LIMITLESS

March 21, 2011

 Greetings again from the darkness. I absolutely love this premise. The idea that, by taking a pill, we can simultaneously access all parts of our brain and process information at hyper-speed is fascinating, and a terrific idea for a movie. As it turns out, that terrific premise loses much luster when the center of action is a egomaniacal, smirking doofus played by a strutting Bradley Cooper and the story lines fall miles short of accessing a portion of the possibilities.

The set-up portion of the film is fairly interesting. Cooper plays a stone-walled loser  of a writer whose career-minded girlfriend (Abbie Cornish) wisely dumps him as he offers up very little in self-defense. A seemingly random street meet of his ex-brother-in-law leads Cooper to a whole new world brought on by the magic of NZT. He quickly realizes he can recall every detail he has ever seen or read and he process information quickly and clearly. He finishes his book in a flash and learns multiple languages, plays the piano, etc etc.

The film takes a wrong turn when he realizes his ability comes in handy in the stock market, as well as blackjack. But obviously if YOU were in this situation, the first thing you would do is contact a Russian loan shark and take out a giant loan … and then forget to pay it back. What? You wouldn’t? Well then, don’t expect to have a movie made about your life.

Director Neil Burger (The Illusionist) brings a wonderful visual touch to Cooper’s mind and an awesome telescoping zoom rush through the streets of NYC. That was actually my favorite part of the film (once over the opening credits and again during the film).

 The film misses quite a few opportunities to be as smart as Cooper’s character is supposed to be. Either the Russian loan shark or the ultra-rich businessman played by Robert DeNiro could have led to Faustian themes that would have provided endless opportunities. Instead, we don’t even get a satisfying battle of wits between the parties. Quite a disappointment.

Overall, the film is entertaining enough, but a letdown over what should have been. Watching Cooper strut and DeNiro sleepwalk are not enough for me as a movie goer.

SEE THIS MOVIE IF: you enjoy mentally re-writing a film as you watch it (there are plenty of opportunities here)

SKIP THIS MOVIE IF: you believe a move about the infinite possibilites of the brain should be somewhat mentally stimulating

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Posted by David Ferguson

THE LINCOLN LAWYER

March 20, 2011

 Greetings again from the darkness. Major dilemma: sucker for courtroom dramas vs. no fan of Matthew McConaughey. I decided to give it a shot, and given my low expectations, found the movie to be quite entertaining – despite its numerous flaws. If you are a fan of the endless stream of John Grisham book-turned-movie, then I expect you will find this one to your taste.

Based on the Michael Connelly series of novels built around Mick Haller, this one has the look and feel of part one (and also of a TV series). Haller is the Lincoln Lawyer, so named because of his propensity to handle much of his work from the backseat of a classic Lincoln Town Car. The choice of McConaughey as Haller seemed all together wrong given his annual appearance in some lame ass Rom-Com, where he spends most of each movie shirtless and smirking. Luckily for us, Mr. McConaughey manages to re-capture some of the acting skills he flashed in A Time to Kill, so many years ago.

 In addition to his close to the vest portrayal of Haller, the movie works because of an incredibly deep cast that includes Marisa Tomei as his ex-wife and frequent courtroom adversary (she is an ADA), Ryan Phillippe as the accused rich boy, William H Macy as the long-time and streetwise private investigator, Josh Lucas as the ADA in the main case, Bryan Cranston as the detective in charge, plus Michael Pena, Bob Gunton (warden from Shawshank Redemption), John Leguizamo, Frances Fisher, Laurence Mason (Earl the driver), Shea Willingham (Boardwalk Empire), Trace Adkins (the country star as the leader of a biker gang) and Michael Pare (Eddie and the Cruisers). Seriously, this cast allows every scene to have something worth watching.

 The two things that prevent the movie from being top notch are the beyond-belief exaggerated moments (including about 3 too many endings) and the absolutely distracting camera work courtesy of director Brad Furman. In the hands of a more experienced director, many of the flaws could have been corrected.

This is not presented as an ultra serious courtroom drama in the vein of 12 Angry Men or Judgment at Nuremberg. Rather it is a character driven story with a multitude of twists … some of which work and some of which don’t. I found it to be  enjoyable despite the script issues and the hey-look-at-me direction.

SEE THIS MOVIE IF: you too are a sucker for courtroom dramas OR you doubt my claim that McConaughey can avoid going shirtless for 2 hours.

SKIP THIS MOVIE IF: you demand perfection in your crime thriller scripts OR you believe the only reason to see a McConaughey movie is because he does go shirtless

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Posted by David Ferguson

BATTLE: LOS ANGELES

March 13, 2011

 Greetings again from the darkness. The downside to being an eternal movie optimist is that the falls can be very hard. I had hopes going in that this could be a sci-fi, alien-invasion, doomsday, special effects flick that would deliver a few thrills and chills. Not. So. Much.

The two best things I can say about the film are: 1. Aaron Eckhart has a great face for a grizzled Marine. 2. The film is loud. Loud and Noisy. If those don’t sound like resounding endorsements, it’s because I really, really, really disliked this movie.

Aaron Eckhart gives it all he has as the 20 year Marine who has put in for retirement. He also has a somewhat gray mark on his record from his last assignment, where (rumor has it) he was responsible for the death of men in his command. That really ends the depth of the film. Eckhart gets dragged back into active duty when a meteor shower turns out to be an alien invasion.

 This ludicrous alien invasion is evidently for the earth’s water. Somehow these aliens have run out of water on their planet, wherever that may be. They are smart enough for intergalactic travel and drone activity to minimize their own damage during the attack, but they can’t figure out how to successfully take over Santa Monica from a hand full of Marines.  By the way, Los Angeles traffic looks the same after an alien invasion – no cars are moving.

I found myself laughing on more than one occasion and I am quite sure that director Jonathan Liebsesman and writer Christopher Bertolini had no visions of this being comical. It has the look of a blend of Independence Day, Cloverfield and War of the Worlds. It isn’t in their league … and I really didn’t care much at all for two of those.

Bridget Moynahan, Michael Pena and a couple of kids are tossed in to soften the military slant and try to bring some human touches, but none of it works. Neither does Michelle Rodriguez as … SURPRISE … a tough as nails soldier who displays heroic instincts. Seen that before? The aliens look like malnourished Transformers. The camera work is god-awful. The special effects range from acceptable to laughable. The dialogue is limited to cool things like “look out”, “heads-up”, “in here”, “that’s an order” …  Actually, the movie could become perfect fodder for “Mystery Science Theater”!

But mostly what this one is successful at is NOISE. Lots of noise. Lots of loud noise. So believe me when I scream … STAY AWAY!

SEE THIS MOVIE IF: your life is so perfectly calm and boring that you crave a cacophony of chaos.

SKIP THIS MOVIE IF: you prefer to avoid motion-sickness and headaches generated by sloppy filmmaking

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Posted by David Ferguson

THE ADJUSTMENT BUREAU

March 6, 2011

 Greetings again from the darkness. Philip K Dick was one of the more prolific sci-fi writers and his works include Blade Runner, Minority Report and Total Recall. He also wrote The Adjustment Team, the short story upon which this film is based. The premise is fascinating: the “bureau” is a team who influence/adjust the timing of simple events so as to lead mankind toward a predetermined future.

Matt Damon plays David Norris, the rising young star in New York politics … that is until a college prank is exposed and scandal ensues. On election night, prior to his concession speech, he meets Elise (Emily Blunt), the girl of his dreams.  It struck me how rare the occasion that one meet’s the girl of their dreams in a men’s restroom. Their charming banter and immediate connection lead Norris to make a heartfelt speech that thrusts him right back into the hearts of the voters.  Turns out this meeting was a planned adjustment.

 When David and Elise meet again, this time by chance on a bus, a mysterious force begins to reveal itself. David is exposed to The Adjustment Bureau and told to stay away from Elise, lest he ruin both his dreams and hers. Of course, this isn’t really a sci-fi thriller in the traditional sense. It’s much more a love story … a love story for two people who seem pre-destined to be together. And therein is the conflict.

The story is really a debate between fate and free will. Does destiny lead us down the path or do we make our own way? Can we have it all … the life we want, with the partner we want? The Chairman of the Bureau is clearly a reference to a God-like power, but his “angels” have powers limited to shortcut door portals, slight adjustments to thinking patterns, and looking good in hats.

 While writer/director George Nolfi creates an interesting-to-look-at cityscape and an usually smart romantic film, it actually falls a bit short on overall effectiveness when it devotes so much running time to the explanation of how the bureau works. I would have much preferred more debate and examples of how adjustments affect free will and maintain the path to destiny. Instead we get a crash course on the inner-workings of this odd team. That said, there aren’t very many better faces and voices than that of Terence Stamp, who plays The Hammer for the bureau. He is a fixer who uses less than forthright tactics in his moments of influencing David.

I am probably being a bit harsh on this one considering that it is quite a bit more clever than the average studio release, but I can’t help but believe it was capable of so much more.  And I so wish the clash of sci-fi and love story had not spun off on such a silly and cringe-worthy path.  It doesn’t ruin the good parts of the movie, but it certainly prevented the film from reaching its potential.

SEE THIS MOVIE IF: you long for that rare film genre – a Romantic Thriller

SKIP THIS MOVIE IF: you are looking for the cool shortcuts through NYC – sorry, but the whole hat and door knob thing doesn’t really work.

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Posted by David Ferguson

ALL THINGS GOOD

January 23, 2011

 Greetings again from the darkness. Who among us isn’t intrigued by a real life “unsolved” murder mystery? Throw in a very wealthy New York real estate family, a never-discovered body, an executed friend, and a horrible childhood trauma and it is certain to draw the attention of filmmaker Andrew Jarecki. Jarecki’s film Capturing the Friedmans won numerous awards and is among the best  documentaries ever made. He has a knack with dark family secrets.

In the film, Ryan Gosling plays David Marks, disenchanted son of Real Estate mogul Sanford Marks (a powerful Frank Langella), who witnessed the grisly suicide of his mother when he was very young. David meets the energetic and affectionate Katie (Kirsten Dunst) and the two dreamers escape Daddy’s clutches and head to Vermont to open a health food store. Finally wilting under pressure from Sanford, the couple returns to the city and David joins the family business. The good things are soon to end.

Since much of the real life story is still a mystery, Jarecki does a nice job in assembling pieces from the trial records. Along the way, we meet David’s friend Deborah Lehrman (Lilly Rabe), an acclaimed writer who seems to always be there for David … as he is for her. We witness the transformation of David from loving husband to mentally disturbed murder suspect.

Jarecki gives us some guidance on what might have happened and how the plan could have been executed, but we’ll never know for sure. What we do know is that there was not much happiness associated with this family, despite the wealth and 42nd Street real estate holdings.

The acting in the film is tremendous. Gosling, Dunst and Langella are top notch. Yes, Ms. Dunst provides what is easily her best screen performance ever. Support work from Lily Rabe, Phillip Baker Hall, Nick Offerman and Kristen Wiig is all strong and believable. This one will give you the creeps … and rightly so.

A brief overview of the real story: Seymour Durst is the real life NY real estate mogul, whose son Robert stood trial and was also accused of murdering his wife, Kathleen.  Author Susan Berman wrote “Easy Street”, was friends with Robert, and was the daughter of a Las Vegas mob boss.  She was murdered, execution-style, and the case was never solved … though police believe it could be linked to the disappearance of Kathleen Durst.

SEE THIS MOVIE IF: you believe the best thrillers are based on real life mysteries OR you want to see Kirsten Dunst in her best ever performance (yes, better than Spider-Man)

SKIP THIS MOVIE IF: real life murder mysteries give you the creeps OR you don’t want to give your spouse any ideas!

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Posted by David Ferguson

THE TOURIST (2010)

December 12, 2010

 Greetings again from the darkness. Ahh, beautiful people in beautiful places. That’s a good start! Throw in some amazing film blood lines: directed by Florian Henckel von Donnersmarck (The Lives of Others), writers Christopher McQuarrie (The Usual Suspects), Julian Fellowes (Gosford Park) and Jerome Salle. Salle wrote and directed the 2005 French film that this one is based on – Anthony Zimmer. The stellar cast is led by Angelina Jolie and Johnny Depp, and includes Paul Bettany, Timothy Dalton, Rufus Sewell and the always solid Steven Berkhoff. No way to mess this one up, right??

Somehow, despite all of that, the final product is a jumble of tired visual stunts, lame dialogue and a twist so obvious it might as well have been in the trailer. The aim was a thriller with involvement of mobsters, stolen millions, boat chases, rooftop shootings, crackling dialogue intertwined with dangerous settings and high fashion. The biggest failing is with the dialogue … so many wasted moments. The give and take between Depp and Jolie is just outright lame.

 Where is the payoff for sitting through the endless string of stupid moves from Scotland Yard inspectors? The police tail on Jolie’s character looked like something from the Pink Panther movies … only it is played straight! Same with the interactions between the two stars. How about some playful banter? Did Depp’s character need to be so dull? A math teacher from Wisconsin. Really? And poor Angelina. She is used as a flesh and blood Jessica from Who Framed Roger Rabbit. EVERYTHING about her is exaggerated! Yet, she still flashes her glances like her characters from Salt or any other action film she has upgraded over the years. The film just can’t decide what it is … thriller, farce, comedy?? It just doesn’t work here.

And I have to mention the absurdity of the chase scenes through the Venice canal. It’s not very often a boat chase scene is limited to 4 knots speed. How could the shooters miss time after time? At least we were treated to some stunning shots of Venice. That’s the only positive I can offer for this one.

SEE THIS MOVIE IF: Three beautiful things is good enough (Angelina, Depp, Venice) OR you want to see the slowest boat chase scene in history

SKIP THIS MOVIE IF: you expect crackling dialogue OR you prefer your thrillers to actually have moments that thrill

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Posted by David Ferguson

BLACK SWAN (2010)

December 4, 2010

 Greetings again from the darkness. Normally, I watch a movie, organize my thoughts and write my comments. Not surprisingly, this film has me all tangled up in thoughts, opinions and analysis. Though I won’t, I could easily write 10 pages on this mesmerizing work from visionary director Darren Aronofsky. It’s best if this film is allowed to work it’s (black) magic on each individual viewer.

What I can tell you is that similar to Christopher Nolan‘s Inception, there will be a definite line of demarcation between those who like and those who don’t. And just like with Nolan’s exceptional film, among those who “like” this one, there will still be much debate and discussion about themes, meanings, presentation, performances and message. In my opinion, that’s a pretty good report card for both films.

Be forewarned … this is a very dark, risky and edgy film. Know that it steps even farther out than Mr. Aronofsky’s previous work in The Wrestler, The Fountain, Requiem for a Dream and Pi. In other words, he works very hard on the presentation so that the viewer can be whisked away in many different directions emotionally.

The multi-faceted story has many angles, any of which could be construed as the lead. Natalie Portman (Nina) stars as a mid-20’s member of a struggling New York ballet company. Barbara Hershey is Nina’s smothering mother, who gives all dance mom’s a bad name with her attempts to live vicariously through her daughter, while also stifling her growth into adulthood (the pink bedroom looks as if an 8 year old girl would be in heaven). Wynona Ryder (Beth) plays the “aging” prima ballerina who is forced into retirement, and Mila Kundis (Lily) is the mysterious newcomer who may or may not have an agenda. The powerful Vincent Cassel (Thomas) is the company director and plays the role full bore.

Thomas announces that the company will be performing “Swan Lake” and, almost knowing the dancers will hiss at the re-tread, he quickly adds that it’s never been done his way … the same dancer playing both the White and Black Swan. He knows that Nina is the perfect choice as the White Swan but isn’t sure she can dig deep enough for the dark side. Lily is her polar opposite … mirror image … as the emotionally free, with a comfortable level of darkness and evil. I mention mirrors because they play a key role throughout the film.

When Nina is chosen for the role, a twisted friendship with Lily emerges. This draws Nina further inside herself exposing thoughts and actions she never before imagined. On top of this, Thomas is the predatory authoritarian who constantly challenges her, leading to even more self-doubt.

 As Nina slowly transforms from little girl into womanhood, we witness what looks like a slow slide towards madness. Has she gone too far? Will she snap out? Much of what we see is a clash between reality and her delusional mind. The viewer must decipher where the line is … often multiple times within a single scene! We are left wondering if Lily is stealing Nina’s identity or is it the other way around?

The other topic we cover is the constant battle that dancers face. The cutthroat competition, backstage battles, increasing pain and injuries, the fear of failure – both physically and emotionally, and the immense dedication and skill required for this short-lived profession. There is a drive for perfection in these dancers, just like in the best athletes, musicians, actors, etc. Of course, perfection as a goal leads to disappointment in result.

As for similar type movies, I really can’t name one.  What I can do is tell you there are bits and pieces of The Red Shoes (1948), All About Eve (1950) and some early Polanski (Repulsion, The Tenant).  I can’t rave enough about the script from Mark Heyman, Andres Heinz and John McLaughlin.  Camera work is ground-breaking during the actual performance.  We are weaving in and out of the stage with the dancers.  Breathtaking! The musical score combined with the familiar songs topped with amazingly subtle (and some not so subtle) effects makes this best described as an artsy horror film meshed with a crackling psychological thriller held together by nightmarish melodrama. Hopefully you are intrigued and this one is just “perfect” for you!

SEE THIS MOVIE IF: you have no idea what I mean when I say “artsy horror film”, but you are intrigued by the thought.

SKIP THIS MOVIE IF: the mere mention of “artsy horror film” has you reaching for a Julia Roberts DVD

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Posted by David Ferguson

THE GIRL WHO KICKED THE HORNET’S NEST (Sweden 2009)

November 7, 2010

 Greetings again from the darkness. Part 3 of the Stieg Larsson Millennium trilogy brings to an end this fascinating multi-dimensional mystery-thriller centered around one of the most absorbing characters ever viewed on screen, Lisbeth Salander (Noomi Rapace). While I have anxiously awaited this final chapter, I must admit to a touch of emptiness in not having more to anticipate.

As with any literary adaptation, there will be devotees of the written word who say the film versions don’t do justice to the books. I have purposefully waited until seeing all three films to begin reading the books. What I will say is that from a pure film perspective, the 3 films are fascinating, thrilling and pure joy to follow.

As a stand alone, part 3 can be watched as a whole … however, I would promote the full benefit of watching the three in chronological order. The sum is much greater than any of the 3 pieces, though I will say that part one (Dragon Tattoo) is the superior film of the 3.

Part 3 begins with a flashback to the end of 2, and has Lisbeth and her scumbag father in the hospital recovering from their violent meeting. Her goon half-brother Niedermann (Micke Spreitz) is on the hunt for revenge. Mikael Blomkvist (Michael Nyqvist) and his team at Millennium are putting together a comprehensive expose’ to help in Lisbeth’s defense and to prevent her from being institutionalized.

This is where we really are introduced to the players of The Section, the secret society of Swedish Police. This group from the 60’s seems to have no boundaries and will do whatever necessary to prevent exposure of their group. Their power is on display early on.

What follows is a very complex weave of intricate plot lines that fall across many levels of Swedish society. At the epicenter is Lisbeth and her knowledge of her father’s deeds over the years. Best to keep her quiet.

As she recovers from her injuries, we see the Millennium team start putting the pieces together with the help of the police. Lisbeth’s attorney Annika, has little luck in convincing her to speak with an independent shrink to prove her competence. Instead it falls to Dr. Teleborian, who has been a source of misery for Lisbeth since childhood. How things come together is quite fun to watch.

There are so many things that make Lisbeth captivating as a character. Her lack of trust in everyone. Her struggles to communicate with others in anything more than grunts. Her outright brilliance when backed into a corner. On and on. She is no white knight, but she does have her own body armor … spikes, piercings and hairspray.

Lisbeth’s saga has been a movie-going pleasure and I am sad to see it end. Though Larsson is dead, it’s not difficult to imagine a writer picking up where he left off and come up with additional story lines. Until then, the best we get is the Americanized version with Daniel Craig and Rooney Mara. I trust Ms. Mara understands how high the bar was set by Noomi Rapace.

Here are links to my comments on the first two parts:

 https://moviereviewsfromthedark.wordpress.com/2010/04/18/the-girl-with-the-dragon-tattoo/

https://moviereviewsfromthedark.wordpress.com/2010/07/11/the-girl-who-played-with-fire/

SEE THIS MOVIE IF: you have seen the first two parts (like I could keep you away!)

SKIP THIS MOVIE IF: you have read the books and think no movie ever does justice to the book

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Posted by David Ferguson

STONE (2010)

October 24, 2010

 Greetings again from the darkness. Psychological thrillers have long been my favorite genre of film. The best ones cause us to examine our own thoughts while analyzing the actions of others we probably don’t quite understand. Unfortunately, most scripts fall short in complexity and stimulation, and leave us with a half-empty character study. Director John Curran (The Painted Veil) and writer Angus MacLachlan (the superb Junebug) offer up a just-miss.

Robert DeNiro plays a parole officer on the brink of retirement. He is the guy that lives and works by the book to suppress his inner demons of which we get a glimpse in the film’s opening. Despite the horror, he and his wife stay married for decades … the relationship is built on a false worship of scripture and plenty of nerve-deadening booze. DeNiro decides to finish out his current files, one of which belongs to Edward Norton. He is an 8 year convict, serving a sentence for a crime that ended with the death of his grandparents.

The real fun begins when Norton enlists his schoolteacher wife, played by Milla Jovovich, to invade DeNiro’s cold facade. So really what we have is: DeNiro trying not to feel anything, Norton trying to pull one over on DeNiro either by himself or with his wife, and Jovovich trying desperately to obey her husband while playing evil mind and body games with DeNiro. This is the point I like to call “the table is set”.

Unfortunately, none of these story lines really go deep. The best seems to be Jovovich and DeNiro, but even that falls short of real grit. So much potential here and the actors all seem up for anything. It’s just the script lets them off way too easily.

Frances Conroy is excellent as DeNiro’s wife who had had her soul locked away. We never really get the full scoop on the Norton/Jovovich connection, but by the end, that doesn’t seem to matter. Is the film watchable? Yes. Could it have offered more deliciously evil interaction between these characters? Absolutely.

SEE THIS MOVIE IF: you have been patiently waiting for Edward Norton to put his hair in corn rows OR swigging whiskey while reading biblical scripture is a family tradition you could embrace

SKIP THIS MOVIE IF: you get frustrated when a promising premise of intellectual battles fizzles right in front of your eyes OR if the mere thought of a Robert DeNiro / Milla Jovovich hook up causes you to reach for the Pepto Bismol.

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Posted by David Ferguson

BURIED (2010)

September 25, 2010

 Greetings again from the darkness. My comments about last week’s Devil dwelled on the aspect of claustrophobia in being stranded in a stuck elevator with strangers. Forget all that! In this compelling film, Ryan Reynolds wakes up in an enclosed coffin. With a head injury. Buried. In Iraq. With a cell phone. And a lighter. This takes claustrophobia and anxiety attacks to a whole new level.  If you have read Edgar Allan Poe‘s “The Premature Burial”, you have a sense.

Somehow writer Chris Sparling, director Rodrigo Cortes and Ryan Reynolds all bought off on the idea that the ENTIRE FILM should be shot from WITHIN THE COFFIN. Yes, that’s correct. There are no flashbacks to Paul’s (Ryan Reynolds) home life or the convoy ambush. There are no scenes of the FBI working the phones on his behalf. There are no scenes of the kidnappers in some darkened basement. None of that. Just Reynolds. In his wooden coffin. From all angles. In the past, I labeled Ryan Reynolds as just another plug-in for rom-coms.  While his rom-coms rarely appeal to me, I have come to respect him for stretching himself as an actor in other genres.

Paul Conroy, an American contractor working in Iraq, wakes up in a coffin. His kidnappers have provided a cell phone and inform him that he will be released only if they are paid “5 million money”. Paul spends the rest of the film frantically trying to arrange for the ransom by contacting his family, his employer, the FBI and the State Department. I will say no more other than I found my breathing getting quick and shallow and my palms sweaty just watching the plight of this unfortunate man.

There are no outside scenes, excluding a very short, disturbing video the kidnappers send him through the cell phone. The phone conversations are fascinating. You will voice-recognize the great Stephen Tobolowsky as the personnel director performing some quick legal ass-covering. You might also recognize the voice of Tess Harper as Maryann – presumable the mother of Paul’s wife as he tries to make contact. Neither of these are warm fuzzies, but both add to the heightened stress level and desperation.

This is not really a film we would want to watch a second time, but interestingly enough, I could see it becoming a cult fixture similar to “Rocky Horror”. The audience could show up with their cell phone, a lighter, a flask and a couple of other props that I won’t disclose here. Sometimes the best way to handle fear is to laugh in its face. Oh, and answer your cell when loved one’s call. Lastly … I don’t want to be buried alive.

SEE THIS MOVIE IF: you enjoy anxiety attacks

SKIP THIS MOVIE IF: you freak out in a traffic jam OR expect to see Reynolds’ abs.

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Posted by David Ferguson

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