An epochal rise-and-fall epic of the gangster cycle, Raoul Walsh’s skittering, impetuous The Roaring Twenties hits the ground running but a couple lengths further back on the track than one would expect. It bookends the glorious ascent of James Cagney’s bootlegger with a cold reception for soldiers returning from overseas following World War I on one side and the 1929 stock market crash on the other.
The plot, based on Mark Hellinger’s short story “The World Moves On,” defies genre conventions right out of the gate, beginning not with Cagney’s spry neophyte chump Eddie Bartlett traipsing his way into, say, the stage door of a hotbox revue but with him stumbling his way into a blown-out crater in Europe during the war. The role of Bartlett, a principled soldier who blossoms into a hoodlum with a conscience, found Cagney at a peculiar point in his career as a uniquely physical being,...
The plot, based on Mark Hellinger’s short story “The World Moves On,” defies genre conventions right out of the gate, beginning not with Cagney’s spry neophyte chump Eddie Bartlett traipsing his way into, say, the stage door of a hotbox revue but with him stumbling his way into a blown-out crater in Europe during the war. The role of Bartlett, a principled soldier who blossoms into a hoodlum with a conscience, found Cagney at a peculiar point in his career as a uniquely physical being,...
- 3/1/2024
- by Eric Henderson
- Slant Magazine
Which Bette Davis movies qualify for greatness? Her flawed character in this costume picture doesn’t conquer all, and it’s historically more sensitive than Gone With the Wind. It’s also William Wyler at the top of his form, creating in just 104 minutes a rich image of a long-gone world. Southern Belle Julie Marsden is a contrary troublemaker, a flip coquette who shoots her whole life to hell with just a couple of social gaffes. The story is ‘bigger than Bette’ – the apocalyptic finale is just a side event in a fable about the nature of chivalry and honor in a flawed social structure.
Jezebel
Blu-ray
Warner Archive Collection
1938 / B&w / 1:37 flat Academy / 104 min. / Street Date August 27, 2019 / available through the WBshop / 21.99
Starring: Bette Davis, Henry Fonda, George Brent, Margaret Lindsay, Donald Crisp, Fay Bainter, Richard Cromwell, Henry O’Neill, Spring Byington, John Litel, Theresa Harris, Irving Pichel, Eddie Anderson,...
Jezebel
Blu-ray
Warner Archive Collection
1938 / B&w / 1:37 flat Academy / 104 min. / Street Date August 27, 2019 / available through the WBshop / 21.99
Starring: Bette Davis, Henry Fonda, George Brent, Margaret Lindsay, Donald Crisp, Fay Bainter, Richard Cromwell, Henry O’Neill, Spring Byington, John Litel, Theresa Harris, Irving Pichel, Eddie Anderson,...
- 9/21/2019
- by Glenn Erickson
- Trailers from Hell
In celebration of its 100th anniversary, the American Society of Cinematographers has released a list of the 100 best shot films of the 20th century.
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
This list was released to "showcase the best of cinematography as selected by professional cinematographers.” Here's how the list was put together:
The process of cultivating the 100 films began with Asc members each submitting 10 to 25 titles that were personally inspirational or perhaps changed the way they approached their craft. “I asked them — as cinematographers, members of the Asc, artists, filmmakers and people who love film and whose lives were shaped by films — to list the films that were most influential,” Fierberg explains. A master list was then complied, and members voted on what they considered to be the most essential 100 titles.
Here's a little sizzle reel that was cut together showcasing some of the films on the list:
It's hard to argue with the Top 10 films,...
- 1/9/2019
- by Joey Paur
- GeekTyrant
The American Society of Cinematographers (Asc) celebrates its 100th anniversary on Tuesday by unveiling two lists devoted to 20th century visual achievements: the 100 Milestone Films and the top 10 Best-Shot Films, led by “Lawrence of Arabia” (1962), shot by Oscar-winning cinematographer Freddie Young.
The rest of the Top 10 list includes sci-fi classics “2001: A Space Odyssey” (1968), shot by Geoffrey Unsworth, and “Blade Runner” (1982), shot by Jordan Cronenweth; two from director Francis Ford Coppola: “The Godfather” (1972), shot by Gordon Willis, and “Apocalypse Now” (1979), shot by Oscar-winner Vittorio Storaro; two black-and-white entries: “Citizen Kane” (1941), shot by Gregg Toland, and “Raging Bull” (1980), shot by Michael Chapman; “Days of Heaven” (1978), shot by Oscar winner Néstor Almendros; and “The French Connection” (1971), shot by five-time Oscar nominee Owen Roizman.
Alas, there are no silent movies in the top 10. And there’s no representation of the ’30s; ‘the ’50s; or the ’90s.
The lists were voted on by...
The rest of the Top 10 list includes sci-fi classics “2001: A Space Odyssey” (1968), shot by Geoffrey Unsworth, and “Blade Runner” (1982), shot by Jordan Cronenweth; two from director Francis Ford Coppola: “The Godfather” (1972), shot by Gordon Willis, and “Apocalypse Now” (1979), shot by Oscar-winner Vittorio Storaro; two black-and-white entries: “Citizen Kane” (1941), shot by Gregg Toland, and “Raging Bull” (1980), shot by Michael Chapman; “Days of Heaven” (1978), shot by Oscar winner Néstor Almendros; and “The French Connection” (1971), shot by five-time Oscar nominee Owen Roizman.
Alas, there are no silent movies in the top 10. And there’s no representation of the ’30s; ‘the ’50s; or the ’90s.
The lists were voted on by...
- 1/8/2019
- by Bill Desowitz
- Indiewire
More than 60 years after it dazzled audiences, Rebel Without a Cause returns to the big screen this September as part of the year-long TCM Big Screen Classics series, accompanied by specially produced commentary before and after the feature by TCM Primetime Host Ben Mankiewicz. Rebel Without a Cause set the tone for films exploring teenage angst and rebellion, and remains an iconic classic to this day.
The 1955 movie is a legend for many reasons: Released one month after James Dean’s untimely death, it offered an unadulterated – and unprecedented – look at the ups and downs of suburban teen angst; it featured stunning performances by Dean, Natalie Wood and Sal Mineo; and it contained stunning CinemaScope visuals by director Nicholas Ray and cinematographer Ernest Haller. But above all, its story endures: The tragic tale of three teenagers who all suffer from problematic home lives, and act out with devastating, fatal consequences.
The 1955 movie is a legend for many reasons: Released one month after James Dean’s untimely death, it offered an unadulterated – and unprecedented – look at the ups and downs of suburban teen angst; it featured stunning performances by Dean, Natalie Wood and Sal Mineo; and it contained stunning CinemaScope visuals by director Nicholas Ray and cinematographer Ernest Haller. But above all, its story endures: The tragic tale of three teenagers who all suffer from problematic home lives, and act out with devastating, fatal consequences.
- 9/6/2018
- by Tom Stockman
- WeAreMovieGeeks.com
Author: Dave Roper
So, we come to the end of this particular series. We’ve covered a number of aspects of the creative input into film-making, including actors, actresses, writers composers, and directors (in two parts). We’ve stopped short of costume, make-up, special effects, art design and others, however our final stop is Cinematography. The Dop exerts plenty of influence over the look of the film. Yes, lighting, production design and the director’s vision are key too, but the consistency and persistence with which certain directors stick with and return to a trusted Dop shows just how much they contribute.
Darius Khondji – Seven
Seven has a unique visual aesthetic. Plenty of films have gone for the “always raining, always dark” approach, but contrast Seven with something like AvP: Requiem for a shining example of how hard it is to pull off effectively. And contrast is the word. Seven...
So, we come to the end of this particular series. We’ve covered a number of aspects of the creative input into film-making, including actors, actresses, writers composers, and directors (in two parts). We’ve stopped short of costume, make-up, special effects, art design and others, however our final stop is Cinematography. The Dop exerts plenty of influence over the look of the film. Yes, lighting, production design and the director’s vision are key too, but the consistency and persistence with which certain directors stick with and return to a trusted Dop shows just how much they contribute.
Darius Khondji – Seven
Seven has a unique visual aesthetic. Plenty of films have gone for the “always raining, always dark” approach, but contrast Seven with something like AvP: Requiem for a shining example of how hard it is to pull off effectively. And contrast is the word. Seven...
- 5/12/2017
- by Dave Roper
- HeyUGuys.co.uk
The future of the streaming giant might not be streaming.
When streaming companies like Netlfix and Amazon got into the business of making original feature films, the industry was poised for a major change. Because these weren’t B-movies the companies were making, they weren’t the kind of low-brow fodder that gets released directly for home viewing every week, they were full-on, talent-backed, major motion pictures. Netflix had an amazing critical run (and some would say an Oscar snub or two) with Cary Fukunaga’s Beasts of No Nation, and Amazon last year produced a slew of significant films from significant directors, including Spike Lee’s Chi-Raq, Nicolas Winding Refn’s The Neon Demon, and most notably, Kenneth Lonergan’s Manchester by the Sea, which did manage to snag a handful of Oscar noms and even walked away with a pair of wins, one for Lonergan for Best Original Screenplay, and...
When streaming companies like Netlfix and Amazon got into the business of making original feature films, the industry was poised for a major change. Because these weren’t B-movies the companies were making, they weren’t the kind of low-brow fodder that gets released directly for home viewing every week, they were full-on, talent-backed, major motion pictures. Netflix had an amazing critical run (and some would say an Oscar snub or two) with Cary Fukunaga’s Beasts of No Nation, and Amazon last year produced a slew of significant films from significant directors, including Spike Lee’s Chi-Raq, Nicolas Winding Refn’s The Neon Demon, and most notably, Kenneth Lonergan’s Manchester by the Sea, which did manage to snag a handful of Oscar noms and even walked away with a pair of wins, one for Lonergan for Best Original Screenplay, and...
- 4/25/2017
- by H. Perry Horton
- FilmSchoolRejects.com
This past weekend, the American Society of Cinematographers awarded Greig Fraser for his contribution to Lion as last year’s greatest accomplishment in the field. Of course, his achievement was just a small sampling of the fantastic work from directors of photography, but it did give us a stronger hint at what may be the winner on Oscar night. Ahead of the ceremony, we have a new video compilation that honors all the past winners in the category at the Academy Awards
Created by Burger Fiction, it spans the stunning silent landmark Sunrise: A Song of Two Humans all the way up to the end of Emmanuel Lubezki‘s three-peat win for The Revenant. Aside from the advancements in color and aspect ration, it’s a thrill to see some of cinema’s most iconic shots side-by-side. However, the best way to experience the evolution of the craft is by...
Created by Burger Fiction, it spans the stunning silent landmark Sunrise: A Song of Two Humans all the way up to the end of Emmanuel Lubezki‘s three-peat win for The Revenant. Aside from the advancements in color and aspect ration, it’s a thrill to see some of cinema’s most iconic shots side-by-side. However, the best way to experience the evolution of the craft is by...
- 2/6/2017
- by Jordan Raup
- The Film Stage
Mildred Pierce
Blu-ray
The Criterion Collection 860
1945 / B&W / 1:37 flat Academy / 111 min. / available through The Criterion Collection / Street Date , 2017 /
Starring Joan Crawford, Jack Carson, Zachary Scott, Eve Arden, Ann Blyth, Bruce Bennett, Lee Patrick, Moroni Olsen, Veda Ann Borg, Jo Ann Marlowe, Butterfly McQueen.
Cinematography: Ernest Haller
Art Direction: Anton Grot
Film Editor: David Weisbart
Original Music: Max Steiner
Written by: Ranald MacDougall from the novel by James M. Cain
Produced by: Jerry Wald, Jack L. Warner
Directed by Michael Curtiz
James M. Cain’s 1941 novel Mildred Pierce offers a venal and self-destructive view of America not with a story of respectable bourgeois society, not the criminal underworld. A de-classed, suburb-dwelling nobody fights her way onto the social register by using men and by hard work… and then watches as her obsessive goals blow up in her face In Cain’s worldview it’s every woman for herself. He drags in an odd personal theme,...
Blu-ray
The Criterion Collection 860
1945 / B&W / 1:37 flat Academy / 111 min. / available through The Criterion Collection / Street Date , 2017 /
Starring Joan Crawford, Jack Carson, Zachary Scott, Eve Arden, Ann Blyth, Bruce Bennett, Lee Patrick, Moroni Olsen, Veda Ann Borg, Jo Ann Marlowe, Butterfly McQueen.
Cinematography: Ernest Haller
Art Direction: Anton Grot
Film Editor: David Weisbart
Original Music: Max Steiner
Written by: Ranald MacDougall from the novel by James M. Cain
Produced by: Jerry Wald, Jack L. Warner
Directed by Michael Curtiz
James M. Cain’s 1941 novel Mildred Pierce offers a venal and self-destructive view of America not with a story of respectable bourgeois society, not the criminal underworld. A de-classed, suburb-dwelling nobody fights her way onto the social register by using men and by hard work… and then watches as her obsessive goals blow up in her face In Cain’s worldview it’s every woman for herself. He drags in an odd personal theme,...
- 1/28/2017
- by Glenn Erickson
- Trailers from Hell
Joan Crawford in 'Mildred Pierce.' 'Mildred Pierce' review: Very entertaining soap opera Time has a way of making some films seem grander than they really are. A good example is Mildred Pierce, the 1945 black-and-white melodrama directed by Casablanca's Michael Curtiz, and that won star Joan Crawford a Best Actress Oscar. Mildred Pierce is in no way, shape, or form great art, even though it's certainly not a bad film. In fact, as a soap opera it's quite entertaining – no, make that very entertaining; and entertainment is a quality that can stand on its own. (The problem in recent decades is that cinema has become nothing but entertainment.) In the case of Mildred Pierce, the entertainment is formulaic and rather predictable – but in an enjoyable, campy sort of way. Unbridled Hollywood melodrama Now, what makes Mildred Pierce a melodrama is something known as the Dumbest Possible Action – Dpa for short.
- 12/12/2015
- by Dan Schneider
- Alt Film Guide
Plunder Road
Written by Steven Ritch
Directed by Hubert Cornfield
U.S.A., 1957
It is a wet, late night. Raindrops fall down on the sleepy Utah countryside like a hail of bullets on a battlefield. Five men in two trucks drive silently to a mysterious location, each wrestling internally with the rising tension befitting a major heist scheme. They are Eddie (Gene Raymond), Commando (Wayne Morris), Skeets (Elisha Cook Jr.), Roly (Stafford Repp) and Frankie (Steven Ritch, who also serves as screenwriter). Amidst the impressive storm they successfully halt a speeding train, blow up the outside wall to one of its cars and make away from a hefty sum of gold bullion. This is but the first part of their plan, for now the group must traverse police roadblocks along the way to the City of Angels, all while under the guise of various types of truck drivers (liquid chemical transportation,...
Written by Steven Ritch
Directed by Hubert Cornfield
U.S.A., 1957
It is a wet, late night. Raindrops fall down on the sleepy Utah countryside like a hail of bullets on a battlefield. Five men in two trucks drive silently to a mysterious location, each wrestling internally with the rising tension befitting a major heist scheme. They are Eddie (Gene Raymond), Commando (Wayne Morris), Skeets (Elisha Cook Jr.), Roly (Stafford Repp) and Frankie (Steven Ritch, who also serves as screenwriter). Amidst the impressive storm they successfully halt a speeding train, blow up the outside wall to one of its cars and make away from a hefty sum of gold bullion. This is but the first part of their plan, for now the group must traverse police roadblocks along the way to the City of Angels, all while under the guise of various types of truck drivers (liquid chemical transportation,...
- 3/20/2015
- by Edgar Chaput
- SoundOnSight
Stumbling across that list of best-edited films yesterday had me assuming that there might be other nuggets like that out there, and sure enough, there is American Cinematographer's poll of the American Society of Cinematographers membership for the best-shot films ever, which I do recall hearing about at the time. But they did things a little differently. Basically, in 1998, cinematographers were asked for their top picks in two eras: films from 1894-1949 (or the dawn of cinema through the classic era), and then 1950-1997, for a top 50 in each case. Then they followed up 10 years later with another poll focused on the films between 1998 and 2008. Unlike the editors' list, though, ties run absolutely rampant here and allow for way more than 50 films in each era to be cited. I'd love to see what these lists would look like combined, however. I imagine "Citizen Kane," which was on top of the 1894-1949 list,...
- 2/4/2015
- by Kristopher Tapley
- Hitfix
Seventy-five years after the premiere of "Gone With the Wind" (on December 15, 1939), it seems that nothing -- not the passage of time, not the movie's controversial racial politics, not the film's daunting length, and not even the release of certain James Cameron global blockbusters -- can diminish the romantic Civil War drama's stature as the most popular movie of all time.
The film is certainly a formidable artistic achievement, a cornerstone of movie history, and a highlight of a year so full of landmark films that 1939 has often been called the greatest year in the history of Hollywood filmmaking. Each viewing of the four-hour epic seems to reveal new details. Still, even longtime "Gwtw" fans may not know the behind-the-scenes story of the film, one as lengthy and tumultuous as the on-screen romance between Scarlett O'Hara (Vivien Leigh) and Rhett Butler (Clark Gable). Producer David O. Selznick spent fortunes, hired...
The film is certainly a formidable artistic achievement, a cornerstone of movie history, and a highlight of a year so full of landmark films that 1939 has often been called the greatest year in the history of Hollywood filmmaking. Each viewing of the four-hour epic seems to reveal new details. Still, even longtime "Gwtw" fans may not know the behind-the-scenes story of the film, one as lengthy and tumultuous as the on-screen romance between Scarlett O'Hara (Vivien Leigh) and Rhett Butler (Clark Gable). Producer David O. Selznick spent fortunes, hired...
- 12/16/2014
- by Gary Susman
- Moviefone
Men in War
Written by Philip Yordan
Directed by Anthony Mann
USA, 1957
Director Anthony Mann was a specialist at genre filmmaking. From early crime dramas like T-Men and Raw Deal, to historical epics like El Cid and The Fall of the Roman Empire, he seemed to have a knack for working within — and working with — the conventions of a given generic formula. His Westerns, especially, are among the best that that particular type of movie has to offer. And when he set his sights on the war film, his natural aptitude for genre would be as prominent as it was anywhere. Men in War, from 1957, his second war film of the decade (released two years after Strategic Air Command), contains much of what makes Mann a distinct filmmaker, and reveals much of what makes the war film its own unique form of motion picture.
Set in Korea, 1950, Men in War...
Written by Philip Yordan
Directed by Anthony Mann
USA, 1957
Director Anthony Mann was a specialist at genre filmmaking. From early crime dramas like T-Men and Raw Deal, to historical epics like El Cid and The Fall of the Roman Empire, he seemed to have a knack for working within — and working with — the conventions of a given generic formula. His Westerns, especially, are among the best that that particular type of movie has to offer. And when he set his sights on the war film, his natural aptitude for genre would be as prominent as it was anywhere. Men in War, from 1957, his second war film of the decade (released two years after Strategic Air Command), contains much of what makes Mann a distinct filmmaker, and reveals much of what makes the war film its own unique form of motion picture.
Set in Korea, 1950, Men in War...
- 5/2/2014
- by Jeremy Carr
- SoundOnSight
Bette Davis’ eyes keep ‘Watch on the Rhine’ Bette Davis’ eyes are watching everything and everyone on Turner Classic Movies this evening, as TCM continues with its "Summer Under the Stars" film series: today, August 14, 2013, belongs to two-time Oscar winner Bette Davis’ eyes, cigarettes, and clipped tones. Right now, TCM is showing the Herman Shumlin-directed Watch on the Rhine (1943), an earnest — too much so, in fact — melodrama featuring Nazis, anti-Nazis, and lofty political speeches. (See “Bette Davis Movies: TCM schedule.”) As a prestigious and timely Warner Bros. release, Watch on the Rhine was nominated for a Best Picture Academy Award and earned Paul Lukas the year’s Best Actor Oscar. Bette Davis has a subordinate role and — for once during her years as Warners’ Reigning Queen — subordinate billing as well. As so often happens when Davis tried to play a sympathetic character, she’s not very good; Lukas, however,...
- 8/15/2013
- by Andre Soares
- Alt Film Guide
Paul Henreid: From lighting two cigarettes and blowing smoke onto Bette Davis’ face to lighting two cigarettes while directing twin Bette Davises Paul Henreid is back as Turner Classic Movies’ Star of the Month of July 2013. TCM will be showing four movies featuring Henreid (Now, Voyager; Deception; The Madwoman of Chaillot; The Spanish Main) and one directed by him (Dead Ringer). (Photo: Paul Henreid lights two cigarettes on the set of Dead Ringer, while Bette Davis remembers the good old days.) (See also: “Paul Henreid Actor.”) Irving Rapper’s Now, Voyager (1942) was one of Bette Davis’ biggest hits, and it remains one of the best-remembered romantic movies of the studio era — a favorite among numerous women and some gay men. But why? Personally, I find Now, Voyager a major bore, made (barely) watchable only by a few of the supporting performances (Claude Rains, Best Supporting Actress Academy Award nominee...
- 7/10/2013
- by Andre Soares
- Alt Film Guide
I apparently missed out by not seeing "Beetle Queen Conquers Tokyo" on the big screen, or so I am led to believe because it's one of those rare documentaries that is "gorgeous" and "cinematic." Honestly, though, I think it's mainly a good-looking film because of its locations. Not to slight cinematographer Sean Price Williams ("Kati with an I"), who really does do a wonderful job making beetles and other insects look like stunning little movie stars--he's to bugs what Ernest Haller was to Joan Crawford (yes, I just compared the 'Queen Bee' to insects)--but the rural scenery of Japan looks…...
- 5/17/2011
- Spout
Ann Blyth, Zachary Scott, Joan Crawford in Michael Curtiz's Mildred Pierce Mildred Pierce Review Part I Mildred Pierce was adapted from a novel of the same name by James M. Cain, who wrote Double Indemnity and The Postman Always Rings Twice. The adaptation was credited to Ranald MacDougall, though Catherine Turney (Of Human Bondage, A Stolen Life) and novelist William Faulkner were two among several uncredited writers who contributed to the project. Given what I’ve read of Faulkner’s melodramas, it’s no surprise this was right up his alley. Mildred Pierce also has a fine soap-operatic score by Max Steiner, with just enough gravy in the right places to make the silliness entertain. The cinematography by Ernest Haller (who won an Oscar for Gone with the Wind), and the editing by David Weisbart are solid if prosaic. The lack of a real "vision" in classic Hollywood films...
- 2/17/2011
- by Dan Schneider
- Alt Film Guide
From Raoul Walsh's Manpower (1941); cinematography by Ernie Haller; editing by Ralph Dawson.
No need for words, but I want to give you some nonetheless: our new series on the underrated art of the reverse shot begins here, where perpetually-unbilled bit player Chester Clute rubs turpentine on Marlene Dietrich's skirt as she asks George Raft, "What's the view from your angle?" Cut to Raft, slyly sipping root beer, who responds: "I've seen better."...
No need for words, but I want to give you some nonetheless: our new series on the underrated art of the reverse shot begins here, where perpetually-unbilled bit player Chester Clute rubs turpentine on Marlene Dietrich's skirt as she asks George Raft, "What's the view from your angle?" Cut to Raft, slyly sipping root beer, who responds: "I've seen better."...
- 12/26/2010
- MUBI
This is melodrama at its finest! But then again, the source material was a 1941 James M. Cain novel of the same name, which became a 1945 Academy Award-winning film starring Joan Crawford. The actress won an Oscar that year, and Eve Arden (Best Supporting Actress), Ann Blyth (Best Supporting Actress), Ernest Haller (Best Cinematography, Black-and-White), and Ranald MacDougall (Best Screenplay) were all nominated. The film was nominated for Best Picture as well but lost to "The Lost Weekend."
The film is a you-go-girl kinda movie where Mildred Pierce Beragon, frustrated by her unemployed cheating husband, seek out to support herself and her children. But then, there's her ungrateful child named Veda which is played by Evan Rachel Wood -- I love her!
Winslet plays Mildred Pierce, and judging from the trailer, she's great, but I'm wondering how this material will play with this generation now. It'll be interesting to see what...
The film is a you-go-girl kinda movie where Mildred Pierce Beragon, frustrated by her unemployed cheating husband, seek out to support herself and her children. But then, there's her ungrateful child named Veda which is played by Evan Rachel Wood -- I love her!
Winslet plays Mildred Pierce, and judging from the trailer, she's great, but I'm wondering how this material will play with this generation now. It'll be interesting to see what...
- 9/15/2010
- by Manny
- Manny the Movie Guy
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