Posted on 7/12/11 12:04 AM
In spite of all the vitriol that followed the initial trailers and news of a precariously short filming schedule director Brian Vaughn earns himself the right to bitch slap each and every one of us by having produced what turned out to be an X-Men movie that feels more like an X-men movie than its predecessors.
Now as a longtime fan of the source material, I was always rather put off by the head scratching liberties Bryan singer took with certain key characters and respective continuities, for example Ice Man was supposed to be a main member of the team, and I don't care how expensive it would be to CGI render his ability to navigate himself by sliding around on obtrusively static ice sleds that would have the tribespeople of the Masquito coast drinking cold beverages for weeks; Likewise - Colossus - who happened to be my personal favorite growing up - is far more impressive than a 30 second cameo during the attack on Xavier's school of mutants would have you believe, and for the love of god, Rogue is a tall, sassy headstrong southern belle not a meek, shrinking violet - a streak of white in Anna Paquin's stringy brown mop is NOT gonna cover up any blatant casting errors thank you very much. I'm not even going to get into the nigh unmentionable third installment that Brett Ratner shat out, and as far as I'm concerned that Wolverine origins movie doesn't exist.
Luckily, Brian Vaughn - while somewhat being required to adhere to executive producer Brian Singers let's say UNIQUE re-imagining of beloved X-Men history he at least approaches the material with the same sure handed and efficient craftsmanship that made his previous films stand out. Even the notably unbalanced adaptation of Mark Millar's kick ass, despite a few inconsistancies of narrative and tone, was nonetheless very kinetic and entertaining, which should be the foremost aspiration for any summer movie. (methinx)
X-Men first class is a prequel, a term that may elicit groans from those of us who can't help but consider it synonamous to say those wretched George lucas monstrosities that were supposed to show us how gerber grape juice spokeschild anekin skywalker grew into an angsty teenager with limited emotional range and eventually turned to the dark side shortly after knocking up a wooden replica of nataly portman. I digress. My point is, prequel's don't have to suck.
Here we have Erik Lehnsherr, a jewish child of world war 2 whos parents are dragged into the camps by those dirty natzis and who's mother was soon after used by the heinous Sebastian Shaw to instigate Young Erik into reproducing his remarkable ability to manipulate magnetic fields. Erik fails to appease this man of mysterious intent and origin at the cost of his mother's life and a tale of revenge Is born. Shaw is known to us comic geeks as the front man for a mutant criminal organization known as the hellfire club, though that moniker is never uttered in this film.
Fast forward to the 1960's at the height of the cold war, and this Sebastian Shaw - portrayed with surprising bravura by Kevin Bacon - and his entourage of misfit mutants are toiling subversively to ignite actual war between the Soviets and America with no other reason but to thin the herd; the less of these sniveling, inferior humans the better. The mutant phenomenon is beginning to surface and that's where young professor Charles Xavier comes in. James Macavoy helps us to imagine what a young, brash and lustful Jean Luc Picard would be like as his expertise is drawn upon by young government agent Moira Mctaggert and this all eventually leads to a gathering and recruitment of several young mutants and one angry, veangeful Erik Lehnsherr who as we all know will eventually become Magneto.
As you may have already heard, Michael Fassbender's performance is the driving force of First Class; he carries the emotional core of the movie in a way that exemplifies why classically trained British actors are so reliable for gravitas. As one would imagine, the vast array of conflicting emotions inherent In a complicated and especially fictional character like this would be difficult to pull off and he does so effortlessly. Keep an eye out for this cat, he is surely soon to be in Americas public consciousness in no time at all.
Charles and Erik form a deeply intellectual friendship and though they are at odds as to where mutants should place in the future they work together to bring down the immediate big bad threatening mankind, though in the end, Chuck is a fan of man, and Erik just wants to finally put Sebastian Shaw to bed for being a complete asshole.
Its worth noting that the majority of supporting mutants are engaging enough, and while Emma Frost could have been played by a slice of gluten free white bread more lively then January Jones, Havok, Beast, Banshee, even the silent but ever so deadly Azazel are welcome members of either team - which SPOILER ALERT turn out to be somewhat interchangeable if you catch my meaning.
OKAY Wrapping up, X-Men first class is a winning effort by Vaughn, well written, taughtly paced and with all the requisite scenes of fantastic action and period piece recreation I ordain that geeks and even non geeks around the world see this movie. This is Bradley J saying go watch a movie.
Posted on 5/09/11 04:42 PM
Thor as a character is a testament to the Silver age of comics and the earnest sensibilities that Stan Lee and Jack Kirby represented. While the idea of a Norse god joining the ranks of more reasonably modern heroic archetypes in defending the earth from various evils may not be the easiest to wrap one's head around, it has somehow worked all of these years in Marvel's expansive universe where the fantastical and even more fantastical get along just fine.
Marvel proposes the mythical realm of Aasgard indeed exists, and that our Viking ancestors were in fact paying creedance to an alien race of powerful men who harnessed mind boggling energies and defied physics with what us mortals would call magic. You can scratch your head as you ponder why the Norse mythologies are validated while certain gods of other cultures haven't found a place in Marvels fiction but you would be missing the point.
The real trick to enjoying this stuff is to submit to the absurdity. Like most material in the righteous medium of comics, you must let the broader themes play out as they will, allow the fantasy to wash over you, and then you'll find that there is plenty for common folk to connect with. Sure, your not going to pick up a philosophy degree digging through the Marvel archives, but you'll have a lot of fun exploring colorful realms and getting to know characters that reflect the raw passion of some very creative people.
While the Silver age would have you take the merging of mythical sub-realities for granted, modernized comics have gradually exploited its own preposterous nature to clever and often amusing effect, and respected veteran actor/director Kenneth Branagh is fully aware of these qualities. He succeeds in simultaneously paying strict homage to the purity of Lee and Kirby's vision while recognizing the kind of incongruity that such robust fantasy can supply. As a result we are bestowed one hell of a summer kickoff to Marvels ongoing grandiose cinematic scheme.
Chris Hemsworth - the appropriately accented, chiseled actor who up until now is perhaps known for his brief appearance as Captain Kirk's father in J.J Abram's reboot of the Star Trek franchise - was perfectly cast as the future Avenger. Thanks to him we have a hero who effortlessly exudes the bravado, charisma and hard headed stubbornness you would expect from a young god. Odin, played with gravitas and wisdom by Sir Anthony Hopkins, is pained by his son's flaws, and an act of severe disobedience prompts the aging king to teach Thor some valuable humility before transferring power of the throne.
Stripped of his mighty hammer "Mjolnir", his immortal strength and trademark garb, Thor is cast down to our lousy planet for what ends up being a weekend of penance in New Mexico. He garners the interest of uncommonly attractive astrophysicist Jane Foster (Natalie Portman) and associates. S.H.I.E.L.D is also snooping around, largely due to the strange alien hammer in the center of a small crater that nobody can seem to lift.
It so happens these events were slyly incurred by the covert activities of Thor's jealous adopted brother, Loki - (showcasing a most impressive nuanced performance by Tom Hiddleston) who takes advantage of his brother's banishment to fulfill his own aspirations, which are more complicated than simply evil; the same could even be said for the Frost giants whom Thor's political missteps revolve around.
In conclusion, Branagh has concocted a winning formula of action sequences torn straight from the pages, lighthearted humor, and weighty moments of Shakesperian drama all while offering a sumptuous rendition of Aasgard and other realms besides our own. Aside from some glitches in the script and some evidence of diminishing Hollywood tropes, it makes the most of its length in introducing a quintessential Avenger and instantly warranting a sequel of its own. Marvel Studios continues to prove that sometimes, probably most times, source material fairs best in the hands of its creators.
PS: Watch out for a cameo of another key Avenger, who happens to be one of my favorites.
Posted on 3/18/11 01:52 PM
Paul turned out to be exactly what one should expect when Greg Mottola (Superbad, Adventureland) directs a script banged out by the two lovable British duo Simon Pegg and Nick Frost. The movie is one big nod in the direction of nerds and their affection for decades of classic Science Fiction, and is at its best when its winking and making references to the wealth of media at the foundation of geek culture.
The plot itself is secondary to this fetishism really; Paul (voiced fittingly enough by Seth Rogen) is an alien who was captured by the government decades ago after crash landing on a poor girls dog in Wyoming. They must have fed him a whole bunch of American culture because this alien speaks perfect English, has a pension for vulgarity, pot, and advising production studios on how to make hit television shows in the science fiction vain, I.E Agent Mulder was his idea.
Paul has his reasons for escaping the governments grasp which is explained later, and that is how he comes across Graeme and Clive (Pegg and Frost) on their tour from San Diego Comicon, through to Area 51 and onward to Roswell New Mexico. This sets up what is essentially a conventional cat and mouse expedition between the hapless geeks who reluctantly befriend Paul and the government agents chasing relentlessly after them. Amusing turns all around as Jason Bateman plays Agent Zoil; a severe and driven "man in black" on a leash held by "The Big Guy", who is campily portrayed by the great Sigourney Weaver. Bill Hader, Kristen Wigg, and many others tag along and have their moments.
The plot, the action sequences, the entire mainframe of the movie is intended to setup in-jokes and references to geek culture and admirably adheres to this cause; unfortunately the jokes themselves are uneven and sometimes lazy, and while generating enough chuckles to warrant a viewing, the more discriminating geek may find many instances where the script could have itself been more inspired rather than just "inspired by" the many shows, movies and literature that prompted Pegg and Frost to write it. Certain gags and punchlines are repeated throughout the whole thing, including a less than subtle attack on religion through Kristen Wiigs sheltered, bible-stifled girl who's instilled paradigm is shattered by the wonders of science and logic as only a wisecracking slacker alien can represent.
In closing, Paul is fair attempt at catering to the science fiction fans out there, but I find myself underwhelmed by the overall product. I wasn't expecting this comedy to rank among Pegg and Frosts efforts with the hip and savvy Edgar Write, and I suggest you go into the theater under that pretense and you'll be fine with it.
Posted on 1/26/11 06:19 PM
You've heard the buzz, you've heard the accolades and you've heard the minor issues critics and cinephiles have voiced regarding Darren Aronofsky's latest expose of obsession and inner conflict, "Black Swan". I'm going to try my best not to sound like I am repeating these points, rather I will agree with them in my own special way, and I'm getting this out of the way first because there is otherwise a fantastic film experience to talk about.
It is true the script is occasionally lazier than the films ambitions, as implied in an early scene where renowned artistic director Thomas Leroy - played convincingly by Vincent Cassel - makes his entrance and introduces himself to the dancers by reciting a tidy synapses of the story of the Swan Lake and the fate of its central female. As if everyone there hasn't read it a hundred times over in preparing for their parts, right? This kind of conventional foreshadowing is too obvious for detail oriented filmgoers, especially those who are expecting anything but mundane. However, this movie does not let your thoughts linger on those flaws, which are really quite few and far between.
Ultimately, the sensually unnerving aspects of Aronofsky's unique visual style married with the music and movement of a timeless, passionate art form whisks you along and enters some exceedingly dark territory. Nina Sayers is at the center of every scene, and we are with her as she realizes her dream of landing the lead in the classic ballet Swan Lake, and we follow her as she pressurizes under an overbearing mother, jealous glares and tongue lashings from her peers, and an art instructor who is pushing her to adopt characteristics of the girl she is not; namely Lily (Milla Kunis) who better encapsulates the essence of the Black Swan. Nina's paranoia and frantic reactions to the advances her instructor and rival make on her reflect just how sheltered and unprepared for failure she really is.
Natalie Portman performs this role like she intends to prove she is a great actress, and that surge of passion infuses the character of Nina Sayers with credibility. Just like Nina is to Swan Lake, Natalie is ideal for connecting to this material. She is beautiful, intelligent, and - in the many ways that men prefer - she is perfect, except she has spent her life in very safe and undemanding roles. I would like to think this exactly why Aronofsky wanted her for his Swan Queen and he chose wisely.
Miss Portman exhibits many layers here, as these layers of beauty and dedication are peeled away, we are both repulsed and hypnotized by the allegory taking place. I've championed Natalie over the years, even after many underwhelming roles this side of V for Vendetta. I'm thrilled to see her show her salt; but I realize that if we are to see her grow as an actress, she needs to work closely with directors with an edge. Imagine her in the next great David Lynch production, for example.
Darren Aronofsky proves to be the hero of this film, because he takes a script that could have used another hour in the oven and turns it into an incredibly effective psychological horror movie, and his way of expressing the hardships of competition and transformation are as darkly poetic as Swan Lake; except Swan Lake as seen through the eyes of a trouble Kafka in his prime. The camera dances, jolts, sways and sobs with Nina, and the colors are just right for a fluctuating dream like this. He even manages to insert a molten red hot love scene between Portman and the lovely miss Kunis that simultaneously makes the mankettle boil but maintains the sinister profundity of Nina's descent into madness.
This movie is also another reason to get hugely excited about the upcoming Wolverine sequel, which I hope will further the trend of placing comic book properties in the hands of truly talented auteurs. I think about what Aronofsky could and will most likely do with an angry, complex and extremely dangerous mutant at his disposal. Think about that, people.
Posted on 1/13/11 08:05 PM
1981. Those were the days. I was... 4? We're going to have to fast forward to my early tweens when I had first seen John Landis's "An American Werewolf in London". I know for a fact I seen this movie as a kid because that classic scene where the main protagonist undergoes a lovingly filmed metamorphosis was like an ingrown hair of terror that shivered the hell out of my timbers - Some puns intended.
Landis wrote the script when he was 19, and that hungry youthful energy and ambition shows like a hickey on a labor of love that becomes more respectable every decade. Edgar Wright sites American Werewolf as the film that changed his life - Click Here To Read That Interview - Go ahead and watch it again with that in mind; the influences are many and easily recognizable.
If you haven't seen this film then allow me to give you the rundown: Young friends David (David Naughton) and Jack (Griffin Dunne) are backpacking through Europe and find themselves seeking shelter from the rain in a very small town, more specifically "The Slaughtered Lamb" pub. The locals on the inside regard them both with a heavily awkward silence, and when the boys verbalize their curiosity about a pentagram smeared on the wall over yonder, feathers get ruffled. The only warning the duo get's as the patron's force them out of their drinking hole is "Stay on the roads, stay off the Moors!"
Naturally, David and Jack are too busy chattering to notice that they are veering from said road, on to said Moors, and end up having an encounter with a werewolf which is introduced in a vicious, gruesome flurry of gore. Jack gets shredded to bloody smithereens and David barely survives due to the locals having a change of heart and lending a rifle to his aid.
David wakes up in a hospital in London where he recovers under the care of Dr. Hirsch (John Woodvine) and receives even more sensual attention from the lovely Nurse Alex Price played by Jenny Agutter, and at the time she was a girl a man could suckle on for a fortnight without breaking for food and water. Delicious!
David and Nurse Alex fall for each other, which would be an adorable affair if it wasn't for the fact that David's dead friend Jack seems to be haunting him at every turn, conversationally delivering messages from beyond the grave that not only will David turn into a werewolf at the next full moon and go on a killing spree, but Jack can not pass into the afterlife properly until the curse is broken.
Landis did well by injecting a sense of humor, or at least a oddly positive attitude about some very dire circumstances. All of the doom and gloom inherent in a narrative like this is made buoyant by David's happy go lucky nature as he battles with lycanthropy and the corrosion of his sanity. Tonally, the film sets the groundwork for other playful horror movies that would follow as produced by the likes of early Sam Raimi and Peter Jackson.
This film also looks great; it is sparse and uncluttered, and no footage is wasteful. The memorable scene where David first becomes the Werewolf is the big payoff, and boy does it pay off. Rick Baker was the first to win an Oscar for a category prompted into creation by his crafty way of elongating limbs and sprouting hairs. The frantic climax is a perfect punctuation to the in-your-face violence that is at once horrific and amusing for its flamboyance.
Some, like Roger Ebert, had complained that the film feels unfinished, that perhaps it ends to abruptly and resolves nothing. I subscribe that sometimes less is more. "An American Werewolf In London" holds up extremely well and I highly recommend it. Cheers.
Posted on 1/10/11 08:21 PM
My radar fancies a broad range of frequencies when it comes to film, but "Easy A" could have very well escaped it. As I get older and codgier, my ability to relate with high school kids who have no idea who Curt Cobain was requires me to enter an uncomfortable state of mind. Not sure what I mean by that but I mean it.
Quality high school movies are few and far between; and the last and current generation have both churned out a mere handful of minor classics: IE Election, 12 Things I Hate About You, Napoleon Dynamite, etc.
Why did I like Easy A so much? Well, after I was able to identify the absurd contrivances of the overall plot and the a whole slew of rampant stereotypes, I was able to connect with the intelligence of the script. This is of course largely due to a vibrant and committed performance by rising star Emma Stone.
Emma plays Olive, a high school student who is smarter than her peers and knows better than to try and become popular. As her senior year draws to a conclusion she makes the awful mistake of patronizing her promiscuous best friend Rhiannon and falsely admitting to having sex for the first time. Oops, Uber-Christian brat Marianne (Amanda Bynes)overhears this confession and a wildfire of distaste and fascination is ignited as rumors circulate that Olive is a slut.
I had to get past the fact that the film relied on the misconception that something like this would be considered a big deal in high school, and this was a public school so I don't get how a gang of fanatically chaste bible thumper's would hold so much sway over popular opinion. As a matter of fact, aren't these the kids that would be oppressed by the more diverse factions outnumbering them?
As is being slowly revealed in her video blog throughout the movie, Olive follows a very strange instinct to compound this rumor by helping her gay friend escape painful scrutiny by publicly sleeping with him and giving him some cred on the other side of the tracks. She exhibits a saints resolve at using her fictional status as an easy piece of "A" to boost the confidence level of high schools lowliest life forms. The films parallel to The Scarlett Letter isn't understated; in fact that story is plainly made the catalyst of Olives self destructive paradigm.
All of this would seem a bit reaching if it weren't for how much fun this movie has with its characters. The silly factor, coupled with a very sharp collage of dialogue that dances the fine line of weightiness and parody is consistently hilarious. Each of the main characters have their own kooky quirk to exploit for laughs, but the laughs are plentiful, and that's a good thing right? Especially Thomas Hayden Church plays a marvelously deadpan teacher with dry wit to spare, and most entertaining of all would be Olives parent's played by Stanley Tucci and Patricia Clarkson. Tucci has never been more charismatic as Dill, who's amiable nuttiness is downright priceless.
"Easy A" isn't perfect, but despite its obvious flaws it is a brisk delight. Emma Stone is a redheaded tornado of charm and I am extremely interested in what she will be undertaking as her career advances. You know what? I even wouldn't mind seeing her stay in high school a bit longer, as long as this playful reverence to John Hughes is executed with a wink and a nod.
Bradley J. Timm www.bradleyjamestimm.com
Posted on 1/07/11 04:19 PM
Nicolas Cage has lost something over the years. Maybe it was a bet, or maybe it was a crucial slice of dignity... whatever the case may be, the man has commited himself to every lame brain film project a movie studio tossed at him for the better portion of a decade. Would I have cared so much that "Ghost Rider" was an absolute abomination if one of my favorite actors wasn't wittingly at the center of it? Not really; I hadn't been invested in that sub-par Marvel antihero since I was half as tall. Man oh man was "Ghost Rider" ever a bad movie. As a matter of fact, they don't make em' any worse unless their name is Ewe Boll.
Early last year there was a misleading spark of redemption in the form of Big Daddy in the surprise cult movie "Kick Ass", which made me anxious to see if Nick could follow that yellow brick road which promised to lead him away from his beaten path. Well, then we got "The Sorcerers Apprentice". Just for the record, that movie is kind of a guilty pleasure, but by no means is it "good" in the way that a seasoned critic would apply the word.
With an inexplicable sequel to "Ghost Rider" coming up, we get our fix of Mr. Cage in Dominic Sena's "Season of the Witch". I caught a free screener of this last night and I'm still not sure I shouldn't be demanding a refund for my time. Okay, I'm being hyperbolic; the truth is this movie didn't really profoundly dissatisfy me because my expectations were low upon entry. I mean, Dominic Sena's best film in his entire portfolio is "Kalifornia" and the only people that praise that movie are justifying its existence soley for the inspired pairing of two cool and interesting celebrities like Brad Pitt and David Duchovny. I suppose there are parallels to be noted here; for instance Nicolas Cage and Ron Pearlman saving each other's asses in a sword and sorcery adventure sounds like a great idea! However, In true Dominic Sena fashion this chemistry is squandered.
Here we have two legendary knights deserting their posts in the Crusade when it suddenly occurs to them that something is wrong about the church ordering them to target innocent civilians; bare in mind that this is after a montage of Behmen (Cage in what seems to be his favorite wig) and his large comrade Felson gleefully hacking and slashing their way through hordes of heretics across the continent. Like seriously, you guys are betting drinks on how many soldiers you can dismember but now you're deeply appalled because your sword finds its way into a woman's floppy bossom?
After casually denouncing the Church they wearily lumber homeward to some ambiguous place in Europe in the 1300's which is stricken with a horrible plague that priests are blaming on a witch that they happen to have in custody. Behmen and Felson are immediately recognized as legendary crusaders and are led to a chamber where physicians wearing Venetian medical masks 300 YEARS BEFORE THEY ACTUALLY EXISTED are tending to the comically disfigured king who was victim to said plague. This king bids the two extraordinary warriors transport this dangerous witch to an abbey where a ritual can be performed with some ancient book to... do something... to cure the... cleanse the... you know they never really explain specifically what the ritual is supposed to do.
For its full hour and a half I did not experience the faintest spike in brain activity or emotional response. As much as I wanted to chuckle at Ron Pearlman's one liners - because I freaking love that guy - well, sometimes if a script is lazy and derivative enough, no degree of natural screen presence is going to save a film. This may seem odd, but I would have rather seen something so atrocious that I could passionately rant about it for hours afterward and work up a sweat. Here I find myself quietly disappointed, other than a that nagging uncomfortable feeling I got midway through because the lady next to me was sitting on the sleeve of my coat and tugging at it; each twist of her buttock sucking it further beneath her middle aged chassis.
A few sentences ago I used the adjective "ambiguous" and permit me to use it thoroughly in describing the entire tone of this movie. When Nick and the Pearl - and a few other guys for fodder - reluctantly caravan the caged teenager over the mountains and through the woods, there is a sustained ambiguity to the proceedings, and it becomes very transparent that the script was written within a few days - possibly over the course of a long dinner.
If I told you anything else about "Season of The Witch" I would effectively be spoiling it, because there really isn't anything to it except a wholesale bundle of recycled themes and langorous dialogue. Movies like this, in all honesty, need to be burned at the stake before their evil influence facilitates similar productions across the land.
... and Nick, come on buddy... say no to duds.
Bradley J. Timm @ www.bradleyjamestimm.com
Posted on 12/30/10 03:49 PM
This could be the "Not quite A Princess Bride but close enough" of our generation!
Posted on 12/28/10 07:07 PM
I admit it, I haven't seen an abundance of westerns, least of all westerns from John Wayne's era. I have seen enough John Wayne performances to get the impression that the Duke got by on being the Duke, and wasn't by any means a chameleon or method actor. From what I've read, the Coen's adaptation of the Charles Portis novel "True Grit" is far more accurate, and that alone should put it ahead of the previous film, but lets face it; most people are going to see this movie because it reunites our beloved reliable directors Joel and Ethan Coen with Jeff "The Dude" Bridges. You will walk into the theater expecting a quintessential cinematic experience - and it is certainly that - but you will discover majority of this films heart and soul is attributed to newcomer Hallie Steinfeld as the whip smart and indomitable fourteen year old Mattie Ross.
Weather worn federal Marshall Rooster Cogburn is portrayed with nuance by Jeff Bridges who leaks a steady southern drawl out of the corner of his mouth with striking authenticity as if Muddy Waters and Slingblade's dialect got married. For a guy that has a history of shooting first and asking questions later, he has the sloppy yet amiable nature of the perpetually drunk uncle who is on his last legs and not really giving a good god damn about much of anything anymore, but boy does he love to ramble about the good old days! We are happy to have him there looking after Mattie as she is required to insistently cattle prod both him and the overtly proud Texas ranger "Laboef" - a perfect character for Matt Damon to flex his capacity for generating chuckles - into hunting down the uni-browed criminal Tom Chaney (Josh Brolin) who unjustly murdered her father. The story's simplicity allows the Coen's and their go-to cinematographer Roger Deacons capture the old western landscapes with effortless artistry as the mismatched trio struggles to overcome their own flaws while seeing the deed done.
This movie will be seen in different lights, I know many old fogeys dismissed it out of the gate because they are happy with "the Duke" as Rooster Cogburn thank-you-very-much, and there may even be a handful of poor souls on this planet who would actually deny the Coen's their accolades for being such consistent filmmakers out of... I dunno... spite? Well, it doesn't really matter. The fact is this film hits all the marks of a great western, and because of the Coen's unique proficiencies and their dynamite cast, this tiny tale of vengeance in the age of rawhide and six shooters is universally accessible. Oh, and keep an eye out for Hallie Steinfeld, she sure is something to behold, and I foresee a nice career ahead of her in and out of the Co-Bro circle.
be sure to visit my lair at www.bradleyjamestimm.com
Posted on 12/14/10 09:58 PM
What? What the? Is this Mel Gibson's I'm Still Here?