Journey” is it’s glaring predictability that knows how to throw out a hook, but forgets to attach any bait. A simple mislead here or there would have added a level of uncertainty to everything that transpires. Even once we meet Marguerite (Le Bon), one of the lovely young cooks in Mallory’s restaurant, we know she’s the obligatory love interest. After two hours, this movie outstays its welcome like an uninvited dinner guest.

Obvious dramedy clichés aside, it’s still very heartfelt with its material and I have to admire a passionate group of actors and actresses who are willing to add a little zest to a dry story. While I wasn’t quite wooed by some of its more comedic moments, I did enjoy some of the cultural clashes, no matter how false they were. Despite my negatives I have to reassure myself that not everything has to break new ground and it’s always beneficial to have some optimistic escapism in your life.

While I may not have the acquired taste to sit in an air conditioned theater and enjoy this movie to its fullest, I can see why others would need this much needed break. If you’re tired of superheroes, raunchy comedies and looking for a peaceful way to wind down in front a movie screen, “The Hundred-Foot Journey” is your best bet…unless “Chef” is still playing near you.

Read Complete Article

Filed Under: Film Reviews Tagged With: film, hundredfoot, journey, review

Film Review #2 “Guardians of the Galaxy”

Starring: Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper and Vin Diesel
Directed By: James Gunn
Rated: PG-13
Running Time: 121 minutes
Walt Disney Studios

Our Score: 5 out of 5 stars

Did one of the directors for “Movie 43” and writer for both live-action “Scooby Doo” movies just create the best Marvel movie? Yes. Yes he did. “Guardians of the Galaxy” is a consistently fun and entertaining addition to the Marvel canon with enough emotional resonance to exceed beyond your stereotypical summer blockbuster. In a Marvel movie universe populated with an eccentric, metal covered billionaire, a golden haired demi-God and an experimental super soldier, the down on their luck, rag-tag bunch in “Guardians of the Galaxy” is a much needed addition.

While “The Avengers” is a cinematic juggernaut in superhero movies, “Guardians of the Galaxy” features a cast of relatable people and creatures that are far from being “super”. There’s Star-Lord/Peter Quills (Pratt), a human space outlaw who carries around an aged Walkman in the sci-fi landscape because it’s one of the few mementos he has to remember Earth before he was abducted by interstellar bandits. Pratt packed on some serious muscle for the role to give Star-Lord a tough exterior, but Pratt’s natural ability to be a spontaneous goof gives the movie a lovable charming lead.

Counterbalancing Star-Lord is Gamora (Saldana), a personal assassin to Thanos that is ready to redeem her previous misdeeds with steely gazes and swift, punishing punches and kicks. Saldana portrays one of the best superhero heroines in recent memory, providing a necessary ingredient to the group instead of being typecast as the damsel in distress. Its good Gamora can handle Star-Lord’s sarcasm and humor because also compensating for the smug Terran hero is Drax (Bautista). He’s a lumbering muscle with arms as big as my head and he’s intent on seeking vengeance for the murder of his family. It doesn’t help he can’t take a joke or grasp the concept of metaphors.

The two make-up and prosthetic covered heroes are offset by our two CGI heroes, a rambunctious space raccoon by the name of Rocket (Cooper) and a humanoid/tree called Groot (Diesel). These four help maintain an equilibrium between computer animated grandeur and hand crafted elegance. Cooper gives Rocket an arrogant East Coast gangster tone and steals a couple of scenes with his bitter quips. Meanwhile, Diesel had the arduous task of creating a vast depth to Groot since Groot’s only spoken words are “I am Groot”. Despite this hindrance, there are a lot of surprising vocal inflections in the deep rumble of Groot’s voice. He also appears to be the most heartfelt. At one point the group worries about street children pickpocketing them while Groot simply grows a flower out of his hand to offer to a dirt covered girl.

If you think I’ve been focusing on our quintet more than the plot, that’s because they are what makes this movie work. The story is a simple introduction paired with the undeveloped bad guy and explosive third act, but without these actors, their portrayals, and James Gunn’s sharp dialogue, this wouldn’t have excitedly leapt off the script pages. The obvious thing to compliment with a movie like this is the vibrant settings, majestic set-ups and awe-inspiring action, but what really left me satisfied was the foul-mouthed, crotch adjusting, band of misfits that find companionship and discover that drive to do good by the end of the movie. Although they’re still a foul-mouthed, crotch adjusting, band of misfits as the credits roll.

While I listed off a few of James Gunn’s embarrassing credits to begin this review, I’d like to point out that Gunn’s weakest efforts are still pieces that highlight Gunn’s youthful joy for nostalgia and fun with tasteless humor. Without his obscure and essential input, “Guardians of the Galaxy” would have not trekked into more peculiar territories, like Star-Lord’s mixtape that doubles as 70’s and 80’s pop-culture citations, the playful smile from Groot after he probably murder dozens of baddies, and a cameo by Lloyd Kaufman. Christopher Nolan and Marvel have been the “How-To” when it comes to making superhero movies, but they might want to learn a thing or two from Gunn since “Guardians of the Galaxy” is the best movie of the summer.

Film Review “The Purge: Anarchy”

Starring: Frank Grillo, Carmen Ejogo and Zach Gilford
Directed By: James DeMonaco
Rated: R
Running Time: 103 minutes
Universal Pictures

Our Score: 3.5 out of 5 stars

Are you ready to celebrate the annual Purge? Nearly every tattooed, face painted, vein bulging, rotted teeth maniac featured in the latest offering seems to be. “The Purge: Anarchy” takes us to 2023, a year after the previously featured Purge with a new batch of disposable characters hoping to survive the 12 hours America has made all crimes legal. Out of all the crimes that are now legal, everyone gladly picks up their nearest sharpened tool shed item and freshly polished automatic rifle, and settles on a night of murder. This time around, we’re not confined to an upper middle class home, but instead we’re placed in some rotting downtown urban warfare.

For this second installment, to what I assume will be a never ending franchise until the one that doesn’t make money, we’re introduced to three separate storylines. First off is the young, well-to-do couple, Shane (Gilford) and Liz (Kiele Sanchez). They’re one of those annoying shoppers that wait until the last possible minute to get groceries, but the real kicker is that they’re going through a shaky separation. Bad timing if you ask me. There’s also Eva (Ejogo) and Cali (Zeo Soul), a mother and a daughter just hoping to survive another annual Purge in their decrepit apartment building. Finally there’s Leo (Grillo), a father hoping to avenge his son’s death by dressing all in black and being armed to the teeth like Frank Castle. I’m sure you’ve already pieced together that they’ll eventually all meet-up, but the real unpredictable fun comes when they have to stick together to survive the night.

While the last “Purge” felt like someone left the “Panic Room” on simmer, the latest entry goes head on into dismemberments, bullet riddled bodies, gore and urban combat. It seems like one of the director’s favorite cult classics might have been “The Warriors” as we roam from one outlandish incident to another. Despite our characters quietly lurking, the film’s pace seems to be in top form as it finds clever ways to keep the anarchy engaging and absorbing. The plight of our characters isn’t an emotional investment, more than it’s a grotesque investment in the joy of watching another kill or be killed scenario.

Meanwhile, the director has still failed to create a working theme representing class warfare and race equality. He seems to believe the audience is too dense to pick up on the already implied subtleties so he proceeds to insert poorly written dialogue into actor’s mouth and further disrupts the flow with characters talking over obvious visual cues. Early on we’re introduced to a AK-47 toting pacifist who’s obviously the 2023 embodiment of Che Guevara who will obviously be making an appearance, but is given nothing of relevance to say. In more capable, demented hands, one could easily assemble a thoughtful good time.

As pure testosterone fueled savagery that’s aesthetically pleasing to the eyes, this “Purge” sequel works. As a potential cult classic with social and political commentary, it fails once again. Demarco may want to consider bringing on a second person to help him with the next “Purge” movie if it’s going in the direction I believe it’s going. If he’s hoping to hunt down some bigger issues, he may find out he’s unskilled enough to tackle them. He may just want to stick to blood and guts in poor taste and quenching American moviegoers never-ending thirst for sadism.

Read Complete Article

Filed Under: Film Reviews Tagged With: anarchy, purge

CD Review: Dog Fashion Disco “Sweet Nothings”

Dog Fashion Disco
“Sweet Nothings”
Rotten Records
Produced By: Steve Wright and Drew Lamond
Tracks: 13

Our Score: 5 out of 5 stars

Squeaking out of a rustic phonograph is Dog Fashion Disco’s opening track “Greta”. The slow big band, piano driven, number calms my nerves. Back in 2006 I thought one of my favorite bands was all but gone, never to release another beautiful sounding creature from the deep. They went out on a high note with “Adultery” and I along with many of their loyal fans believe they went out on the highest possible note. When they announced their glorious return, my excitement was quelled by the worry that they wouldn’t be able to match their magnum opus. Luckily I was wrong.

“War Party” crushes my remaining concerns as it roars out of the gate with furious anti-war/government punk lyrics and Slayer riffs. If you want to know what this band is good at, this is the song, a clear definition of circus metal. The merry-go-round tunes injected into the song project a gleeful mood to the enraged lyrics about the American war machine. “Scarlet Fever” doesn’t let up off the gas as if the band has spent the past eight years with harbored ill wills that need to be unleashed before diving into upbeat music blends with lyric’s straight from a lunatic’s dream.

Everything is not a relentless metal barrage; the title track takes on a psychedelic journey through funk, R&B and electronic blended jazz. “Tastes So Sweet” sounds like an Elton John-esque chorus wrapped around a hard rock band’s lost soul wandering through a nightmarish purgatory in the hopes of once again finding love. If that’s wasn’t enough, “Doctor’s Orders” feels like a band straight out of “Soul Train” with an apocalyptic prophecy to tell. Despite a heavy reliance on jazz throughout, the band manages to march through the musical breed’s storied history like an evil New Orleans Mardi Gras parade lightly tapping into ska and swing.

Some songs definitely have a musical theme sticking to a madman’s formula, but others seem to descend into genre chaos. “We Aren’t the World” takes listeners on a misanthropic carnival ride with no direction other than forward through a progressively bleak future focusing on overpopulation and ignorance. “Pale Horse” isn’t afraid of switching from hypnotic metal blasts to saxophones cries to epic chords straight out of a Trans-Siberian Orchestra concert to a trailing guitar lick under a mourning classical piano to…ah hell, you get the point.

The album seems to be incorporating an army of horns with a marching band of varying keyboard tones ranging from harmonious organs to reverberating xylophone keys. Todd Smith once again provides the fist-pumping choruses and catchy lyrics written like a demonic children’s book. The guitars are fast and merciless while the drumming keeps up the frantic pace. The album transitions to soulful breakdowns quite well hinting that the time off may have reinforced a goal towards quality disorder.

The members of Dog Fashion Disco have once again combined a collection of personal music tastes and warped ideas to create a fluid album that skips delightfully through every psychosis in the medical book. It’s rekindled my love for music with no rules or boundaries. It’s not everyone’s cup of tea, but for some, this music clicks on all the right cylinders. “Sweet Nothings” is an ominous trip through aggression, despair, love and loss, but with another album on the horizon, the future looks bright for Dog Fashion Disco.

Track List:
1. Greta
2. War Party
3. Scarlet Fever
4. Tastes So Sweet
5. Doctor’s Orders
6. Envy the Vultures
7. Approach the Recede
8. Down the Rabbit Hole
9. We Aren’t the World
10. Struck By Lightning
11. Sweet Nothings
12. Pale Horse
13. End of the Road
14. Hidden Track (A long and big “Thank You” to every Indiegogo supporter)

Read Complete Article

Filed Under: CD Reviews Tagged With:

CD Review: “Weird Al” Yankovic “Mandatory Fun”

“Weird Al” Yankovic
“Mandatory Fun”
RCA
Produced By: “Weird Al” Yankovic
Tracks: 12

Our Score: 4 out of 5 stars

“Mandatory Fun” not only marks Weird Al’s 14th music album, but it also marks 35 years since his first single, “My Bologna”. I’m not even 35 years old, yet I owe so much to my current nerdom to the polka comedy master. Ever since that memorable day for me when I first heard Weird Al through the car speakers, and even since his take on “My Sharona”, Weird Al has remained a goofy class act when it comes to his art and “Mandatory Fun” solidifies that fact. In this ADHD Internet age, he remains topical and funny.

Weird Al’s finger on the pulse of pop culture must be way better than mine since I immediately consulted Wikipedia on the first track. I had no idea who Iggy Azalea is, but luckily Weird Al did on the opening track, “Handy”. It isn’t the most fertile ground for comedy, a home repair man rapping his various skills, but his injection of other popular music lines and aged cultural references shows his sharp mind is still a walking encyclopedia of television, movies, and music in the U.S.

While “Handy” is a fantastic take on “Fancy”, the best parody on this album is “Word Crimes”, a play on Robin Thicke’s “Blurred Lines”. It’s not only a perfect example of Weird Al’s brilliant wordplay, but feels like a funky “Schoolhouse Rock” song that could teach children a thing or two about the difference between who and whom, and other common grammatical headaches. Only Weird Al could take the much criticized “Blurred Lines” and create a song poking fun at the continual deterioration of writing skills.

While Weird Al may be well more known for parodies, he finds more success on this album with his musical style parodies, particularly a Pixie-esque song called “First World Problems”. It’s a perfect lampoon of spoiled rich people and possibly the first song he’s meshed with an Internet meme. He also stays true to his roots by consistently remaining silly throughout “My Own Eyes”, which beautifully captures the Foo Fighters style. Take out the vocals and you’d probably mistake it for another catchy rock anthem by Dave Grohl and gang. He finds success on other tracks encapsulating Crosby, Stills and Nash as well as Cat Stevens.

In an age where Youtube parodies are rattled off almost immediately after an artist’s work starts charting the Billboards, some may question the relevancy of Weird Al. But most viral videos come off as structurally weak or intentionally sinister while Weird Al seems to embrace the culture he’s satirizing. He also creates a completely unique and original feel despite imitating the footing of other musicians. He’s had a knack for targeting that sweet spot when a song begins to develop a disdain in the general population after it’s been left on repeat at every top 40 radio station in America. That’s flawlessly seen in “Tacky”, a riff on “Happy”.

Genuine artistry is seen throughout Weird Al’s latest album and it’s amazing that he’s further planted his humorous seeds into our culture. The title, “Mandatory Fun”, is a self-fulfilling prophecy once you’ve given the album a listen. While some may question his relevancy, I simply look at the explosion of coverage around his album and see that he’s become further ingrained into nearly every indie, nerd and mainstream facet of music. Question his growing legacy all you want, but his latest work has the lasting impact that “Eat It” and “Amish Paradise” have.

Track List:

1.”Handy” – “Fancy” by Iggy Azalea featuring Charli XCX
2.”Lame Claim to Fame” – Style parody of Southern Culture on the Skids
3.”Foil” – “Royals” by Lorde
4.”Sports Song” – Style parody of college football fight songs
5.”Word Crimes” – “Blurred Lines” by Robin Thicke featuring T.I. and Pharrell Williams
6.”My Own Eyes” – Style parody of Foo Fighters
7.”NOW That’s What I Call Polka!”
– “Wrecking Ball” by Miley Cyrus
– “Pumped Up Kicks” by Foster the People
– “Best Song Ever” by One Direction
– “Gangnam Style” by Psy
– “Call Me Maybe” by Carly Rae Jepsen
– “Scream & Shout” by will.i.am featuring Britney Spears
– “Somebody That I Used to Know” by Gotye featuring Kimbra
– “Timber” by Pitbull featuring Kesha
– “Sexy And I Know It” by LMFAO
– “Thrift Shop” by Macklemore & Ryan Lewis featuring Wanz
– “Get Lucky” by Daft Punk featuring Pharrell Williams
8.”Mission Statement” – Style parody of Crosby, Stills & Nash
9.”Inactive” – “Radioactive” by Imagine Dragons
10.”First World Problems” – Style parody of Pixies
11.”Tacky” – “Happy” by Pharrell Williams
12. “Jackson Park Express” – Style parody of Cat Stevens

Read Complete Article

Filed Under: CD Reviews Tagged With: al, cd, fun, mandatory, review, weird, ...

Film Review “Earth to Echo”

Starring: Teo Halm, Brian ‘Astro’ Bradley and Reese C. Hartwig
Directed By: Dave Green
Rated: PG
Running Time: 89 minutes
Relativity Media

Our Score: 2 out of 5 Stars

While “Earth to Echo” looks like a live action “WALL-E” mixed with the nostalgia of “E.T.”, it’s actually more like a “Goonies” for today’s youth. Regardless of what child’s science fiction movie or Steven Spielberg classic I throw at you in an attempt to convey what this movie should be, instead I come bearing bad news. “Earth to Echo” may have good intentions, but instead it fries its circuits on a misguided narrative and a plot trimmed down to the bare bones.

I may not have had high expectations before sitting down in the theater, but within the first five minutes, I really wanted to like this movie. “Earth to Echo” introduces us to a trio of best friends, with no backstory as to why they’re best friends. There’s Alex (Halm), the minimalist with an underlying layer of sincerity to everything he says. There’s also the social media junkie Tuck (Bradley), who’s hungry for an adventure he can record for his handful of Youtube viewers. Then there’s the most likable character of the youthful trinity, Munch (Hartwig). He plays the unpopular nerd that carries some of the movies more comical and heartfelt moments.

These three are getting ready to part ways because their neighborhood is about to be torn down by an evil construction project. A conflict so undeveloped, that when it shows up, you don’t have to be an engineer to see the design flaw in demolishing an entire neighborhood to build this silly looking monstrosity. Instead of selling their home and moving to another area in suburban Nevada, their parents are moving to nearly opposite ends of the country, which will surely crumble the foundation of their friendship. Surely…

But before the big move, their cellphones start receiving bizarre images, or as they put it, their phone is “barfing”. A quick Internet search leads them to plan out a night bike ride to the middle of the desert in the hopes of finding…something; anything really. In the desolate Nevada land they find a robotic alien that they name Echo. Through a series of “Yes” or “No” beeps, it tells them it was shot down, and that the evil construction company was the one that pulled the trigger and is now searching for it. What follows is a series of obstacles lacking tension and on the whole, an unfocused story.

If it wasn’t for the fine acting by the child actors, this movie would have tripped at the start line and barely survived off the fumes of other inventive movies before it. The advertising for this movie seems to be heavily focused on the pint sized electronic alien, while the movie itself seems more focused on our three human heroes. If anything, Echo is simply a metaphor for the movie’s plot instead of an actual character. This implies to me that the studio and creators definitely had different paths they wanted to take this movie on.

The movie writers (Henry Gayden and Andrew Panay) weren’t clever enough to evolve Echo more symbolically in the narrative. Instead of evoking more thoughtful “coming of age” and “friendship never dies” feelings, Echo seems to be misplaced as the cute, squeaky robot your kids will fall in love with. There are inklings of a greater idea at work towards the end when it’s finally time for Echo to head home, but that awe filled moment is short lived in a journey of similar and predictable misadventures. I can’t fault a movie too much considering it’s a safe bet for families and an enjoyable romp for kids, but you’ll definitely be thinking about better movies you could have watched instead.

Read Complete Article

Filed Under: Film Reviews Tagged With: earth, echo

« sdf

Page 30 of 34

Author: Jeremy Werner

Film Review “Dracula Untold”

Related Content

Film Review “The Good Lie”

Film Review “Love is Strange”

Film Review “Tusk”

Related Content

Film Review “A Walk Among the Tombstones”

Related Content

Film Review “The Drop”

Film Review “The Discoverers”

Related Content

Film Review “The Giver”

Related Content

Film Review “Let’s Be Cops”

Film Review “The Hundred-Foot Journey”

Film Review #2 “Guardians of the Galaxy”

Related Content

Film Review “The Purge: Anarchy”

CD Review: Dog Fashion Disco “Sweet Nothings”

CD Review: “Weird Al” Yankovic “Mandatory Fun”

Film Review “Earth to Echo”