TNMC

Untitled Deadpool Column Written by Deadpool   

Ladies and Gentleman, welcome to this special of my prestigious column. Friends, readers and colleagues, it's with great pleasure that I announce that I've written my first magazine article.

I wrote the cover story on The Grinch in the November/December issue of Scr(i)pt Magazine. I was asked at the last minute to right an in-depth script review of The Grinch's script. Within 72 hours I wrote a pretty interesting article that I'm sure you will all enjoy. Also featured in the issue are: -A review of the Unbreakable script. -An interview with Bill Broyles, the writer of Cast Away and the new Planet of the Apes remake -An article written by Rod Lurie, who wrote The Contender, about how to write the strong female character.

The issue hits newsstands Tuesday, November 7th. I would like to thank a few persons who made this article possible. Special thanks to John Shea, Tyler Durden, Hollyfeld and Shelly Mellott. It's been a lifelong dream of mine to be published in a magazine and I would like to thank TNMC and Scr(i)pt Magazine for making it happen. I hope it wont be my first and last time writing for a magazine. If anyone out there is interested in hiring me to write for their magazine, Please email me.

To Subscribe to Scr(i)pt magazine click here...

The Grinch Review

Continuing the theme of this column, we have a review of The Grinch written by the newest addition to my crew, A.R. Stampler. Here it is:

"The hummoids filed in, sitting on their buggle bottoms, and bopped their tops as the curtain rose. Soon, little voices squealed as the Grinch appealed to their senses of nonsense and views of the Whos. The audience members were young, they were old, they came in from the rain, wearing scarves of gold.

From the upturned rosy noses to the upturned ringlets of hair, director Ron Howard created the perfect Whoville, filled with joyous simplicity and glee in How the Grinch Stole Christmas. For once in a movie, over-expression and over-animation in the characters and setting only helped to forward the mood. The makeup and hair were amazingly done, especially on the body of the main character, who had plenty of both.

In the role of an outcast, Jim Carrey fit in perfectly. In addition to the full-screen close-ups on his makeup-covered face, it was scary how well Carrey portrayed Suess's creation. His trademark antics and expressions were a perfect dichotomy to the stereotypical good girl Cindy Lou-Who, who saw the Grinch's potential when everyone else only saw his nasty habits and manner.

Little Cindy soon embarked on her mission to discover the meaning of Christmas, taking the entire town of Whoville and audience with her. Succeeding for most of the journey, with a few cliché stumbling blocks along the way, she found her way up a steep snow-covered mountain and into the realm of the strange, where the Grinch made his home.

When the Grinch began to sing, I almost expected a rendition of Kermit the Frog's 'It Ain't Easy Being Green.' The musical interludes by Carrey and little Cindy were the only part of this movie that I felt was just a little 'too much.' Touching at some points and entertaining at others, the songs seemed a bit superfluous for the 'family film' effect. The Grinch is a great holiday-season film and, even with its early release date, ought to surely make it close if not well into the new year."

(Review sent in by 'A.R. Stampler'.)

Stay tuned...

That's all folks...

DeadPool

General Articles Written by Rafael Pujals     Ultra Magnus here. Wow, what a cool weekend. I definitely saw my fair share of Shea as we were both clocking a lot of time at the film fest. I think he even went without food saturday...now that's dedication. My only regret is not making it to the Ebert seminar on The Birds, but what can you do.

Untitled Deadpool Column Written by Deadpool   

We've got quite a treat for you kids this week a three part MINISERIES on Book of Shadows: The Blair Witch 2's World Premiere at Mann's Chinese Theater in Los Angeles. My good buddy 'Hollyfeld' was in attendance and today we have his account of the first part of the evening. Also regular movie reviewer 'Q-Brick' is in the house with his review of The Yards, the movie I missed seeing two months ago because I'm a lazy bastard. For those wondering about that BIG ANNOUNCEMENT, well it's been postponed till next Monday. Don't worry it would have been worth the wait.

The Blair Witch 2 World Premiere: Part One

"Hollyfeld, here. Just writing to let you know that selling my soul to the devil this weekend paid off in spades. As you no doubt know by now, the H-man scored himself tickets to both the premiere and post party of Book of Shadows: Blair Witch 2. Never mind how. (The devil thing was a bit of an exaggeration... he was really wasn't much more than a glorified chaos demon, but I digress.) The following is the first part of my record of tonight's events: The premiere, soon to be followed by the movie, and then the after-party.

I think it is important to note that before tonight, I was a virgin to these events. Although I had considered myself very experienced in the ways of Hollywood, I had never been to a premiere. So upon learning that my opportunity had come, I jumped at the chance - much like a regular virgin would jump at the opportunity to have sex with a pornstar. So I called my good friend, you will come to know her as Charlize Angel, and off we were, with a quick e-mail to Deadpool, here, promising a complete report of the events. This account is for everyone who hasn't had the opportunity to go to a real Hollywood premiere - this is what it was like.

Charlize Angel picked me up about two hours before the scheduled time of the screening, and we were both very excited. This was a first for both of us. There was supposed to be a contest during the party for the witchiest witch ($1,000 grand prize), so we were both dressed in goth, fittingly. Charlize found it difficult to shop in this get up, actually, due to the accusing looks given to her by the store clerks. Sigh... so much for the 21st century. We talked for a while about my recent engagement to the beautiful and engaging Mallory Knox (that's right ladies, Hollyfeld is off the market... don't take it too hard), and proceeded to promptly get lost.

Great, so now we're lost. Perfect - just what I needed. We drove around Hollywood for fifteen minutes, and then finally got back on track and arrived at the Chinese Mann Theater. And just for all of you non-Los Angelinos out there, this is pretty easy to do. It's not like they have a huge sign in Hollywood screaming 'Landmark.' (Now THAT'S irony.) Luckily, we were still notably early, and were able to get a parking space right next to theater. As my sister would say, 'Sweeeeeet...'

Barker & Leerhsen

We get in line to go in at about 6:30 (we were about the fourth people there), and the bouncer/security guard - he looked like both - said they weren't letting us in for at least half an hour. Damn. We toyed with ways to get in early (getting some camera equipment from a nearby store and saying we were with the media was a good one, but by that time he would have recognized us. So we resigned ourselves to waiting in what we thought was the line. Then twenty minutes later as more people started coming in some guy said that the line was behind him, and by the time we realized people were actually listening to him (what were the odds?), we were stuck a good dozen people behind where we were before. Damn. On the upside, we were able to overhear some Hollywood gossip... it turns out that Anne Heche is going to be appearing on Ally McBeal during sweeps week. Huh. Interesting. I don't know if that's a scoop or not, I haven't been following the show very closely for a while, so if it isn't, I'm sorry I wasted your time with it. It just sounded interesting at the time.

Okay, so we're waiting in line at 7:00 and starting to get a little restless. Charlize was talking to various people in line about their keen fashion sense, and they were complimenting her in turn. She really did have cute boots. Then, fifteen minutes later, they started letting people in. Now Charlize and I were under the impression that the 'stars' would be let in first, and then the nobodies with their tickets could come in. Not so. In fact, we were one of the first people in the theater. Cool. We got a seat next to Joe Berlinger's reserved row, but not before enjoying a long walk down the red carpet. It really is a nice carpet. I hope I get to walk down it for real someday - tonight the reporters were saying, 'Oh, look! Isn't that... oh, wait, they're nobodies...' Thanks guys, my self-esteem wasn't low enough as it is...

Charlize had never been to the Chinese theater before, and I must say that if you haven't, there is nothing like going there with a large audience. I had been there twice before, at the opening night of X-Files (got to meet Chris Carter and Rob Bowman... excellent), and the second day of The Phantom Menace, which was pretty sweet. The decor in that place really is remarkable (the walls are covered with images of gold dragons, the are huge columns on the sides of the theater... just gorgeous), and with the right movie and the right audience, there really is nothing like it.

Shawn Wayans

So we sat there for a while, waiting to see the stars, and for a while we were disappointed. No one was there. NO ONE. I was getting a bit miffed, seeing as how this was my first premiere and all and no one seemed to be there. And then they started showing up. No Tom Cruises or Harrison Fords, but people you would know. Keenan Ivory Wayans was there, looking very spiffy in his beanie (or some similar form of hat - I am not up to date on fashion), and later his brothers Shawn and Marlon showed up. Marlon's hair is really that interesting in real life, too, I assure you. Also present were Xander Berkeley (whom you might remember from his roles in Air Force One, Shanghai Noon, and Terminator 2: Judgement Day), as well as Devon Odessa (best known as Sharon on 'My So-Called Life', but was also in Pumpkinhead and The Omega Code. I actually talked to her a couple of times while working freelance on a film she did, but she didn't recognize me. That's okay. I wouldn't recognize me, either. (Though to be fair I'm now a lot taller with shorter, dyed hair... can you really blame her?)

I left Charlize Angel at one point in order to do some star searching (came up empty, sorry to say), and came back to find that some guy had been hitting on her. Kick ass... He asked if he could sit next to her, but she said no, that seat was taken. Upon learning this I of course screamed, 'ARE YOU OUT OF YOUR MIND?!' Then I paused. 'Was he cute?' 'Oh, yeah.' 'ARE YOU OUT OF YOUR MIND?!' I told her I would have understood but she said it was cool. I myself had a close encounter with a member of the opposite sex that night, but we'll leave that for later, when we get to the after-party segment.

Director and Cast

Eventually, about fifteen minutes after the show was supposed to begin (nothing happens on time in this business - not a complaint, just an observation), they asked if everyone could take their seat. At about this time one of the celebrities went out to get some popcorn. Go figure. A DJ from KROQ (L.A.'s premium modern rock station, which is nonetheless loaded with Eminem right now... or is that just when I'm listening to it?) said how cool she thought this was, yadda yadda yadda, I wasn't paying attention. I was too busy studying the makeup of the VIP section. But then she introduced the movie's director, Joe Berlinger. Nice guy. He talked about how this was his first big premiere, his only previous one being about four guys watching one of his documentaries on a screen it was playing at for one week. (I related. Actually, this was not technically my first premiere, but it was the first big one, i.e. one that is generally considered by the public to be a 'premiere.') He then talked a bit about how he was very concerned with the negative public reaction to this film before it even came out, and how this film is really about such audience reactions. I'll get into this more in my review. He then talked about some of the people involved with the film and thanked them at length - the editor, the cinematographer, the producer, co-writer, his wife, etc. Then introduced the main cast members by name and asked them to stand up. I got a few pictures of that, which was nice. I was kind of far away though so I don't know how they'll show up. And then, finally, the movie began.

And... cut. End of Part One. Check back soon to read the second installment of Hollyfeld's Hollywood Premiere, in which I'll either analyze the film or just deluge you, the readers, with reports of my experiences at my very first big Hollywood party. It was pretty awesome. See you soon!"

(Story provided by 'Hollyfeld'.)

A review of The Yards

"You can tell it's Autumn. Your local cineplex is thick with serious subject matter and awesome talent on-screen. Miramax films, one of the industries most aggressive pursuers of the Oscars are probably positioning The Yards for consideration.

Theron & Phoenix

It's a gritty drama set where drama is at its grittiest...New York. Mark Wahlberg is Leo, fresh from doing some hard time and seeking employment among his old pals at NYC's subway yards. Leo believes that he can get work from his Uncle Frank (James Caan) who wields considerable but unhealthy power in the yards. Leo hopes to make a fresh start but to no one's surprise (least of all, ours) he is drawn into a web of deceit, corruption and murder. Leo is betrayed by his friend and company bagman Willie (Joaquin Phoenix). Further dramatic tension stems from Leo's longing for his beautiful cousin Erica (Charlize Theron...does this beauty ever take a break?) who now dates the low-life Willie

Wahlberg & Phoenix

The Yards is impressive, not only for it's stand-out cast (including Joaquin Phoenix, Faye Dunaway, Ellen Burstin and Charlize Theron) but it's dark, understated direction is a welcome. This is the kind of story that usually lends itself to a lot of heavy-handed theatrics from its players. I was especially surprised by Caan and Phoenix (who can play sleazy better than anyone). Both are fine actors who are prone to slip into The Method for their roles. Both of these guys were smart enough to say their lines and not bump into the furniture and The Yards is all the better for it.

On the other hand, Wahlberg as Leo could have breathed a little more life into his character. There were times, on-screen, when I wanted Cher to turn up so she could slap him around and yell, 'Snap out of it!'. Director James Gray does not opt for hot visuals or rampant editing, he simply put the actors in the frame and let's them do their stuff. The Yards will probably not get any Oscar nods this year but director Gray and his fine cast have put together a tough little gem of a movie."

(Review provided by 'Q-Brick'.)

Stay tuned...

That's all folks...

DeadPool

Untitled Deadpool Column Written by Deadpool   

I was reading my regular Tuesday newspaper when I stumbled onto a really bizarre story that took place last Saturday night. I tried to find the article in English but apparently no Canadian newspapers picked up on this weird story. It deals with the film Baise Moi (Rape Me), which was presented at Cannes and the Toronto Film Festival. It's a controversial French film that deals with two bank robbing women who use men for sex then violently kills them. The two lead actresses of the film are former French Porn stars. The film is sure to be rated NC-17 when it comes out in The States. So here's the bizarre story of what happened last Saturday night:

Film Terrorism

Tuesday, October 18, 2000

MONTREAL (Journal De Montreal) - Indignant at what he saw on the screen of the Parisien Cinema, where he was watching the film Rape Me (Baise Moi), an individual erupted in the projection room to seize the reel and then fled, after multiple threats to those around him.

This occurred last Saturday night around 10:45, and the person responsible for these acts is still the focus of a police investigation.

The forty people present in Screening room 3 of the Parisien cinema on Sainte-Catherine St. will never see the complete film. The film abruptly stopped 5 minutes before the end.

The scatter-brained individual, in addition to yelling threats, left the projectionist stupefied by mutilating the invaluable equipment to seize the reel.

"It is the first time that such an incident has ever occurred on our premises, " says Isabelle Dessureault, spokesman of Famous Players, which presented this film in four theaters of the greater Montreal area. "It is even more surprising, when you know that accessing the projection booth is not an easy thing."

With the film print in hand, the suspect, still indignant, made a scene in the lobby before jumping on his bicycle to escape on Sainte-Catherine St. Employees followed him as he escaped. They found part of the film shredded in a nearby parking lot.

"He threatened to put a bomb in the cinema if we ever were to play this film again, " said Armand Lafond from Remstar, distributor of Rape Me for the province of Quebec.

"He's an Arabic-speaking person who did not like to see the acts of vengeance that the women in the film do to men", adds Mr. Lafond.

Distributed in Quebec by Remstar, Rape Me was scheduled to leave theatres this week. But that does not have anything to do with the incident of last Saturday night, according to Ms. Dessureault.

(Translated into English from an article by Bertrand Desjardins in Le Journal de Montreal.)

Bedazzled Review

Sometime ago, I had the pleasure of reading the shooting draft script of Bedazzled and it made me laugh so hard, you cannot imagine. The test screening results surprised me a little along with the fact that the film's release was pushed back two months. Maybe they fixed the problems because 'Q-Brick' sure seem to have liked this movie:

"When a picture reaches cult status, as it has for fans of the 1967 comedy classic, Bedazzled, the director is likely to be treading on holy ground by attempting a re-make. But I think the late Peter Cook who co-wrote and co-starred in the original with Dudley Moore would have found such a notion pretty silly. Cook loved to make fun of pretentiousness but even more, he enjoyed tweaking the nose of organized religion and the hypocrisy he saw in Britain's churches.

Director Harold Ramis has retained the original's thematic elements...a nebbish loser, Elliot Richards (Brendan Fraser) is granted a series of wishes by the devil (Elizabeth Hurley). All Elliot wants is to simply have Alison, the girl of his dreams (Frances O'Connor) but damned if the wishes don't keep misfiring. Rather than using the film's plot to send up the religious establishment, Ramis and co-writers, Larry Gelbart and Peter Tolan have chosen to make a broader, audience-friendly series of comedy sketches. Thanks to the casting of Brendan Fraser, they get away with it.

In Brendan Fraser, Hollywood has found their all-purpose, multi-task talent who is so right for this kind of film. His goofy appeal and ambidextrous acting gifts are what make Bedazzled work. As his Elliot stumbles from one wish to the next, Fraser is allowed to inhabit a parade of comically diverse types. And he does so with obvious delight and lots of scene-stealing energy. He throws such much comic brilliance at the audience that some of it's bound to stick. You will probably have a couple of sequences that are your favorites, mine were the strutting Colombian drug lord and the ferociously ignorant NBA star.

I was really surprised by Elizabeth Hurley as the seductive Princess of Darkness. The woman has genuine screen presence. One is caused to wonder why Hurley wasted so much time leading around her ex-boyfriend instead of acting. She can make a living doing this.

Australian actress Frances O'Connor is also impressive on two counts. She has the thankless task of playing romantic straight man to Elliot's antics. O'Connor textures each of her 'Alison's' making them very real and just out of Elliot's reach. She also deftly handles a variety of accents never betraying her Aussie roots. And just a side note.... am I the only person who thinks that she eerily resembles 70's actress Jessica Harper (female lead of Phantom of the Paradise)?

The new version lacks the wry subversiveness of the original and it has an uneven, hurried feel to it. I wonder if Ramis and his film editor Craig Herring wouldn't have liked a little more time in front of the Avid to smooth out the film's rough edges. Though the new Bedazzled is a departure from the '67 version both in style and intent, I don't want to complain too loudly. Along with the rest of the audience, I DID have a good time. There are parts of this picture that are absolutely laugh-out-loud. So enjoy."

(Review provided by 'Q-Brick'.)

Stay tuned...

That's all folks...

DeadPool

Untitled Deadpool Column Written by Deadpool   

We're working late this week bringing you the latest reviews of this weekend's releases. I'm promising you readers a HUGE announcement next week. So stick around and in the meantime enjoy the reviews:

Here's two reviews of Rod Lurie's The Contender:

Hollyfeld, here. After seeing The Contender last night I found myself desperately wanting someone to talk to. Not because of the issues The Contender raised, or because I wanted to sing it's praises or condemn it or anything. I just desperately needed someone to rant to about how a few little problems almost completely undermined a potentially classic film. That bothered me, but we'll get back to that in a minute.

For those who don't know, The Contender is the latest release from Dreamworks, and stars Joan Allen as vice-presidential hopeful Laine Hanson, the first woman ever to be appointed by a president of the United States. (Yes, there was that whole Michael Dukakis thing, but he wasn't president, was he?) But it isn't as easy as just being appointed for her. You see, the Constitution is kind of fuzzy about the replacement of a vice-president in the middle of a president's term, so she has to go in front of a congressional committee before they can approve of her. The only problem is that the man at the head of this committee (Gary Oldman, so you know it's bad) is a good friend of the man passed over for the nomination, and is out for blood. Soon, pictures of Ms. Hanson participating in group sex in college show up, pictures Ms. Hanson refuses to comment about one way or another because "it is beneath (her) dignity." And things more or less blow up from there.

For the most part this is a very effective movie - writer/director Rod Lurie has done a good job. Not great, but once again we'll get to that later. The bulk of the film is shot on hand-held or moving cameras, giving it both a pseudo-documentary look, contributing to the sense of realism ever present throughout the film, as well as contributing a certain level of urgency to scenes otherwise devoid of action - dialogue scenes that could have been very boring. And I'll give The Contender one credit - it is never boring. Another effective aspect of the film was the sparse use of the musical score, which was either non-existent or unnoticeable except in three scenes.

The main problem with the film, however, derives from these scenes. Throughout the movie a tone of realism and subtleness takes center stage, except for three scenes of such galling melodrama and heavy-handed symbolism as to make the John Williams-esque sweeping dramatic score both completely unnecessary and insulting to the audience's intelligence. I found myself wanting to shout at the screen, "All right, already, we've figured out that it's a big speech! Move on, for the love of God!" If ever there was a film that deserved a complete lack of a musical score, this The Contender is it. These scenes are not bad, but become so when over-punctuated with rousing music, much like the "Giv-ess us free" scene in Amistad - another otherwise subtle movie that becomes somewhat undermined by the unnecessary heavy-handedness of the director. However, the biggest problem with the film is the ending, which we will get to at the end.

The performances are all strong and effective, but the only two actors who stand out are Jeff Bridges and Sam Elliot, reunited from their roles in The Big Lebowski. Jeff Bridge's president is a wonderful character, and the best along these lines he's played since Francis Ford Coppola's Tucker (of course, his portrayal of The Dude was even better, but these are hard to compare). He seamlessly blends the wit, intelligence, tension and charisma we would all want in a presidential candidate - and his running joke with the White House kitchen staff is priceless. And Sam Elliot as his aide is also brilliant, pulling off one of his best and most complex performances in years - the kind of man you would want at your side in a crisis.

Everyone else does a good job in what is required of them, but have all done better work before. Joan Allen isn't given as meaty a role as you would have expected but she does what she does with skill and aplomb - expect her to get an Oscar nomination, but once again not a win. A shame, too, because I had really hoped this would be her year. I feel that she's gotten shafted two or three times in the past. Gary Oldman's performance will be easily over-looked or taken for granted because of the sheer fact that he is Gary Oldman. If this had been David Paymer we were talking about here we would have been looking at instant Oscar territory. And Christian Slater is there too, doing his darnedest and a pretty good job of it, too, but, again, inferior to to his previous work. (See Murder In The First to find out what I mean.) His character was very interesting, however, and he has become the first person I would want to play the lead in a remake of Mr. Smith Goes to Washington.

Rod Lurie has composed one of the better political message movies of the past few years - superior to, say, Amistad, but several steps behind such classics as Primary Colors, Wag the Dog, or Get On The Bus. His missteps are few, but damning, and ultimately lower this film from the status of a 'leader in the field' to 'almost ran.' Recommended, but not too highly.

As for the ending, which I must talk about or it will destroy me, read on, but of course a MAJOR SPOILER WARNING, because I will reveal the film's ending(s). For those not interested, move on. There are some cool Jurassic Park 3 pictures to see.

Okay, the ending. It SUCKED AND WAS UNBELIEVABLE. Not only was Joan Allen not involved in the sexual events but also she gets to be vice-president. Now, presented in review form, this doesn't seem so bad, but in the context in the film it is all but unforgivable. More so than political impropriety, the main focus of this film was the concept that politicians are humans, and are capable of making as many mistakes as the rest of us. By taking away this event from her past, writer Rod Lurie automatically relegates her to the status of sainthood, and she no longer becomes identifiable to the audience. She becomes someone we should aspire to, and not someone who we are. The message after the film says, "For Our Daughters." Inadvertently, this gives our daughters the implication that they are not allowed to screw up any more. I'm sorry, isn't that what college is for? (Note: That was a joke.)

The solution is simple, and with options: Either keep this event in her past and have her become vice-president because it doesn't matter, or take this event away and have her step down because she has either become disillusioned with the political process or the hearings took a more emotional toll on her than we expected - then make Sam Elliot or Christian Slater, for example, vice-president. Both would be good choices, and wouldn't detract from the audience's appreciation of the movie. Laine will achieve both a victory and a loss, and will come out on top no matter what. The audience would identify with her rather than deify her, and Joan Allen's performance would seem all the more remarkable. END SPOILERS!

I SO wanted to love this movie, and in turn love her, but Rod Lurie just wouldn't let me - and by insisting on perfection, he ended up with something less.

(Review provided by 'Hollyfeld'.)

Next up are three reviews by regular correspondent 'Q-Brick':

The Contender

Lately, when Hollywood turns its cameras on the political process the conservatives get smacked in the face. Witness the well-written, wonderfully acted West Wing. It is some of the best drama on television this fall, except for one failing: Liberals are shown as compassionate and bright while conservatives are broadly painted as overfed, self-interested Neanderthals.

This same flaw ruins (at least for us conservatives) The Contender. On the plus side it is a tightly written, handsome bit of film making from writer/director Rod Lurie. The cast is Oscar-calibre featuring Joan Allen as Laine Hanson, whose lurid past threatens to derail her political future. When the Vice President of the US dies unexpectedly, she is nominated to fill the post....until a videotape surfaces, revealing her alleged past sexual antics during a frat party is discovered. The President (Jeff Bridges) supports her candidacy. Bridges is surprisingly comfortable in the role.

Gary Oldman, who continues to fashion some of the most watchable performances on film, plays the muck-raking Senator Shelly Runyon. Runyon has his own plans for the Veep's position. He's pushing for Senator Jack Hathaway (William Petersen). He's a serious contender and a likely shoo-in thanks to his attempted heroics during a freak accident.

But an otherwise riveting film goes all gooey and simply falls apart when Joan Allen's character refuses to defend herself. She believes that a public official should never have to answer questions about character....even if the truth would exonerate them. That's when this flick lapsed into science-fiction.......social science fiction.

No politician worth their ballot box would ever refrain from revealing the truth when it could clear them, without question, of wrong-doing. And neither would anyone else with any common sense. But I guess I'm just an over-fed, self interested Neanderthal.

Best in Show

Christopher Guest has been instrumental in developing that newest of genres, the mockumentary. Coming from a strong improvisational background coupled with his work the now classic Spinal Tap and Waiting For Guffman has allowed him to hone his comedic sensibility in this arena. So, it's no surprise that his latest offering, Best In Show, allows us to enjoy his brand of wackiness while almost forgetting that we are watching pure fiction.

Writer/Director Guest has populated this fictional world of Dog Shows with some of his old pals like Michael McKean, Catherine O'Hara, Eugene Levy and Fred Willard. And Willard, I should note, nearly steals the show with his turn as a loud, crude announcer who would be more at home at a wrestling match.

Parker Posey is also on hand as part of a toxic yuppie couple. They have come to the dog show hoping that their pet will be able to compete despite being recently traumatized by the site of them in the act of love. We learn that she met her L.L. Bean wearing mate sitting in a Starbucks' as he sat in another Starbucks...across the street from her.

Christopher Guest, himself, plays Harlan Pepper who arrives with his prize bloodhound, all the way from Pine Nut, Mississippi. Pepper is also learning to be a ventriloquist. I lost it when Pepper shows off his burgeoning but faulty skills. Even his dog isn't immune. Best Of Show never approaches the full-tilt fun that was Spinal Tap (which will always be a hard act to follow) but I think fans of the mockumentary will not be disappointed. If you don't laugh for 90 minutes, you'll at least catch yourself smiling a lot.

Lost Souls

Here's a flick that's been held from release for almost a year now. Never a good sign. At first I thought they might be waiting for the big summer pictures to play out. Now, it seems that the distributor has simply positioned Lost Souls to cash in on the re-release of The Exorcist. Too bad, because Lost Souls will only suffer all the more by comparison.

In the thinnest of plots, Wynona Ryder is a one-time victim of demon-possession who believes that a popular, atheistic writer (Ben Chaplin) has been chosen as the anointed son of Satan. This is all complicated by the fact that Chaplin's character is completely unaware. Much of the story focuses on her attempts to convince him that he's the One. I think the premise was in trouble from the start. That's a tall order for any screenwriter or even a fine cast to pull off with a straight face. They do not succeed. John Hurt portrays the priest who has the unwelcome task of performing the exorcisms and in one loud, blurry sequence is overcome by a demon. It leaves Hurt's character on the floor, writhing and shaking in a manner that had me expecting his chest to burst open with a snarling little demon.

I'm only guessing, but it seems as though director Januz Kaminski (the brilliant cinematographer on Saving Private Ryan) may have been trying for the more subtle approach. However, that may have been abandoned in post-production when the marketing people decided that subtle wouldn't sell.

My hat's off to a really fine cast for wrestling with this confusing, unwieldy plot. Ultimately the whole thing just falls apart and depending on your mood you will either catch yourself yawning or laughing out loud. I was sitting with a collection of critics at the screening and when one of the character's, on-screen, said, "When will this end?", one film reviewer shouted, "Please, end it soon!"

(Reviews provided by 'Q-Brick'.)

Stay tuned...

That's all folks...

DeadPool

Untitled Deadpool Column Written by Deadpool   

Two years ago, plans were being made to remake the French film Les Visiteurs. It scared me to death. The film is still the reigning box-office champ of all-time in France and is considered a classic. It was then announced that Jean Reno and Christian Clavier would reprised their role from the original film. It intrigued me greatly. I've been a huge fan of Jean Reno and his transition to the American Cinema has been wonderful. Christian Clavier is considered one of France's most talented comedians. He recently played Asterix in the big-screen adaptation of the classic French comic-book Asterix and Obelix vs. Cesar. How would his humor translate in another language? Here's two reviews of the possible sleeper hit film:

'The Visitors' Test Screening Reviews

"I once read a comic strip which stated the two rules of film criticism. "1. No movie is ever as good as the book it is based on. And, 2. No movie is ever as good as the French movie it is based on." And this is generally true - especially with the latter. La Femme Nikita is infinitely better than its American counterpart Point of No Return, and Father's Day is infinitely worse than its (good but somewhat less than brilliant) French counterpart Mes Comperes. But, occasionally, America comes up with a remake that is at least on par with the original, and a worthy film in its on right. For instance... well, actually only three come to mind: Down and Out In Beverly Hills, The Birdcage, and The Visitors.

A remake of the French film Les Visiteurs, The Visitors wisely uses the same talent behind the original French hit, including its director, co-writer, and two stars, Jean Reno (Mission:Impossible, Ronin) and Christian Clavier. This film also marks the comedic comeback of co-writer (for the American version) John Hughes, who hasn't contributed to an honest-to-God funny movie since the first Home Alone. The plot is exceedingly simple, and luckily for the audience never gets mired in its own contrivances. It simply moves from one humorous situation to the next taking the plot along with it almost as an afterthought. Medieval nobleman Jean Reno and his squire Christian Clavier pay a magician (played well by Malcolm McDowell) to send them back through time in order to set a wrong right. However, the magician forgets an ingredient in his potion and accidentally sends them into present day Chicago, where they meet Reno's ancestor (Christina Applegate), and her scheming, two-timing ass of a boyfriend (Matt Ross). The magician then goes forth to find them and bring them back so that they might complete their mission. Simple, right?

The key to this movie's charm is its delight in the small moments. All but gone are the popular comedy conventions of broad toilet humor. Of course, some grossness is there, but the funniest moments come from the smaller scenes. Reno and Clavier getting motion sickness at 20 miles per hour. Their screams of fear when someone turns on a light switch. Or the delivery of otherwise merely droll lines such as (at a French restaurant) - Clavier: 'I have to pee!' Reno: 'Then go outside!' Clavier: 'But the wolves will get me!' Also the use of CGI was very well handled and funny. It's nice to see a director not slobbering all over themselves to fill the film with unnecessary special effects shots.

This film marks Christian Clavier's American debut and it is hard to imagine him not showing up in more films this side of the Atlantic after this performance. He all but stole the film with his perpetual inability to grasp the principle of car doors, or his destructive fear of a car radio playing Ricky Martin. (Oddly enough, I was the only one clapping at that song's demise.) But this movie would have been lost without Jean Reno. Reno may be best known for his action films right now, but his inherent sweetness and stubborn nobility made this film the quality piece of comedy it is, rather than the heartless, over-silly situation comedy it could have been. Malcolm McDowell also has his funniest (intentional) performance to date, with his keen fashion sense being particularly memorable. Christina Applegate and Matt Ross are fine, if not spectacular, and Bridgette Wilson, in the thankless supporting role of Ross' other girlfriend, does what is required of her (i.e. shaking her bon-bons) and little else. Oh, Tara Reid was there too, playing Clavier's love interest, and though she didn't have much of a part she was pretty good as well.

While there were flaws in this film they were extremely forgivable. The pacing at times seemed weird, especially around key plot points (like someone being convinced that they really are from the past, and so on), which were... well... not rushed, because they had time to register, but they didn't linger on the issue like most American films do. This isn't so much bad, as different. The more I think about it, in fact, the more I like that aspect of the film, because it assumed the audience was smart enough to get what was going on without shoving it in our faces. More often than not in comedies these days, the audience knows what is going to happen before the characters do, and the tension builds from that. This movie breezes past that kind of stuff, leaving a film that doesn't have much tension (with the notable exception of a scene in the beginning), but is nonetheless very enjoyable.

Okay, so that wasn't really a flaw so much as a divergence from the norm. In that case the flaw really came at the end, in which each of the characters endings either seemed rushed or drawn out. (They spent too much time on some characters, but not enough on the others.) Also, they desperately needed a final (and obvious) joke involving the villain's punishment, but the interviewers at the end seemed very receptive to that comment, so hopefully it could be fixed by the time The Visitors comes out.

All in all a very good comedy that was funny without being insulting (a rarity these days). A harmless comedy for families. (It will probably end up being PG-13, but I will say right now that it is a very mild PG-13.) And the ultimate recommendation: I look forward to seeing it again when it comes out. Good movie."

(Review provided by 'Hollyfeld'.)

Review #2

"Your favorite traveling soap salesman is back in town and after dropping by the old house on Paper St, I made my way to Pasadena for a screening of The Visitors.

It is amazing that the Film Preview People seem to have so much fun being so restrictive... having everyone sign forms promising they will not disclose details... as if I used my real name... which last night was Robert Paulson.

As for the movie... The Visitors was good... it was really good and made up for the stomach pains I got when I saw The Art of War a few months back. Here is a quick breakdown of the plot and the main stars.

THE PLOT: The great French knight Thibault is to be married to the daughter of the English King, Rosaline. However, the jealous Earl of Warrick has visited a witch and gotten a potion to foul up the wedding and get Thibault killed. When Thibault accidentally drinks the potion, he has crazed visions and accidentally kills Rosaline. Thibault snaps out of it and is quickly condemned to death. With the aid of his trusty peasant Andre and a Wizard, Thibault attempts to save his love by returning back in time. Yet the wizard forgets the to add quail eggs to the secret potion and Thibault and Andre become lost in the 'Mountain of Time' and end up in... Chicago in the year 2000.

THE CAST:

The Noble Thibault: I had no idea Jean Reno had any gift for comedy... but he was superb in this film. He really plays up the image of a rich nobleman but lends simplicity and vision to the role. His only fault may be that he deals with the realization that he has been sent to the future too well. In the end, I really liked this guy.

The Smelly Peasant Andre: Christian Clavier really helps carry this film and his role as the loyal peasant was right on. His physical comedy is superb and he really helps Reno carry the simple script with superb acting. This could be a real break for him.

Lady Rosaline/Julia: Christina Applegate gets double duty in this pic by playing Thibault's great love in the Lady Rosaline and his great-great-great... cousin Julia in the future. She was witty and funny and while she doesn't carry the film, she lends it some heart and soul. Just don't call her a 'bunny.'

Hunter: This is Julia's adulterous fiancé played by Matt Ross and he is awesome in the film. He really makes the most of every scene he is in and his interaction with Reno and Clavier was great.

The Wizard: I didn't even recognize Malcolm McDowell as the Wizard, but he was funny and mysterious and did a good job in a very limited role.

Angelique the Gardner: A real surprise to see Tara Reid in the film because in reality she was miscast. As a matter of fact, she was horrible and I literally wanted to see her sent to the headsmen. She plays a simple gardener in the future and eventually becomes Andre's love interest. I just thought she was crappy...

I don't want to get into the whole story too much because I would ruin a lot of fun surprises in the film. It looked like a finished cut and ran only an hour and a half, which was perfect because there was really only one scene that sucked (A peasant leading a mambo line in a dance club... please!!!). Just imagine what it would be like to get magicked 700 years into the future... everything would be a shock... everything... and The Visitors does a good job of using this idea to really make an audience laugh. A good job of keeping the storyline as simple as possible because to try and explain the complexity would have really hurt the film.

I am interested to see how this film is marketed because its only chance of making any money is word of mouth. There are no huge cast members (though I am a big fan of Reno) to carry in the fans. Keep your eyes and ears open for this film though because only a stinking, rotting corpse would not enjoy it. I challenge anyone to a fist-eating match if you disagree with me on this one. Go see this film... you will not be wasting your money.

Did you know that when you mix a pinch of sulfur with a handful of bat guano and some gibberish words you get a fireball?"

(Review provided by 'Tyler Durden'.)

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DeadPool

Untitled Deadpool Column Written by Deadpool   

Tyler Durden: I'm here in beautiful Ontario California with one of the upcoming stars of the new film Girlfight, Santiago Douglas. Why don't you say hello.

Santiago Douglas: "WAAAZZZUUPPP!"

Girlfight is your first feature film. How were you approached with the script? How did the Script find its way into your hands?

SD: "Originally it started out as a regular audition. I was called in, at the time when I was in to audition for Girlfight I was

Santiago Douglas

working on "the Sopranos" and so I couldn't come in. I didn't have any time to be seen, but apparently from what I hear it's a funny story the casting agents Ellyn Marshall and Maria from Orpheus Casting, they were doing spring cleaning, and then my picture came back up. This is a true story. And my picture came back up and its like Oh, we didn't get a chance to see this kid. Let's call him back in. So I was called back in and I met the director. It was a regular audition so by accident I came back in again the loop of things and because they hadn't found Diana's Character yet they were just slowly looking for guys. So that's why I was able to come in again later. They first wanted to find her and then look for the guy. So that why there is all the time between when my picture came back up again."

How many months of intense training did you do for this?

SD: "It was crazy, I did two months of dieting. I had to lose 20 pounds from my already thin body so that was very, very difficult. I had to do three months of physical training, of boxing from scratch. I wasn't a boxer. So altogether five months of physical training and the diet was the hardest because I love Latino and to eat and all that stuff."

Are you a big fan of boxing as a sport?

SD: "Uh no, I'm not. I'm a big fan of boxing. I'm a big fan of boxing as a training, as a workout, but as far as the actual physical contact part of it and the violence side of boxing I'm not a fan of it at all."

Did you watch any boxing film or any kind of tape?

SD: "Yes , I watched the director Karyn Kusama, she's very, very on top of it and very prepared and she had specific movies that she wanted me to watch like Raging Bull,

Director Karyn Kusama

which I am so grateful because its such an amazing movie. You know Scorsese and DeNiro and Cathy Moriarty and Joe Pesci all these wonderful actors. So I watched that. I watched a lot of tapes of feather-weight boxers that were my height, which there was probably one in the business at that time. And uh most of the things I went to boxing matches. I watched some boxing on TV and then had a tape that Karyn gave me besides Raging Bull. It was amateur boxing, golden gloves. So I watched that over and over and over again. But I really like, as an actor, I like to sit and watch people live so I enjoyed staying after my workouts at the gym watching other boxers workout."

This movie has already gotten so much critical acclaim and there is already some buzz going around for potential Oscar nods. When this movie comes out on the 29th, what message do you want to send to the nationwide audience, to a lot of people who haven't heard about or seen this film?

SD: "The message that I would like to get out the most important well, there are several messages, but for myself being the national spokesman for the Premiere Weekend Club the main message is that as Latinos we have to really come out and support movies about us, that show us in a positive light and that really enable us as artists to look forward to expressing ourselves in ways that aren't negative and really take a stand as far as where we stand in this country. And secondly, I want people to walk away and see wonderful filmmaking about a wonderful culture and wonderful talent."

What kind of stereotypes do you think we should be more aware of that we think or that you think the Latin community should try and avoid?

SD: "Can I avoid taking on these parts?"

Exactly.

SD: "We should really see, there's a fine line here because I always say that I won't take on a negative Latino role in films, but there are certain negative roles that in somewhere in the characters in the script find redemption. And they find themselves and they clean themselves up and go back to the truth and

Santiago Douglas

things that are important like family. Granted, there are bad guys that turn to good guys and wind up doing a lot of good and making up for all the bad they've done. Now as artists we really read these scripts and know that if you have a walk-on and you're shooting somebody and it says Jose on there, then basically they're saying that all people with guns are named Jose and they're Latino. So really pick these roles. Right now the doors are really wide open we're getting a lot more Latino writers, the industry is putting time in and money. So we should help the industry by not allowing negative Latino images in film by not taking these parts on. I understand that some times as actors we need to make money, but, you know, things have changed and a lot of new roles have come in and a lot of great Latino writers and directors are taking a stand and doing great work. So just lets hold out a little longer and we're breaking through. Come out and see Girlfight on the 29th and bring your friends and families because if Girlfight is successful we're going to have more movies like Girlfight."

If you could work with any other high-profile Latino director or actor or actress, who would it be and why?

SD: "Uh (long pause) I would love to work with actors like an actor like Andy Garcia. I think he is very fascinating and definitely a wonderful dramatic actor as I believe I am also, and um because of the roles he's chosen. He's really chosen really creative roles and he's picked a lot of roles that tell stories about other artists in our community. So its just his selective role picking and he's really done a lot of wonderful movies, you know, a lot more than a lot of the actors out there. And he's played non-traditional Latino roles. He's played Italian. He's played a lot of other things that I can do also. So, Andy Garcia would be one person. I actually met him the other day and I was really thrilled thrilled about that.

Andy Garcia is great he's done a lot of great films. What's up next for you?

SD: "Up next... I have a movie that I associate produced and co-starred in. It's in, it's right now in the San Sebastian Film Festival in Spain. Its called Times Up, 'Tiempo Perdido'... I co-star with Leonor Benedetto so I got to run around and do the whole circuit thing that Girlfight had to do, the old Estevez thing here in the states. Then I have an album coming out. I love to sing. I write and produce my own music and I'm working on Musica de Ayer, 'Music of the Times'... inspired by Hollywood. Puerto Rican music in Puerto Rico in the 50s and 40s was inspired by Hollywood movies. Its very dramatic, very poetic, very passionate music, very romantic music also. So between that, I continue writing. I am like a consummate artist as far as the entertainment business goes. I like to do it all, but the music is really special because it is very intimate and very private.

Well thank you very much Santiago. It was a pleasure.

SD: "I'm rambling... I'm so sorry about that. Its just that I have been doing this for a while but thank you For coming to the movie."

We hope Girlfight does well. Its an amazing film and maybe you'll become the next golden boy Of cinema...

SD: "I hope so... I really do..."

We appreciate it... Thank You.

Another round of thanks to Santiago Douglas for doing the interview with me. This guy is all about the fans and that is not something you see or hear about a lot of actors of late.

(Special Thanks to 'Tyler Durden' for conducting this interview.)

Click here to read Tyler's Review of the film.

DeadPool

Untitled Deadpool Column Written by Deadpool   

Every once in a while a movie will be featured in depth in this column. The first movie to receive this honor is Girlfight. This film won Sundance's Best Director Award for Karyn Kusama and shared the Grand Jury Prize for best dramatic film. It's also been called one of the best Latin-American film of the last few years. My collaborator 'Tyler Durden' had the wonderful pleasure of attending an advance screening of this film and the privileges of interviewing one of the film's stars Santiago Douglas. Here's Tyler's amazing review of the film:

'Girlfight' Review

"I have a pretty good idea of the films out there, but I must admit that I had heard nothing of this movie. The title alone made me think this must be some sequel to Coyote Ugly or Bring It On. You can imagine my feeling of dread. So I started looking for information online and was shocked to hear this film had won awards at Cannes and Sundance. My second impression is that this must be a film for those true fans of the art, meaning no one outside the festivals would like it. At this point I was worried that looking up this film had left me with such a negative impression that I would be sure to hate it. All those impression were quickly snatched from me in the first 10 minutes of the film. Girlfight if a powerful film and I do not think there is a single film out there right now that can match it for intensity, story and heart. There is a lot of Oscar potential here and I have yet to see anything this year that can go more that two rounds with this film. Here is my take.

The Script:
Director Karyn Kusama picked an interesting backdrop for a coming of age film: the boxing gym. The story

Director Karyn Kusama

is very complex and given the cast of relative unknowns, Kusama put her writing and directing skills to the test. What makes the film especially good is that the script tests the boundaries of Latino family relationships without making a cultural judgment. Of particular interest is how the script deals with the paternal relationship differences between a son and daughter. Kusama also uses boxing as an active member of the cast because it affects every person in the story in various ways. This is just another example of why the script is so important to a film, especially a low-budget film. The script for Girlfight is sure to provide a powerful life for Latino actors to show they can play distinct roles without having to distinguish themselves by their accents. I would go see any film written or directed by Kusama based on the strength of this film alone. Keep an eye out for her people!!! My only problem with the script is that we never learn why Diana has the sudden urge to take up boxing. Was it for kicks or for the thrill of fighting or what? What about it made her go talk to Hector?

The Music:
I got a chance to listen to this soundtrack while at the screening and I wasn't that impressed. Actually, I was disappointed that the soundtrack did not feature more of the music used during the boxing sequences of the film. Boxing is a rhythm sport where the great one could "float like a butterfly and sting like a bee." In some of the training/sparring scenes the actors seem to dance around the ring and the choice to use a mix of Latin sounds and classical music was a good one. During the intense ring scenes, the music really accompanies the action. Like I said though, the soundtrack itself will disappoint you.

The People:
Diana Guzman is a tough girl because she has to be. She lives with her alcoholic and dismissive father who ignores all her needs in favor of her brother Tiny. Diana is from the Red Hook District of Brooklyn, New York and is in constant trouble at

Michele Rodriguez

school for fighting. Her temper flares out of control and she gets into a fight in the first 5 minutes of the movie. One close up to Diana's dark eyes and this movie had my complete attention. Diana is played with an intensity and charisma that no current Hollywood actress can match. Newcomer Michele Rodriguez was so compelling and by the end of the film I was cheering for her. With no previous acting or boxing experience, Rodriguez gave Diana everything she had to make her real on the screen. Girlfight is about Diana Guzman's search for respect, for meaning and for an escape from her father who treats her like a slave rather than a person.

One day she is told to go the gym to pay her brother Tiny's (Ray Santiago) boxing trainer Hector. Hector is played by veteran actor Jaime Tirelli and his calm presence works very well with the incendiary Rodriguez. When her brother is disrespected by another boxer, she punches that boxer in Tiny's defense. That night we see her watching television and the next day she goes back to the gym to ask Hector to train her as well.

Jaime Tirelli

Doubting a woman's ability in his sport, he agree to train her for a fee with the condition that she can't box anyone. Diana unhappily accepts the conditions and steals money from her dad to begin training. I don't want to ruin the entire training experience, but while learning this new sport she encounters another young boxer looking for a way out of the projects. Adrian is played by Santiago Douglas and I was surprised by the amount of sensitivity he brought to the role. Douglas and Rodriguez had amazing screen chemistry and this allowed Kusama develop the loving side of Diana. As she grows in the ring, she grows as a person and learns how to love someone. Pay particular attention to the points in the story where Diana is boxing Adrian. They were just amazing and Kusama and her crew deserve so much credit for making this film the way they did.

I had read a few reviews where people compared the boxing in this film to Rocky and Raging Bull. It is a mistake to think of those because the level of violence is not comparable. In this film we are dealing with amateurs and are not witness to intense fight scenes where we see the lead characters physically destroyed to accomplish their goals. While I think the boxing sequences are well choreographed and executed with precision, I felt that Girlfight used boxing more as the means to develop Diana as a person. That is my take at least.

The Moments & the Message:
Michele Rodriguez will hold you tightly in her iron grasp for the entire film. Her eyes tell you so much about her character. The scenes in which you see her relate to her father and finally confront him are poignant and relate a larger view of parental responsibilities and relationships. These kind of dynamics that you see in Girlfight should not be seen as limited to the Latino culture either. They are a problem for many families and the courage to attack it so bluntly is commendable. We are also presented with dialogue that cover issues like spousal abuse and suicide. Both are serious problems that, as a society, we need to work on. I agree with the idea that some of these problems like violence and abuse are being stereotyped on minority cultures, but I am not here to start a debate. You can agree or disagree with me... but in the end I think your awareness is essential.

Another issue that is brought up when watching this film is the idea of women's equality. I am not sure if this was intentional by Kusama, but it appears very clear as to which side this film takes on the issue. We get very clear images of Diana's frustration when the male boxers disrespect her ability and ethic because she is a woman. The Jaime Tirelli character of Hector and most of the other trainers all echo that ideal at some point in the film. Even Adrian must face his own views on the subject when he is forced into the ring with Diana twice. The scene in which Diana is in the locker room alone to cherish her final victory was my favorite scene in the film.

The final issue of note was stressed more by the group that held the screening of the film rather than the film itself. What kinds of values are placed upon Latinos (or any culture for that matter) by film? Do Latinos in the industry have a responsibility to reject certain roles based on message? Santiago Douglas certainly believes so and the group that he is the national spokesman for is trying to increase awareness about such issues. Go check out the message of the Premiere Weekend Club (www.premiereweekend.org) and decide for yourself. The group is interested in promoting Latinos in film and television in positive a positive light. Like I said, I do not want to carry the rhetoric on the subject to the point of resolution, but again, for those of you who find such things interesting, it is something to take away from seeing this film.

Final Thoughts:
Girlfight is an outstanding movie with a strong and hard working cast that delivers powerful messages. The script only had one small problem, but that did not hurt the movie in any way. My biggest concern for a film like this is will people hear enough or anything about the film that will urge them to see it. I tried to talk to a representative of Screen Gems (who are doing the initial limited release of the film) about this and she didn't understand my question. She was quick to point to a few magazine covers (magazines that do not have the best volume) and quote me some tidbits from major publications... but the problem is that those tidbits came out from those who saw the film at festivals. This film opens next week and I didn't see one trailer for it until I got a press kit that night. Sony Pictures has done this film an injustice by not investing some money into some big time marketing, at least in New York and Los Angeles. If you were to ask the general public if they have heard of this film, 9 out of 10 would probably say no. That is a problem. However, this is not a film to miss. Next week E! Will feature this film in its 'Behind the Scenes show' and if you have the time and channel, watch it. I would pay full price to see this film and that is not something you will hear me say very often."

(Review provided by 'Tyler Durden'.)

Click Here for Tyler's interview with Girlfight star Santiago Douglas

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DeadPool