Blood Shot (2013)

Directed by: Dietrich Johnston
Run Time: 96 minutes

All you had to do was be entertaining movie. One simple job that you were well equipped to carry out. You had explosions, guns, a stupid premise to use guns and explosions, and a vampire. Instead you pass off shit writing as comedy and any joy that could be found is beaten to death with horrible direction. Let's get through this trainwreck.

The story is centered around Detective Hellsing. A cop who has devoted his life to destroying evil by destroying his marriage, being a joke with other cops, and learning how to kill vampires from websites online. Why did he become the self appointed guardian against evil? That is never addressed as Detective Hellsing gets anonymous tip where the vampire will strike next. Across town an Islamic terrorist cell is getting ready to carry out a round of suicide bombing in various US cities. Before the cell can spread terror throughout America the vampire shows up and wipes out the terror cell.

Detective Hellsing enters the scene just as the last terrorist is killed. The detective enacts his mission of destroying evil by using a grab bag of vampire lore and seeing what will work. Silver bullets hurt the vampire, crucifixes can repel and injure, and a wooden stake to the heart and sunlight are lethal. After throwing the detective around for a bit, the vampire activates all the explosives in the building and flees the scene. Leaving Detective Hellsing to escape the as the building explodes.

The nameless vampire works for the C.I.A.'s vampire division. Which is a dark office set were Lance Henriksen is chain smoking. The current target that President Christopher Lambert wants eliminated is a terrorist master mind with a bad joke name that everyone just call him Bob. Bob, played by Brad Dourif, is assembling a super league of terrorists to destroy America and it's vampire assassin. Bob has acquired a powerful jinn/djinn and has smuggled his terrorist pals, his harem, and five little people who are expert miners with student visas.

Meanwhile Detective Hellsing's life has gotten worse. His vampire obsession has gotten him fired, his wife is ready to move from trial separation to full on divorce, and the league of super terrorist have kidnapped his soon to be ex wife. So Mr. Hellsing sets aside his war on evil and teams up with the vampire to rescue his soon to be ex wife and defeat the terrorists. However this plays right into the super terrorists plans as they need the vampire to be the host for the jinn. The jinn is used to steals some material to make a weapon of mass destruction and Mr Hellsing is forced to return the jinn to his prison.

It looks like the heroes are going to save the day when an explosion fatally wounds Mr. Hellsing and the vampire. The vampire bites Mr. Hellsing making him into a vampire and to reveal the plot twist of the movie. The vampire was the anonymous source as a means of training Mr. Hellsing as the vampire's replacement. With all the dumb exposition out of the way, the vampire dies and Mr. Hellsing becomes the big damn hero (TM) and saves the day.

 This was a dumb movie. The jokes were badly written, badly executed, and only there to pad out the run time. At some point in the creative process they was an interesting movie but the writer/director managed to screw it up. Christopher Lambert's scenes are shot in a limo and feels like it was filmed as he was on his way to airport to get the away from this movie. Lance Henriksen's scenes feel more like he just stopped giving a fuck and just wanted his day of filming to be over. Brad Dourif and the rest of the cast did their best with the shoddy plot but there is not enough polish in the world to make shit look like gold. If you find this movie please avoid it. It's joyless, flawed, and a mess of a movie.

MVT: Towards the end of the film there is some impressive practical effects. Yes I am reaching for something of value on this movie.

Make or Break: Three things broke this movie. A plot that brings up and forgets things in favour of making a dumb joke. The vampire who can't make up his mind if he's a bad ass assassin or Sam the Eagle from The Muppets. And using CGI as a crutch instead of a tool.

Score: 0.5 out of 10

Episode #320: Only Lovers Left Alive

Welcome to the GGtMC!!!

This week Sammy and Will couldn't get together due to scheduling difficulties so we are blessed to have great friends of the show, Scott and Kat from Married with Clickers podcast, fill in for us!!! They are bringing you a review of the Jim Jarmusch film Only Lovers Left Alive (2014).

Thanks again to Scott and Kat and make sure to check out Married with Clickers!!!

Direct download: ggtmc_320.mp3

Emails to midnitecinema@gmail.com

Adios!!!

Episode #311: The Dance Across 110th Street

Welcome back for another episode of the GGtMC!!!

This week the show is brought to you by the fine folks at diabolikdvd.com and it was Large William's turn to program. We cover The Dance of Reality (2013) directed by Alejandro Jodorowsky and Across 110th Street (1972) directed by Barry Shear.

Direct download: ggtmc_311.mp3

Emails to midnitecinema@gmail.com

Adios!!!

Episode #306: The Borgman Thief

Welcome back for another episode of the GGtMC!!!

This week Sammy and Will are joined by Davey Mac for a review of Thief (1981) directed by Michael Mann and starring Jimmy Caan, then Sammy and Will review Borgman (2013) directed by Alex van Warmerdam!!!

Direct download: ggtmc_306.mp3

Emails to midnitecinema@gmail.com

Adios!!!

Instant Action: Captain Phillips (2013)

Yet another reason why I stay on land!

Screenplay By: Billy Ray

Directed By: Paul Greengrass

I’ve been lukewarm on Paul Greengrass for most of his filmmaking career. At times his filmmaking can be exhilarating; BloodySunday, and United93. Just as often Mr. Greengrass’ filmmaking is pedestrian and subpar; TheBourne Supremacy, and TheBourne Ultimatum. Finding the middle ground between a traditional approach to filming and the Chaos Cinema approach is of the utmost importance in a Paul Greengrass film. When he falls prey to his desire to quick cut everything so that he removes any sense of place, time, or space in his action is when Mr. Greengrass is at his worst. He need not go full traditional in his filmmaking approach, but he must avoid the rabbit hole of Chaos Cinema.

Captain Phillips represents the middle ground, as Mr. Greengrass avoids quick edits and cuts in favor of shot composition that always expresses time and place. The ins and outs of the ship and lifeboat that make up almost all of Captain Phillips’ locations need to be understood by the audience. Mr. Greengrass stays out of trouble by focusing on where people are in relation to the vessel they are on at that given moment. Quick cuts and fast editing would have been extremely detrimental to a scene where we need to see a Somali pirate distracted by a noise and drawn away from one side of the ship.

Mr. Greengrass also trusts his actors implicitly in Captain Phillips. It helps when your lead is someone as dependably trustworthy as Tom Hanks. However, it’s in the supporting characters that Mr. Greengrass shows his trust. The temptation had to be present to rely on Mr. Hanks to carry the majority of the film. While it remains true that Mr. Hanks gives far and away the best performance in Captain Phillips, he doesn’t carry the film. Tense moments are dependent on the acting of the supporting cast. Important moments in the film are wholly on the shoulders of actors like Barkhad Abdirahman as Bilal. Mr. Greengrass doesn’t pull back from the supporting cast, he stays on them and allows for them to carry the majority of the weight of the film.

By avoiding fast cuts and editing the action in Captain Phillips carries an intensity it would otherwise lack. There’s nothing revolutionary about the action in Captain Phillips, but it gets the job done. I felt like I was being allowed an intimate portrait of men putting themselves in danger. A lot of this is achieved by the way Mr. Greengrass peppers the action throughout his film. It comes in spurts, and when it does come the action in Captain Phillips charges the film up to a near breaking point. Intensely intimate action isn’t easy to come by, and Captain Phillips delivers it in fine fashion.

There’s been some controversy around Captain Phillips and the legitimacy of its story. I’ll say this, I don’t care whether or not the story behind Captain Phillips is legitimate. What I care about is the end product that is the film and the level of quality it achieves. I can tell you that Captain Phillips is a darn great film, and that’s all it should be. Captain Phillips is a film, not a historical document, and as a film it’s an exciting jaunt.

Rating:

9/10

Cheers,

Bill Thompson

Instant Action: The Last Stand (2013)

If you keep making movies is it really the last time you'll be standing?

Written By: Andrew Knauer
Directed By: Kim Jee-Woon

The Last Stand is not a complicated film. There's not a whole lot under the hood of Kim Jee-Woon's American directorial debut. That doesn't mean The Last Stand is a bad film, it's far from that in fact. This movie eschews any sort of deep thematics for pure action. It helps that said action is presented in dynamic fashion, but that's about what I expect from Woon-ssi. The Last Stand focuses almost exclusively on action. There's no character building, no real attempts at drama. The film does shoot for a few comedic moments here and there, but on the whole The Last Stand is a film that's only interested in providing action and thrills.

Whether or not the film provides action and thrills depends on what the person watching the film is looking to get out of said film. If a cinephile watches The Last Stand hoping for a great story or engaging character beats then they will be let down. That's not the film The Last Stand wants to be. The people who will enjoy The Last Stand are those who like a little spice in their life, the sort of people who dig it when action escalates to absurd levels. I'm one of those people, and that's probably why I ended up enjoying The Last Stand as much as I did.

The action in The Last Stand is that of escalation. Each action sequence is bigger than the previous one. As the action gets larger Woon-ssi's direction gets tighter. The car chase during the cornfield is a prime example of the way the South Korean export handles action in an engaging manner. When the chase starts off the camera keeps track of the two cars. We know where they are and what is going on. That all changes as the chase morphs into a cat and mouse game. The filming style becomes one of disorientation, because our drivers are disoriented and so must we be. Of course once the car chase comes to a climax the camera regains its centering effect. The big finale, both with the cars and the showdown on the bridge, is completely in focus because Woon-ssi is interested in providing concrete closure to the action scenes he has constructed.

The characters and the story in The Last Stand may not be that engaging. The action, however is very engaging. That's why the film puts all of its eggs in the action basket. The film is at its weakest in the few moments where it tries for drama or for extended bits of comedy. It's not that The Last Stand isn't funny, it's that too often the film overdoes its attempts at humor. Andrew Knauer provides some slick one liners, but the scenes keep going and the dialogue keeps trying to be funny to lessening degrees.

The Last Stand is far from a perfect movie. It falters in a few areas, but the overall package Kim Jee-Woon delivers is a fun bit of action film. I enjoyed the way the action was filmed and how the film hit its action elements hard. This is a step back for Woon-ssi, because he's a director capable of much more than a fun action film. Still, The Last Stand is an enjoyable film and it's not a disgrace to the catalog of its director. This isn't the film that people will remember Kim Jee-Woon for, but The Last Stand is a well made actioner, and sometimes that's all I really want.

Rating:

7/10

Cheers,
Bill Thompson

Episode #290: Jodoworsky's Dune

Welcome back for another episode of the GGtMC!!!

This week Will and Sammy bring you a special episode, we had the privilege of seeing Jodoworsky's Dune (2013) directed by Frank Pavich. We also had the opportunity to speak with one of the producers Stephen Scarlata, or as we know him in the community...Neck!!! We want to thanks him for thinking of us!!!

Direct download: ggtmc_290.mp3

Emails to midnitecinema@gmail.com

Adios!!!

Instant Action: Sin-se-gae (New World, 2013)

This world doesn't seem like it's much better than the old one!

Screenplay By: Hoon-jung Park
Directed By: Hoon-jung Park

South Korean cinema has been a favorite of many a cinephile for a few years now. A bevy of high quality films and great directors have made the country of South Korea a bastion of cinema for the majority of cinephiles. A film like Sin-se-gae fits into the mold of what is dominating South Korean cinema at the moment. It's a smartly made crime thriller with a wee bit of a nasty side. It's not as mean and nasty as some of the more popular recent South Korean films, but it substitutes a wry sense of humor for meanness. In Sin-se-gae the story, characters, bursts of violence, and comedy all come together to form one heck of a motion picture.

I didn't expect to laugh as much as I did during Sin-se-gae. If one were to pay attention to the faces of every character, sans Jeong Cheong, Sin-se-gae comes across as the dourest of films. Everyone is so serious all the time, but when contrasted against the antics of Cheong the seriousness of the rest of the characters becomes kind of funny. Cheong is a killer, he's nowhere near a good guy, but he has an odd charm about him that makes him easy to like. He livens up the picture and his mere presence helps the other characters to find a comic middle ground. Sin-se-gae isn't ra ra funny, rather it's funny in an offbeat and deadpan manner. The humor in Sin-se-gae is the sort that's not served up for the viewer on a plate. But, if the viewer pays attention to the film they will find plenty to laugh about.

Sin-se-gae is as exhilarating as it is funny, probably even moreso. The majority of the film is calm, but peppered around said calm are bursts of violence and energy. One in particular that will catch the attention of any action minded cinephile is a gang fight that winds up with one guy against many in an elevator. It helps that one of the characters in the elevator is supremely magnetic, but the direction of that sequence is top notch as well. The end result of the violence doesn't really matter, it's the way that sequence manages to capture the essence of a character and provide bloody good energy that makes the scene special.

Hoon-jung Park's film makes good use of story and character to make sure that the story twists aren't ever actual twists. At first they appear to be twists, but thinking back about the time I spent with these characters their ultimate fates isn't a surprise twist at all. The screenplay of Sin-se-gae digs its claws into its main characters and makes their interactions matter. They are tropes, but because we delve so deeply into what makes them tick they transcend their trope origins. The story in Sin-se-gae is strong, and it takes its time to present characters who take their place in life versus being part of a twist.

Another great movie from South Korea, who would of thunk it? Sin-se-gae is well made in every way and a very enjoyable time at the movies. Park-ssi's film is full of energy, well thought out characters, and a story that is as satisfying as it is daring. While America is stuck churning out the same mob movies over and over again, Sin-se-gae proves that Asia is still where the best, and most inventive, crime movies are coming from.

Rating:

9/10

Cheers,
Bill Thompson

Instant Action: Olympus Has Fallen (2013)

Our government doesn't shut down for anything, except for budget talks that is!

Written By: Katrin Benedikt & Creighton Rothenberger
Directed By: Antoine Fuqua

A key scene in Olympus Has Fallen is when the protagonist, Mike Banning, has captured a pair of terrorists for questioning. As soon as one of them laughs he stabs said funny man through the throat in under thirty seconds. For all intents and purposes that scene could be viewed as a throwaway moment within the film. However, it is my belief that this scene is the glue that holds the film together and represents why the film ends up working despite its flaws.

There are plenty of flaws to be found in Olympus Has Fallen. The story is as bare a story as one could hope to write. The characters are one dimensional and exist only to serve the plot. The lighting is far too dark for its own good during some key moments. It could be argued that the film deals with violence and consequence in an irresponsible manner. The complaint could be levied against Olympus Has Fallen that it is a big dumb action flick and nothing more.

All of the above are valid criticisms of Olympus Has Fallen, yet in the end I believe Antoine Fuqua's 2013 effort pushes past its limitations and comes out the other end a well made action film. It all comes back to the terrorist interrogation scene, a scene that is so quick it seems like it's not a big deal. It is the quickness of that scene that matters, the swiftness with which our protagonist deals with a problem. That surmises how Mr. Fugua deals with momentum in his film. It's not an abstract idea, in Olympus Has Fallen momentum is integral to the way the film moves and comes at the viewer. Things happen fast, so fast that they don't allow for the viewer to stop and truly think about the limitations that are trying to hold the film back. Scene after scene flashes across the screen, and always the momentum is being picked up, even the exposition is worked into small chunks so that it can't hold back the inertia achieved by the film. The terrorist doesn't have time to keep laughing, the film won't let him, and he is to be disposed of post haste, because that's the world of the film.

I did get a kick out of Olympus Has Fallen. I'm not about to declare it the very best that cinema has to offer. However, as far as big budget actioners go there's nothing wrong with enjoying Olympus Has Fallen. Mr. Fuqua's film hits the viewer hard, and relies on forward momentum and sustained intensity to keep the viewer interested for the entire ride. Sometimes good momentum is all that's needed for a quality filmic experience. Olympus Has Fallen has momentum in spades, and it makes good on getting the most out of said momentum. It may be big and loud, and silly at times, but Olympus Has Fallen delivers an intense action experience that is far removed from being a stereotypically dumb action film.

Rating:

7/10

Cheers,
Bill Thompson

Cold Eyes (2013) - Review by "Uncool Cat" Chris Brown

Do Not Engage.

These three words perfectly encapsulate every major character in this very engaging film from South Korea.

In the pre-credit sequence we see two very similar (but couldn't be more different) situations played perfectly against one another. In one, Yoon-joo Ha AKA: Piglet (Hyo-ju Han) is tailing Kyung-gu Sol throughout the city, attempting to remain unseen. Immediately we can see that she is uncommonly bright and observant. In the other sequence, James (Woo-sung Jung) orchestrates a bank robbery from the top of a sky rise. The results of both endeavours, though shown to be successful, could also be seen as failures. Both in the fact that the people trying to remain in the shadows are forced to engage.

As the plot progresses, Piglet is hired to be in an elite squad of surveillance experts. The leader, Chief Hwang, organizes his team to find a suspect from the earlier robbery in the vast city of Seoul with only a general description. What follows is like a combination of the "tailing" segment of French Connection and the "surveillance" of The Conversation with more gloss and less Gene Hackman. Complications arise and Hwang needs to remind Piglet, that no matter what is happening, it is their job not to get involved, and only to observe.

On the other side, James is forced into doing more work, which he reluctantly agrees to. Though he is mostly a spectator/planner, much like the team hunting him down, he can kick some serious ass when needed. And he proves that the pen is mightier than the sword. And possibly an Uzi. Woo-sung Jung really shines as James, a mastermind criminal; reserved, observant, meticulous and incredibly dangerous. He is absolutely cold hearted, but you can still see the human being who wants out without getting caught.

Eventually things are bound to come to a head, and when they do the film really kicks it up a notch. Both sides are forced to come out of hiding and have to make life and death decisions. Some revel in it, some don't. It is akin to the fluffers on a porn set finally getting to participate in the gangbang! Kinda.

What works great in the film is the constant feeling of the team getting one step closer to James, as he tries to distance himself from his crimes. And when the action hits, there are some great set pieces. The lower billed team of criminals and surveillance experts both serve their purposes well, though they are merely background characters for the leads to work off of.

This is a very fun procedural that never tries to attain the heights of a Memories of Murder, but works very well as popcorn fare. And keep an eye out at the end for a cameo from a GGTMC favourite who has recently added Korean cinema to his CV.

 

MVT: James. Easily. A great villain who is as brutal as he is smart. The movie always felt like it kicked it up a notch whenever he was on screen.

Make or Break: When James finally realizes he has to take matters into his own hands. Shit really hits the fan on both sides and makes for fantastic viewing.

Score: 8

https://twitter.com/uncoolcat

Instant Action: Hummingbird (Redemption, 2013)

I'm not sure that this film understands what it means to be a good man...

Screenplay By: Steven Knight
Directed By: Steven Knight

Continuing my desire to use this column to seek out the work of action stars this week I bring you Jason Statham. I've rarely seen Mr. Statham outside of a Guy Ritchie film, and that appears to have been a mistake on my part. I really did not like Mr. Statham in Lock, Stock and Two Smoking Barrels, or Snatch.. While I enjoyed In the Name of the King: A Dungeon Siege Tale that wasn't due to it, or Mr. Statham, being great in the traditional sense. Hummingbird offers a different take on Mr. Statham, at least a different take from his work with Guy Ritchie. In Hummingbird Mr. Statham is a presence, he owns the screen. Charm isn't the right word, it somewhat applies, but not completely. There's just something about Mr. Statham that the camera loves. The best explanation I can come up with is that the way he carries himself intoxicates the camera. Mr. Statham exerts himself upon the film, his presence overrides the film in ways that it really shouldn't. That's presence, and that's something Mr. Statham has in spades in Hummingbird.

Hummingbird excels visually, and in its action scenes. The visuals are, well, gorgeous, but not too gorgeous. Cinematographer Chris Menges makes terrific use of the claustrophobic nature of the British underworld. Everyone knows everyone and the camera placement of Mr. Menges accentuates how close together the citizens of London's underworld live. There's a grimy feel to the work of Mr. Menges, for all the visual flare he provides Hummingbird with he allows the film to have a more lived in texture. The director, Steven Knight, focuses on the hands of his characters a lot, further adding to the textured feel of the film. This plays out even more in the action scenes where the fighting dynamic is one of brutal violence that seeks to end the fight quick. The action in Hummingbird isn't that of the dance, rather it's that of the car hitting the wall. Fancy moves are replaced by strikes intended to maim and end the fight in the swiftest fashion. So much action is based on the beauty of the dance that is fight choreography, and in that respect the quick and efficient action of Hummingbird felt very different.

Where I have trouble with Hummingbird is in the theme of the film. The story is fine enough, a simple sort of man against internal/external demons sort of fable. The script delivered by Mr. Knight is looking for something more than that simple tale though. That's where I think the film trips up, because I'm not sure Mr. Knight really knows what he wants his film to say. At times it feels like Hummingbird is going for a Robin Hood correlation. Then it will seem as if the film is acknowledging the fact that the protagonist is no better than the people he is fighting against. But, then the film will play up the actions of Joey, Mr. Statham, as those of a man of principle who deserves the respect of the viewer. It felt as if Mr. Knight could never come to grips with the Joey character and instead of a focused character he left one on the screen who is quite muddled. This, of course, leads to a muddled main theme. Th drive of said theme is never able to gain inertia because the dueling nature of the Joey character often works against the thematic drive of the film.

Mr, Knight's film makes for a very interesting watch. The film is confused about what it wants to be, at least that's the case in terms of its theme. Hummingbird works just fine as an action film, but the added drama muddies the water of the films intentions. I'm not convinced that's entirely a bad thing though, because the lack of focus displayed by the film is one of the films most interesting aspects. Jason Statham has become a big action star, and after Hummingbird I can see why. The film takes full advantage of the package that is Jason Statham, and that's one of the reasons why Hummingbird is an interesting film worth checking out.

Rating:

7/10

Cheers,
Bill Thompson

Episode #254: Prisoners Round Table

Welcome to another episode of the GGtMC! This week's episode finds the man that puts the Am in the Can-Am Connection laid out with an illness, but in true gentlemanly fashion, 5 fellow gents (and a very special dame) step in to round the show into form. We discuss Denis Villeneuve's much buzzed about Hollywood debut, Prisoners.

Cop that!

Direct download: ggtmc_254.mp3

Emails to midnitecinema@gmail.com

Voicemails to 206-666-5207

Adios!!!

LEE: A Book Review

There are few celebrities who both fascinate and scare me in equal measure.  These are the people I would love to spend time with, but would still be like a cat on a hot tin roof around for fear that my jaw could be dislocated at any moment should the mood strike them.  If you’re reading this review, it should go without saying (but I’m saying it anyway) that one of these people is Lee Marvin.  Here was a man who lived life large; who drank and fought and whored around with a seemingly gleeful, unapologetic abandon.  Yet he was a man who could do all of those things all night long and never let that stop him from giving every ounce of his being  in his performances (or perhaps because he lived his lifestyle the way he did).  You believe every word that comes out of this man’s mouth onscreen, because he doesn’t care if you’re impressed by him.  Though I’m by no means a Marvin expert, I feel confident in saying that his was a life of true freedom.  We were simply allowed a vaguely tinted window onto it from time to time.  But I’d still pack some brass knuckles if we ever went out drinking.

And so the good folks over at Crime Factory came up with this anthology, a chronological collection of seventeen fictional stories based on, perhaps, not Marvin the person so much as Marvin the idea.  And it’s a great idea.  Most (but not all) of the stories use Lee’s filmography as, at the very least, a backdrop (and no Delta Force story?!), and each piece very wisely tries to include multiple aspects of Marvin’s personality.  Some, like 1954: Out On The 101 by Jake Hinkson and 1980: The Big Red One by Johnny Shaw are total flights of fancy, while others, such as Jenna Bass’s 1964: A Sort Of Intellectual and 1968: Gone Fishing by Andrew Nette are more grounded, though there’s more than enough imagination and skill on display to keep the reader involved throughout each of the variegated narratives.  

Of course, when you have multiple authors attacking one subject, their approaches are going to vary (why else have a collection of writers?), and they certainly do here.  Some tales are more lyrical, others more understated; some are coarse, others almost genteel.  For as much as the parts are their own, though (and you could certainly read the book out of order without detracting from the experience), the pieces fit together snugly by the end.  Every author herein has certainly brought their A game to LEE, and their care for the subject shines through, whether they’re talking about the proportions of Marvin’s manhood or the strength of his moral character.  As with the totality of humankind, Lee Marvin was more than any one thing.  This wonderful anthology embraces all of the man’s aspects, even (perhaps especially) the uglier ones and it does it with verve and dexterity, creating a verisimilitudinous portrait of a complex personality.  Even the most casual of the actor’s fans will find themselves wholly intrigued and thoroughly captivated by this engrossing album.  This is Lee Marvin done right.

Crime Factory Website

LEE Kindle Edition

LEE Paperback Edition and Crime Factory’s Shop Website

Bonus #51: Stoker

Welcome to a special bonus episode of the GGtMC!!!

This week the Maple Warriors, Large William and Uncool Cat Chris, bring you a review of Park Chan-Wook's Stoker (2013) starring Nicole Kidman and Mia Wasikowska. 

Direct download: Stoker_Bonus_episode.mp3 

 

Emails to midnitecinema@gmail.com

Voicemails to 206-666-5207

Adios!!!